he talked about his time with alain mpela in generation a,then how he convinced christian solo and chevignon synthe to leave generation a and join maison mere and also how he told his cousin arc en ciel who had gone back to gospel groups as jf ifonge's group was on pause as he stayed in europe for long(which resulted on him stopping his professional career in the long run) to come and learn maison mere songs next to the young bob solo petit poussin and then pass his test and also revealed how he managed to maintain his voice for such a long period because he inspired himself of the discipline of elders,of course he had his days of partying but quickly he asked himself the right questions to make sure it does not affect his performances
he reveals that he was meant to be the one singing the song simeon from sous sol,written by late chela lachina,but then adjani returned to maison mere and he was given the song in studio after werrason decided to give it to adjani and let him have a vocal instead

I always thought that Chevignon Synthe was in Maison Mere before Alerte Generale. So the person playing keyboards in Alerte General was Ruben Synthé himself ? Alain Mpela had a dream-team, it’s a shame that Generation A went nowhere.

It’s a shame that Bob Solo never played lead on at least one studio-track

So Adjani definitely lied about Simeon originally being his song ?

yeah rubain then koffi tried to get him to solve the keyboard problem he had since late ondo,forcing him to hire brice malonga in europe tours
we had that impression that chevignon started in maison mere because unlike christian who went quick into first team with flamme leaving,chevignon had almost two years in operation dragon because of theo bidens arriving and thierry having a first quick return
yeah i am sure if bob remained in the group after zenith he might have played in studio

I'm surprised Ondo Motema didn't join Academia when they left him behind for Bercy. They went to record Force de Frappe without a keyboardist, Koffi opted for Phillip Guez and a session musician for their concerts. As soon as they returned and you begin sharing duties with Christian na Nzenze during their 2000 performance at GHK, it's time to start the exit strategy.

If you were to ask Heritier, Ferre, Fabregas, and Fally what was the hardest part of starting their solo career, what do you think they would say? Is it the securing the financing to buy instruments and a large place to rehearse? Is it finding a good producer for the first album? Is it a management to get contracts for concerts?

Like where do a lot of solo artist frequently fail? Because it seems like recruiting musicians and recording an album is the easiest part of the formula, but promotion is where a lot of careers die. You see a lot of artists have the successful first album but it can't continue...I don't know who handles visas to go abroad for tours. It seems like taking the first step is easy but keeping the momentum going right after is the real fight

Ondo was like Rocky Blanchard contacted by JF Ifonge and Savanet Depitcho to join AGB. Both guys recruited musicians for them in Kinshasa, but JF and Depitcho already disbanded before arriving in Kinshasa. Not long after that they were contacted by Koffi to rejoin Quartier Latin. In the same period Christian na Nzenze, who joined Quartier Latin along with Ramazani, as Koffi contacted them with Pompom Miyake to join (only Pompom refusing the offer).
Except from Bercy, Koffi did all concerts of that tour wiithout a keyboard player. Phillipe Guez never performed with Koffi on stage, they only collaborated with Koffi for studio-session. Guez just added some keyboards on the cd-version of Bercy, since that Koffi wasn't satisfied with the end result of the audio-version

Starting solo-artists don't have the money to buy instruments, they always rent. I don't if it had changed. But back in the 2000s, you had even established artists that were still renting instruments.  Financement is very important for a solo-career, otherwise it will be difficult to make it, since that you have to rent instruments, rent the rehearse-place, pay the travel allowanceof your musicians and dancers, tv-channels to promote your album and events around Kinshasa through spokemen. The sponsorship that different artists had with Bralima (Primus) and Bracongo (Skol) during the 2000s saved many artists, since that the musical-landscape had changed since the early 2000s and the purchase power of the population only going backwards with the days. One of the reasons that Ferre decided to join Quartier Latin was because he couldn't handle it financially and Bralima at the same time rejecting him.  Felix Wazekwa once said that it would have been difficult for him, if Bralima had decided to cut the contract with him, after the incident with journalist Djo K. in 2007. I believe that Soleil Wanga in an interview he did with Popol Mukelenge just before the release of his first album, that he had to give shout-outs to donors from Angola and Brazzaville otherwise it would hav been very difficult for him financially.

The music-market is dead, today most artists produce themselves with help from the money they get from donors. Already from 2003, it started to become hard to find good producers since that Sonodisc/Next Music and JPS Production closed.  Recording albums isn't easy there are different artists that had recorded solo-album with their finds, but couldn't find a producer with the album never getting released. Sweet Elesse of Victoria Eleison for example recorded an album back in 2007 before settling in Angola , but it never came out.