Toronto, ON - Born and raised in Toronto, Ontario, Solitair is an avid member of the hip-hop community across the country and increasingly on an international scale. Dedicated and fervent in the music he makes, Solitair has managed to bring only heat to the forefront of his career, and make a tremendous impact on the music scene. To date, Solitair has produced for artists like Nina Sky, Glenn Lewis, Baby Cham, Kardinal Offishall, Jully Black, Choclair, and Sugar Jones amongst others.

His first internationally released single, “Easy 2 Slip” from the Beat Factory compilation Rap Essentials 2001, was nominated for a Juno for Hip-Hop Recording of the Year. The song quickly garnered ‘Canadian hip-hop classic’ status. He was again nominated for a Juno for his collaboration with R&B songstress Jully Black, & reggae artist Baby Cham on the song “The Day Before.” Solitair also solidified his reputation behind the boards with production on Kardinal’s “Bakardi Slang,” Choclair’s debut album Ice Cold (Virgin Records), Baby Blue Sound crew’s compilation albums, Private Party Volume 1 & 2 (Universal) and Sugar Jones’ remix for the hit single “ Days Like That” (Universal).

The Black Jays is Solitair’s home label, which he formed together with long time friend and partner, Kardinal Offishall. Black Jays includes an array of diverse artists including Ro Dolla, Darryl Riley, Nikki Mo, Lindo P and DJ Reddy Fox among others. By 2006, Solitair teamed up with Cipha Sounds (HOT97/Shade 45/MTV) who joined Black Jays International, a new initiative to expand the Black Jays movement. They are now working together on production and so far the duo has produced for Nina Sky’s upcoming release The Musical as well as on the album by an up-and-coming rapper from the Bronx by the name of Daytona, who is also part of Black Jays International. The team also includes Black Chiney, a world renowned Chinese-Jamaican Sound Crew. Futhermore, Solitair is doing substantial work with a variety of big names including Elephant Man, Jim Jones, Lil’ Wayne, and Rick Ross, to name a few.

There is a lot of controversy surrounding the Black Jays and their efforts to preserve and develop home talent, as well as the solo projects of both Kardinal and Solitair. HipHopCanada.com, gave Solitair the role of Featured Editor for this month’s update in which he got to choose who we’d be featuring alongside of him. Solitair is also taking charge of our latest Canadian Choice Cuts, selecting all 10 of the tracks on the new Choice Cuts update. During his interview, Solitair spoke on industry accomplishments, his insight on music as a veteran in the game, and of course, his upcoming projects including a full-length album. Here’s how the interview went down:

HHC: Solitair, welcome to HipHopCanada! Let's start with an easy question, where were you raised?
I was raised at Dufferin & St. Clair. It was great. Most of the kids I went to elementary school with were Italian. I took Italian lessons. I used to say I was Italian till I got to high school.

HHC: You don’t speak it too well though? [Laughing]
No no… only the cuss words. They used to call me “castagnia bruschata” (burnt chestnut). Back when we didn’t even know what race was. They were just saying it because that’s what they heard. I didn’t even know about racism because we all got along anyway. We all used to hang out.

HHC: Did you listen to hip-hop when you were in high school?
Of course!

HHC: Which artists were you feeling growing up?
First time I heard Biggie Smalls… my brother introduced me to his music. His song “Party and bullshit” was on the very first mixtape I ever got. My brother went to a Howard homecoming and put me on to it. I brought it to school and I started putting dudes on to it. It was really that raw hip-hop – you were checking for it because you thought it was dope. It either appealed to you or it didn’t. This was when I was still a virgin to the industry and all that shit. Other artist I listened to were Tribe Called Quest, Big Daddy Kane, Slick Rick, Erik B, Rakim, De La Soul, Black Moon – pretty much everybody from the golden era of hip-hop.

HHC: Could you relate to the lyrics in the songs, in terms of lifestyles? Could you find the way you lived your life – living conditions, friends, and school – portrayed in some of the lyrics?
Really and truly, I grew up with both my parents. We were by no stretch of the imagination rich; we were struggling. But I had a good home and good value system set up. I can’t say that I identified with a lot of the problems that they were facing in the ghettos of America. Most people don’t because there are very few places like the ghettos of America. What I identified with was these young black guys who looked just like me and made music that had a lot of different messages. It was conscious hip-hop, but back then you weren’t listening to it as conscious hip-hop. I think every song that came out back then was like the best song I ever heard.

