In 2004-2005, several strings of meetings (including rehearsals, concerts, and studio sessions) were set up by Stade (Pierre Audétat, 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 Grégoire Maret. Stade later made slight edits to these recordings, without adding any overdubs. The result is ‘Freewheel’, a brilliant blend of Christophe Calpini’s live drumming and Pierre Audétat’s 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’ electric experiments, Stade creates the resolutely electronic side of improvised jazz music.
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’s first album ‘Tactile’ developed and gave birth to ‘Tactile Session’ released on the Berlin electroclash label Kitty-Yo. the work started with Pascal Auberson developed in the studio to produce ‘Kelomès’ (2009 Icare – Disques Office). Stade’s numerous collaborations with London-based vocalist Infinite Livez led, in 2007/2008/2009, to the release of three Infinite Lives vs. Stade albums: ‘Art Brut Fe De Yoot’ and ‘Morgan Freeman’s Psychedelic Semen’ on the English label Big Dada – Ninja Tune, and ‘Live At La Guinguette’ on the Swiss label Absinthe Music. The duo’s first recordings with jazz soloists have resulted in ‘Freewheel’ released by Sub Rosa in 2009.