Thanks to a style which has always escaped with the requirements of the mode, thanks to rhythmic drawn with the same sources of the jazz, reggae and swing and thanks especially to a jubilatoire mixture of the music and humour, the Full orchestra of Splendid for a long time affirms its atypical personality and iconoclaste within the French song. After 23 years of career, with six albums and of true triumphs on scene, the Full orchestra of Splendid is always present, to large complete, faithful to return of a public eclectic and many, more than ever ready like them having fun the festival. 1977 in Splendid, street of the lombards, one Sunday after midday. Some buddies professional musicians, who until there play on the right and on the left, find themselves to have fun between them while reinterpreting of Ray Ventura and Duke Ellington. What was not to be that a pleasure shared between buddies becomes an immediate success. In one nothing time, public and media is ruent to discover these facetious musicians who revive eternal repertories that one believes, wrongly, last of mode. The first time, they is hardly ten musicians but very quickly the formation is packed and at the end of one month the Full orchestra of Splendid counts nearly ten eight participants. Jean Louis Foulquier the reference mark and proposes to them to take part in Saltimbanque a daily emission on France Inter. The Full orchestra settles there for one season ensuring not only arrangements of the emission in order to bring a removed and spontaneous style to him, but especially by accompanying the guests, revisiting with humour, parody and derision the repertories of the stars of the song.

An experiment demanding and enriching which stimulates the cohesion of the group, completes to gather them and definitively confers its unit and its style on the Full orchestra of Splendid. In parallel, they continue to go from scene in scene, affirming their personality and first of all filling with enthusiasm the public of the Coffee of the station and that of Cardin Space. The style is refined. The influences more than are ever asserted: the reggae, swing of years 30/40, the salsa, the mambo... but revisited with a sound Full orchestra. The rhythmic base respects the style of origin but with the marked irruption and jubilatoire of ’’gimmicks’’ musical odd, shifted and marginal. Coppers take importance, the saxophones intervene, one adds that and there stopped trumpets.... Slope humour, one asserts there the influence of the theatre workshop, the parody, insolence, leaning it for ’’salted’’ texts (and not only sexually) and delirious... Sometimes, the inspiration comes from one nothing. Xavier Thibault even tells that “Salsa of the Demon was born from the idea that it had to be seen dressed up, his/her friends and him, as a witch or simply dressed of the famous bunch of grape... The two musicals that they produced made besides in the prolongation of the spirit of their scenic services, giving to them the opportunity of going even further in the madness, their taste for the comedy, the play of actor, the costumes.... The raised whole of a point of surrealism! Success is undeniable: Macao is sold with nearly 400 000 albums, Salsa of the demon, titrates indémodable, posted 800 000 singles sold and more than 400 000 albums. The public precipitates in mass. The spectacles last more than one season.

But the Full orchestra of Splendid, they is also the regular rounds grace to which they go in many towns of France but also to Europe, and in Canada where as an example they played ’’Tam Tam’’ two seasons of summer in Quebec filling tous.les.jours and for 3 months a capital of 1000 places installed for the estival season in full shift and to a hundred kilometers of Montreal. Obviously, over such a duration of career, the team changed but in about fifteen years, the formation are nearly identical: the Thibault brothers: Xavier (author, type-setter and singer) and Frederic (type-setter), Alice Prévost (singer) and Paul Maucourt (trumpet player and singer), one finds Michel Winogradoff (singer) there, Frédo Westrich (bass player), Rudy Muller (guitarist), Bernard Salestier (trumpet player), Vincent Turquoize (saxophonist), Lou Volt (singer) and Damien Verherve (trombonist). Joined Yvano Latucca (Beater), Claude Egéa and Jean Gobinet (trumpet players), Alain Hatot, Philippe Duchesne, Gilles Miton (saxophonists), Julie Saury and Veronique Bossa (percussionnists and singers.

To find the individual and collective pleasure to work the characters camped with the rigour of an actor, to exploit the musical and visual universe of each refrain, to tell stories without discussion thread but with some characters who trott themselves from one title to another. And it is at the price of a setting in precise scene, where all displacements are regulated, those of the soloists like those of the orchestra, which it is possible to improvise and play with the public. In short to take and give pleasure! A return in strength of the Full orchestra of Splendid and a manner which resembles to them: orchestrated in a great copper glare, heat and of generosity impresses, where the ambition is to see the things into while knowing more than ever to remain light like a swing, moving like a blues, festif like a reggae and involving like a salsa.