HHC: Any particular favorites?
Ahhh... there are so many. My first rap album was Kings of Rap – Fat Boys, Roxanne, UTFO, Rappin Duke was on there. The first song I ended up memorizing was “The Real Roxanne.” “I’m the real Roxanne and I’ll rock your world/ but you all stuck up, why you sayin’ that/’cuz I wouldn’t give a guy like you no…” I remember she said “I make you feel hotter than it is in Grenada”… my parents are Grenadian so that automatically stuck with me. It’s a small island so every time someone knows about it, it’s exciting.

HHC: When did you start getting involved into music?
I was in high school; probably around grade 9. Actually, it was probably a little earlier than that; I used to do little talent shows at my church; I guess grade 9 was when we really started getting together.

HHC: Did you start producing or rapping first?
I started rapping first; me and Marvel. He’s the guy that introduced me to Kardi back in the day. Marvel and I have a long history together. When I first met Kardi he was part of Troubleshooters. Then we formed Figures of Speech. We used to throw parties back in the day… Kardi was always recording though. For as long as I’ve known him, he was always in the studio.

HHC: When did you start getting into production?
I think it was when I was first introduced to the idea of sampling. I wanted to get in a studio and see if I could do it. I started making beats on the EPS16. Off course, as with most people who just start producing, the beats were super whack. Then there was this one beat I did over at Kid Kut’s (house} and everyone was feeling it. At that point I knew that I had a talent for it. I already had musical talents…

HHC: Was your family music oriented at all?
My mom sang in a choir and my dad used to play the guitar. My great uncle used to be part of a calypso band.

HHC: What other types of music do you listen to?
What types of music do I NOT listen to is the question. I listen to everything. Sometimes it’s the melody that catches me. Sometimes it’s the instrumentation that catches me. Music is music; it’s all different genres but at the end of the day, it all comes from the same place. It’s a matter of finding that connection.

HHC: What, in your opinion, makes a good song?
Many different things and a good hook is one of them. Sometimes it’s not what you say, but how you say it. Some people believe that there is a formula. There is some sort of a formula, but it’s all about that chemistry that you can’t necessarily put your finger on. That’s why you see some artists that are already made. You don’t have to do anything but put them in a studio, get them to do their song, let them do what they do. Then there are some artists that you have mold and guide; they want to zig, when zagging is what’s best for their career.

HHC: Is there anyone in particular that you think has a good formula for making songs?
T.I – I think he’s dope. Actually just because I heard the song the other day on Flow, Daetona (the Canadian artist) – “Dial Tone” – it’s a good track; straight fire. It’s definitely an inspirational song to me in terms of what the new crop is dealing with.

HHC: What do you listen for, when you check tracks coming from Canadian artists?
When I was coming up, my parents raised me with the philosophy that “to make it in a white man’s world, you have to be twice as good as what he does.” I adopt that philosophy when it comes to hip-hop in Canada. As a Canadian artist, you have to be twice as good as what’s happening in America, to make it on that level. Canadians have a ‘little brother’ complex – out of all the nations that hip-hop has touched; we’re the closest to the actual source, without being in America. Americans, being in love with themselves, find it a little hard to look at us. Basically, we walk like them, talk like them because we are so influenced by their culture – it’s hard to differentiate ourselves in terms of what we’re doing from what they’re doing because most of our influences come from America. You have to be twice as good; you have to have your own unique angle. That’s the most difficult thing to come up with because you have to be comfortable with who you are to be able to stand on your own creative merit. We definitely have an identity crisis when it comes to that.

HHC: I want to know about The Circle; who started it?
The circle was started by, Kardinall, Saukrates and Choclair… those are the point men. It was the coming together of Figures of Speech and Paranormal. Paranormal was Choclair’s crew, and Figures of Speech was our thing. There was YLook, Marvel, Lock Jaw, Tara Chase, Jully Black, myself, and Ro Dolla. We had the same interests, same musical connection and good friendship.

HHC: Do you see anyone doing it the way the Circle did when it got together?
Not in detail, but I definitely see people on that same idea.

HHC: “Easy To Slip” was your first single.
Yup. I did the whole thing; beats and vocals. I recorded it in my bedroom. In the beginning of the song I say “Ceiling productions!!”

HHC: That was featured on Rap Essentials 2001. How do you think it did as a single?
Based on the fact that it wasn’t on a major label I think it did pretty well. The song was very organic and people liked it, which is why it became a classic. Flow gave it a lot of love, and they still play it. I think it’s a timeless record in the sense that the issues I was speaking about back then are still prevalent today. Nothing has changed really; in a way it’s gotten worse.

