INFORMATION
Sanders hatched him in a whole different direction. Being from childhood qualified for drawing. However, his mother introduced him to classical piano at the age of eight. Which did not thrill him too much; since he neglected everything to exteriorize himself in sketches and math. Who made discern signs of a future architect. By working preferably to capture the multiple local and global sounds, which rocked his adolescence. At fourteen, during summer vacation in Florida, his mother gave him a guitar. And encourages him to take music lessons at Bird College, so as not to remain inactive. In order to maintain his learning as a classical guitarist; SS has also joined the Saint-Louis-Sacré-cœur choir. In which he begins to shape this voice that will make waves.
It was in this student atmosphere, always with his guitar slung over his shoulder, even on the schoolyard, that he began to take a liking to background music. By being guided in this direction by more advanced postulants to climate agreements. Especially the konpa, which is the necessary parameter to settle in the limelight. At the start, he hastens to deepen his notions of vocalist and guitarist; by combining its conventional training with native vibrations. While improvising in fashionable tunes like: se pa pou dat (A. Cavé), bang bang(Carimi) and others. At this point, the music begins to encroach on academic results. A cause for concern for mom who gives the order to confiscate the guitar. But, the guy is already under the spell of the sharps and flats. And persists in his mission of finding.
Until it started on a “Sainte Louisienne Family Day”. By highlighting artistic abilities, in a small group of troubadour in the company of a future racing car like him, Jude Deslouches (centerpiece of the Vyab group). Which completely wowed the audience; as well as those in charge of the establishment and the parents. This opened the door to the tidal wave of fairs at the church and the various religious schools in the city: Marie Anne, Saint Louis, Sacré-Cœur etc. Where Solon began to glean his first audience. A time which coincided with the end of his secondary studies. And finds him in the process of leaving for the university. A national leitmotif that took him to Florida where he had to take architecture lessons. In which he constantly dried.
This forced him to assess his priorities and from there to orient himself towards art. By deepening academically in composition, arrangement and production. And at the same time, by polishing his qualities as a guitarist and vocalist through multiple influences. Features that put him in the sights of the musical world to be the subject of solicitations from both sides. As with the “New Vice” of Charlot, which allowed him to undertake his first tour outside. Followed by other stars like Larose, Touco etc. who have taken advantage of its know-how. Obviously leaps that have not remained invisible. And encourage him to undertake both personal and common initiatives. To be at the origin of the formation of the group “Gabel”, with which it evolved little; while waiting for other decisive conquests.
While remaining in high demand to showcase its versatile brand to the works of others. Including the “Djakout” who has repeatedly had his expertise and arrangements. In the meantime, it becomes a bait for different musical orientations. And consequently, in the fray, is required by the wanton and mediocre Michel Martelly says “Sweet Micky” or “papa kaka” for the close friends. And on the other, two authentic musicians of his era, Nicky and Mc-D who were developing their own project of a higher nature. And who asked him to join them. Obviously, for someone who reasons, there should be no hesitation between ‘Mikist’ carrion and consummate art. In this way, Solon arrived just in time to claim his place within “Harmonik” of which he became one of the essential pillars.
By composing a trio & co with Nicky and Mac-D; to impose the most innovative musical ensemble in the surrounding environment at the start of this millennium. Which under the direction of Maestro Nickenson made exploratory antics for Solon. Who had the time to contribute the titles : jere m, di m kisa pou m fè?, My woman in the group’s first opus: ” Jere m ” ; which in fact should be Nicky’s second solo cd after the acclaimed work: ” Première danse ”.Until the plans took another turn. With the arrival of “Harmonik” which will quickly cut corners; allowing Sanders to infuse bright bursts of a vocalist steeped in rushes and salvo. Like a windshield wiper that propels colored bubbles all in black and blue, that is to say infused with both soul and blues. Similarities with another racing car called Déner; who, like him, claims to be an intercultural reference.
In addition to having Mac-D completely admiring, to harangue him to have both the voice and the fingers. Since as a guitarist Solon also has arguments to make. With a flourishing touch that allows him to be simultaneously a soloist and harmonic provider. At the option of ” riffs ” full of improvisations. Giving it the right to play in arpeggios, intervals or single notes. As a bonus of his compositions which have diversified the group’s repertoire. On the second album: ” Let’s go ” , he has more leeway to infuse his ” up-tempo ” brand and changes his mind in his designs with : Harmonik time, pa mode, sim te gen etc. As for the 3 e cd: ” Diferan ”as distinct as it is, with these schematic upheavals through which its imprints are manifested in: apaw fache, nato, ilegal, natural, or se, or paka hang, diferan, mèsi, mwen bouke; in a rustic genre that has wiped out the introductory data.
In particular with the integration of the second guitarist Tipapi who has shaken up the harmonic dials a little. While Nicky has withdrawn a bit. It was also the time of internal crises which saw the dismissal of their administrator Rodney Noël; coinciding with a drop in power for the group. Just the time for a reconciliation and a rebound for “Harmonik” in “Degaje w” . Another work that enshrined Sanders’ signature; which spread in all contours with: degaje, cheri benyen m, imperfect, incredible, enpòtans, fè mwen konfyans, senplisite . Who are also sprayed with his throat and claws ecstatic; as well as its arrangements. Attributing him to this turning point as the most prolific composer of the group. A posture that he maintained in:” Respè ” , their final CD, in which he reiterated his eagerness to create. By taking part in the songs: respè, or detenn sou mwen, wap fè kòve, dènye chans, papa, pete fyèl mwen etc.
Propelling to this point an artist in full possession of his means. And who has big ones, and puts them in play when it’s needed and when it’s worth it. Sprinkling his vibrations from the depths in an inducible music which marked the passage of his mother and the birth of his son. And which reinforced him as one of the bridgeheads of his lineage. No wonder he is constantly engaged by his peers; whether from “Djakout”, “Zenglen”, “New Look”, “Disip” and others; who used his musical armada. While waiting for the # 6 of “HarmoniK”, which he will surely still mark with his ingenuity. Always being in the oven and in the mill; tackling futuristic designs. As well as unusual collaborations like those with singer Danielle Crusoé or DJ Rage among others.
