The way he conducted using all his body, punctuating riffs, launching sections with the precision of a timepiece earned him a memorable ovation.

The interest of themes that he wrote, such as “Flagey Nine-Thirty”, “The Booze Rush”, “No Screaming”, “Open, No Mute”, “Majorette’s Delight”, “Avalanche” or “le spectacle est fini” (written for one of his “Sadi Shows” and later include in the big band’s repertoire), lies in the fact they were written specifically for this type of formation. This explains the exceptional quality of their sound architecture.

Amongst the soloists, we recognise Johan (bs) and Peter (as) Vandendriessche, Marc Merciny (tb), Janot Morales (bg), Bert Joris and Nic Fissette (tp), Marc Godfroid (tb), Alex Scorier (ts), Tony Bauwens (p), Freddy Sunder (g), Tony Gyselink(dms), François Hendrickx (tbb) and Sadi on the vibraphone The notes burst like bubbles loaded with precious vibrations. A soft hat sitting askew, a loose scarf, crumpled trousers, loose jacket and short widely open to the chest; Sadi has always appeared like a tap-dancer ready to jump on stage. There is something feline in the roars that show he is really into the music. Sadi challenges the laws of balance. Instinctively, we look for the wires that hold him up. When sitting, he is only happy with a pair of bongos between his thighs.
(Marc Danval)

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