HHC: You also worked with Choclair on his Ice Cold album, and on a lot of his other projects. Are you currently doing any work together?
He is actually working on a new project called ‘Flagship’, which is coming out sometime in 2007. Because time obligations have changed, I never got a chance to do as much work on it as I would have liked to. I did one track, Kardi did a joint and I think so did Sauks and Ro Dolla.

HHC: Can we expect an album from the Circle anytime soon?
A Circle album… I would love to see it. I would never rule it out, but it’s hard because what has to happen is for everyone to get their own footing, so that when it comes time to collaborate, it’s not like a competition of who is better. The Circle is an all-star team and it’s hard to round all those people up on one collaboration. They’re all very talented and creative individuals with their own ideas. The Circle will always be a part of my life; I have learned so much from being a part of that.

HHC: There is a Toronto sentiment that the Circle or even just the Black Jays and Kardi should be doing more to help other artists from Toronto to get up. Do you think you have a responsibility towards other talent in the city or is it every man for himself?
I have a responsibility to play my position as an artist to maintain the integrity that was passed on to me from artists before me in the music scene, and to pass that legacy on. As far as responsibility; I don’t owe anybody anything. I built my legacy for myself through learning and watching what other people did. Although, having said that, it doesn’t mean that I’m not looking to work with new artists. We tried and it didn’t work out.

HHC: Can you see a time where artists in Canada can live comfortably off of hip-hop?
1 or 2. I mean, there are people who have made a career off their music. You can look at Kemo or the Rascalz; they’re not rich, but it depends what success means to you. It depends on what you want to achieve.

HHC: I meant wealth wise; being able to live comfortably (well off) by just making music.
Yeah… 1 or 2.

HHC: How far do you think we are from that?
Who’s to say? It could happen tomorrow. I’m of the firm belief that K-os is about to have the biggest hit of his career with that “Sunday Morning” song.

HHC: Currently, you’re spending a lot of time in New York, working with Cipha Sounds.
We’re working on all kinds of projects. One of our main ones is this kid from the Bronx by the name of Daytona; a very talented kid. He has a single out now featuring Jim Jones called “ Homeboy What You Lookin’ At.” Our other big project is Nina Sky. We did 5 songs for their new album called The Musical. I don’t think people understand the music that these girls are coming with now. I’m really excited about the project. We’re also working with an artist by the name of Lil’ Eddie and also Thara, this girl from Jersey. Those are the in-house projects that are signed to Jack Move, Cipha Sounds’ company. We’re also doing work for Rick Ross’s crew – Carol City Cartel. We also did a joint with Lil’ Wayne for his new project as well as Elephant Man who’s signed to Bad Boy. Diddy and Busta jumped on the track as well.

HHC: How did you guys hook up?
It was more of a friendship; I did a freestyle for his show on HOT97 a few years ago. My manger had a good relationship with Ciph and it was all love. It’s always good when you have someone from another country tell you that they like your music. Especially because there is none of that regional stuff – I’m from the East side of Toronto, you’re from the West – type stuff. It’s a completely objective point of view. Anyways, we were cool. I did that freestyle and didn’t think anything of it. Later on he had a falling out with another producer he was working with, so he was looking for someone new. My manager, being the manager that he is, thought I’d be perfect for it. Cipha and I spoke for a bit, he came up here with Nina Sky for a show and we ended up talking about a lot of stuff. When I went to his house, in his basement, it was crazy. He had so much equipment; it looked as if he spent 15 hours a day in that place. We just connected and that relationship grew. We’re both artistically inclined in the sense that we both want to be involved in a project, not just sell beats.

HHC: Being a producer, naturally you get approached by a lot of artists. How do the approach and the music differ between upcoming artists in NY – considering you spend a lot of your time there – and artists in Toronto?
It’s different for them because even though there’s so many more of them, there’s a lot more outlets. The mixtape circuit is also more effective.

HHC: The Canadian circuit is definitely less effective.
It’s interesting to hear artists talk about how they sold 10,000 mixtapes on the streets. If someone sold 10,000 mixtapes in Toronto, they should get a deal. I say that with full confidence. If I worked at a label and saw that, I’d give them a deal. There are kids, who say they sell 10,000 units, but then you know the spot where they got their CD’s duplicated, and you find out they only made like 500-600 copies. But hey, if you sell 10,000, that’s great.

