In 2004-2005, several strings of meetings (including rehearsals, concerts, and studio sessions) were set up by Stade (Pierre Aud\u00e9tat, Christophe Calpini) and organised by Vincent Favrat (artistic supervision) with French trumpet player Erik Truffaz, New York-based free guitarist Elliott Sharp, and American-Swiss harmonica player Gr\u00e9goire Maret. Stade later made slight edits to these recordings, without adding any overdubs. The result is \u2018Freewheel\u2019, a brilliant blend of Christophe Calpini\u2019s live drumming and Pierre Aud\u00e9tat\u2019s live samples and concrete sounds, a set-up that allows Stade to improvise like a conventional rhythm section with electronic devices. This brand-new electroacoustic composite is resolutely jazz, yet flirts with the syncopated vocabulary of hip-hop and the beats of electronica, all that combined to the acoustic input of the guest musicians. The heir of Miles Davis\u2019 electric experiments, Stade creates the resolutely electronic side of improvised jazz music.<\/p>\n
Through time, some projects get stronger than others, thanks to the musical affinities in play and the extra engagement involved. the thinking process behind Stade\u2019s first album \u2018Tactile\u2019 developed and gave birth to \u2018Tactile Session\u2019 released on the Berlin electroclash label Kitty-Yo. the work started with Pascal Auberson developed in the studio to produce \u2018Kelom\u00e8s\u2019 (2009 Icare \u2013 Disques Office). Stade\u2019s numerous collaborations with London-based vocalist Infinite Livez led, in 2007\/2008\/2009, to the release of three Infinite Lives vs. Stade albums: \u2018Art Brut Fe De Yoot\u2019 and \u2018Morgan Freeman\u2019s Psychedelic Semen\u2019 on the English label Big Dada \u2013 Ninja Tune, and \u2018Live At La Guinguette\u2019 on the Swiss label Absinthe Music. The duo\u2019s first recordings with jazz soloists have resulted in \u2018Freewheel\u2019 released by Sub Rosa in 2009.<\/p>\n
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