HHC: There’s this notion associated with “Canadian rap” where people are saying that they can tell Canadian rappers apart from ones in the States. Can you tell the difference?
Not as much as I used to be able to, and that’s due to the fact that we are so influenced, especially with the arrival of BET in Canada, it’s hard to find your voice unless you take a step back and listen to your creative heart. I think it’s difficult for a lot of artists to do that, when they’re so entrenched into BET. I always say to myself – once the industry got demystified and artists started talking in terms of units and who went platinum and who went gold and who’s doing what – it diluted the music because it stopped being about making original and creative music. Instead people started focusing on making the most successful song that they can, by following the formula that they hear on the radio. There was a point in time where I got caught up in it, and being in the position that I’m in I had to be aware of it and filter it through. At the end of the day, creativity is really important.

HHC: Considering you browse the HipHopCanada community on a regular basis, what are some of the most common misconceptions people have about you and Kardinal or the Black Jays as a group?
That we’re trying to be street dudes. I remember there was a time when someone posted something about “Oh they’re trying to get street credibility; that’s why they tried to sign Mayhem.” That’s a ridiculous statement. I’m not a street dude. I’m about music first… about hip-hop and we’re about making music.

HHC: Every team has a leader or front man and Kardinal is the obvious front man of the Black Jays. Do you ever feel like he overshadows you as an artist or as a person?
The thing about it is that other people’s perception is going to be their reality. When you are comfortable and are around people that you really and truly trust, you’re not living a lifestyle where you have to look sideways at your friend. I don’t know Kardi as Kardinal; I know him as Jason. We grew up together. Within the music industry it could be perceived as “Solitair, Kardi’s partner.” If you speak to him and see how we deal with our music, it’s very much a partnership. He is a very talented artist, businessman, and driven individual; so for all intent and purposes he is the leader of the Black Jays. Artistically, we have just as much respect for each other; we have two different styles. We formed the Black Jays together and we always wanted to create a family. We wanted a team that was willing to be there in the trenches; and that’s what we are. We speak reality same way an artist from the street speaks his reality; it doesn’t make anyone’s perspective any less valid.

HHC: Anything you’d like to say regarding claims like “Kardi doesn’t represent Toronto right?
Nothing, I have nothing to say. What do you say to a ridiculous statement like that? If you want to say that he’s not representing what you’re doing, I’m perfectly okay with that. You have to represent yourself. I’m sure if you were to ask Kardi himself, he wouldn’t say “I represent everything that goes on in Toronto.” He would say “I represent the Black Jays and I represent where I come from, Toronto.” You can either like his music or not. That’s the beauty of having an opinion. I remember reading something Jay-Z said about the whole Jim Jones thing… about there being a board where you’d have to get approved to be able to make certain claims and comments. I’m an agreement with that to a large extent. You have to look at who is making the critiques. If Maestro, Michie Mee, Thrust, Rumble & Strong came out… if the elders came out… and said, “Yo, Kardi is not doing a good job representing the foundation we built.” That’s something you take to heart. You value that person’s opinion because they have done something, accomplished something that you respect. You can’t react to every kid on the block.

HHC: Do you think the artists now are doing a good job continuing that same legacy and foundation that those same artists you mention built? Can we hold that weight East to West?
Not all of them. There are a few though. There’s no balance in the music. It’s funny because when we were coming out the hustlers and drug dealers used to laugh at us rapping. Now there’s this whole “I’m not a rapper, just a hustler that can rap good” ideology. So you have all these guys who are not really rappers, but they’re hustlers living the lifestyle, so now they rap. To an extent, Jay-Z is to blame for that because he is one of the first people that said that. But the thing is, Jay-Z really happens to rap good. He really gets down and he’s really about the culture. That philosophy is diluting the quality of hip hop. Just because you live that lifestyle, doesn’t mean that you can or should be a rapper.

HHC: What do you think rappers are lacking?
I think they’re lacking the humbleness and the ability to learn. Production has come a long way though. I think Boi-1da has some dope shit; Tone Mason has been doing their shit. Musically, I think we’re evolving; the artists are just stuck in a rut. It’s their own rut really though.

HHC: Since we’ve covered almost everything that has to do with music and rappers in Canada, I want to now ask you about your main project. You’re shooting a video this month for “Make a Movie.” What’s the concept behind it?
Inkeeping with all the ‘home movies’ that celebrities are putting out… just kidding [Laughing]. Well the song is very sensual. It’s about enjoying the company of a woman so much that you wish you could capture it to relive over and over. I don’t want to give away too much about the treatment, but basically it’s about making a movie with a girl. It’s really a fun song for the clubs and the radio. A lot of women have been giving me crazy feedback about it debuted. Many have actually inquired about making a movie with me, so don’t be surprised if you find one popping up on the net somewhere! Just kidding… maybe.

HHC: Who’s directing it?
I’m co-directing it with Davin Black from 235 Films. I came to him with the treatment I had in mind and he enhanced it and there you have it. I’ve always felt that I have a great eye for visuals, so I’m really excited about co-directing with Davin. It’s my first foray into that realm of the entertainment world and I’m looking forward to it!

HHC: When is the single coming out?
I’ve been leaking it out to club DJs for the past couple weeks so chances are by the time this interview is up it will be released across the country. DJs, if you don’t have it, hit me up!

HHC: So now you are working on a mixtape/album?
I was working on a mixtape, but it got pushed to the side because I really wanted to wrap up my album. And it’s finally done! Finally! It’s called MAKE A MOVIE: Fire & Ice and I’m in the process of negotiating licensing & distribution for it.

HHC: What’s the main idea behind it?
Overall, I just really wanted to create an album that reflects my vibe, my influences and my ability as an artist. I produced the entire album myself except for 2 tracks that were produced by Kardinal. I have so many styles as a producer, and the beats range from club to some straight boom bap break beats over loops and melodic synthesizers. As for the content, I tried to create a good feeling, good vibe throughout (the song). I’ve been going through quite a rollercoaster ride with women in my life, so that’s reflected on a few songs. I also talk about the state of hip-hop and its overall tendency to gravitate towards damaging images of black and other marginalized people. One of the main problems I have with street oriented rappers is their failure to at least try to take a different approach to their messages… which is why I have a great respect for artists like Saigon who have the courage to say that the streets are not the only answer to the problems that young black men are facing. At the same time though, I was careful not to be too preachy about that issue on MAKE A MOVIE because my main objective was to create an album that was as entertaining as it was informative.

HHC: Any guest appearances?
I kept those to a minimum, I have Nina Sky on a couple of songs, The Kid Daytona, and I have him on this crazy sexy song called “Fire & Ice”… for the ladies. That song is quite a take off from what people expect from me musically, and I’m proud of that. I really want to push the envelope of what people expect from hip-hop exactly how Andre3000 did. My new tag phrase is, ‘I’m a one of one, the one and only! They ain’t got a category for me!’ I refused to be boxed in by one particular style or genre. I’ve got a few other guests but I’d like them to be a surprise.

HHC: When do you plan on dropping it?
Look for it to be out this fall, God willing.

HHC: Anything else you’re working on you’d like to talk about?
Myself, Kardi and the rest of Black Jays International are really on a mission to raise the profile of our worldwide brand… bringing our good vibes and good music to the culture of hip-hop and music in general. We’ve created quite a network of artists, producers, and industry power players, and now it’s all about executing on our plan. Most people don’t understand how much planning goes into creating something on an International scale. They’re mostly caught up in appearances, so if they don’t see you around the way, they assume you’re not up to anything. But I quite enjoy being the underdog. Most people root for the underdog anyway. Other than that, we move forward in silence.

HHC: Being that you were the guest editor of this month’s update, what was one of the most difficult things in the process?
Coordinating everything between the artists, writers, you and Jesse. But you guys are diligent workers like me, so that made it more than manageable… and Lola talking at the speed of sound. [Laughing]

HHC: What did you enjoy most?
Our interview, of course! And you trying to drag me to the mall. Not happening.

HHC: You also picked the Choice Cuts for this update. What’s your favorite song on there and why?
I’d have to say “Breath Control”. I think people underestimate me as a lyricist. I had a lot to say on that song as well, so I feel like I killed 2 birds with one song.

HHC: Well I’ve come to the end of my interview. Thank you for all the great work you’ve put into this update.
You are most welcome! It’s been my pleasure.

Editor’s note: You can check out Solitair at http://www.myspace.com/blackjayssolitair and http://www.youtube.com/solitairmusic.

  

Lola Plaku http://www.myspace.com/lola00 http://www.iluvlola.net Lola Plaku is a senior writer/journalist for HipHopCanada.com. She has been writing for the company since early 2005. Lola also work does PR work for several clients, keeping a strong focus on their press material and presentation. In addition to writing for HipHopCanada.com, Lola also writes for Swagg News, and has her own column called Ask Lola, where people write her in for advice on different areas of life and the entertainment industry. Lola is the Toronto Representative for a DVD based out of NY by the name of Epydemik, where she provides content from the industry in Toronto.