past news


here are a few new experiments in cymbal making courtesy of amanda.

they were new zildjian zht's - a 14" crash and an 18" crash/ride. they both sounded horrid. after all the work (3 sessions), they sound marginally darker, a bit warmer and arguably less harsh. but still bad. the metal was soft and easy to work with, but the cymbals were so incredibly thin that i was reluctant to dig in.
more soon!


joe harriott's record abstract from 1962 has been in heavy rotation at my house lately. i have been curious to learn more about the two drummers on this record - bobby orr and phil seamen. after reading all i could on the internet, i decided to transcribe a few solos from this record to get to know them better. the first transcription is a phil seamen solo from the tune, tonal:

(note - i posted a version where the downbeat begins two beats early. this is a corrected transcription.

i just put a few of my first solo recordings that were released on molk records in 2005/2006 on bandcamp. they were released in extraordinarily short runs, so it feels good to get them back out there.

click the image below to link to the music:

i am very excited about my upcoming european tour with the scorch trio with special guest, mars williams!

here are the dates:

may 20 @ jazz a cerkno in cerkno, slovenia 11:30pm
may 22 @ jazzkeller in hofheim, germany
may 23 @ cafe mono in oslo, norway
may 25 @ nattjazz festival in bergen, norway
may 27 @ nexus in saalfelden, austria

it's going to be a blow out!


i'm getting ready to go on a duo tour with my fire-breathing friend, dave rempis. we're supporting our duo record, cyrillic on 482 records that came out in 2009. here's the schedule:

mar 26-apr 9 rempis/rosaly duo european tour
mar 26 brest, france @ penn-ar-jazz
mar 27 paris, france @ atelier polonceau (47-49 rue polonceau, 75018 paris)
mar 28 amsterdam, netherlands @ OT301
mar 29 cologne, germany @ the loft
mar 30 heidelberg, germany @ jazzclub heidelberg
mar 31 schorndorf, germany @ club manufaktur
apr 1 graz, austria @ stockwerk
apr 2 ottensheim, austria @ koma
apr 5 vienna, austria @ the blue tomato
apr 6 krakow, poland @ alchemia
apr 7 wroclaw, poland @ OPT
apr 8 warsaw, poland @ cafe kulturalna
apr 9 poznan, poland @ dragon club

quin kirshner took this cool picture of nels cline, dave rempis, devin hoff and myself rocking it at the hideout:
i can tell my kids one day, " this is a snapshot from the night i got my skull handed to me."
here's a transcription of a super interesting solo played by gene stone on the song "red's mood" on the prince lasha/sonny simmons record from 1962,
the cry, on contemporary records.

2/21/11hey all - i just completed another jimmy cobb transcription.
this one was taken from wayne shorter's record, introducing wayne shorter on vee-jay 3006, recorded in 1959:

2/5/11lyn horton of jazztimes wrote a very flattering profile about... me!?
i am honored by her interpretation of our interview and by my friend's/collegue's kind words. thank you, guys.

click here to link to the article.
12/8/10it was about 5 years ago larry kart suggested i listen to teddy wilson's the impeccable mr. wilson. i was working at the jazz record mart in downtown chicago. larry would often stop by to hang out, dig deep into the stock, tell stories, but mainly it seemed like he came to learn more about this music he is so in love with. he and i were discussing brush playing, and mr. kart lit up when he spoke of this record.
larry was absolutely right. it was exciting to realize jo jones plays only a snare drum and hi hat throughout the session. even with this abbreviated set-up, his mastery of lyricism and melody is beyond clear when you listen to him play: legato, staccato, accents, placement of the stroke and other nuances shade his lines beautifully. i couldn't notate the more subtle details. but i really enjoyed taking the time to hear his trading 4's over and over so i could get a framework down on paper from this rendition of 'i want to be happy':

i hope to do more transcribing of jo jones' playing on this record, so keep an eye out!12/6/10a bunch of people asked me about the frank butler transcriptions i did last week. There is a bit of confusion: frank butler was in miles' transitional quintet for a short period (1963-1964) starting when miles booked some engagements on the west coast. paul chambers suggested he try a young ron carter, coltrane suggested george coleman (who suggested miles try a couple memphis dudes for the gig - frank strozier and harold mabern... miles tried them out a while, but i guess they didn't last long... victor feldman took mabern's spot and strozier's was eliminated).
a few days before miles' 2 week stint at the renaissance club in l.a, miles recorded a session with this group (miles, victor feldman, george coleman, ron carter and frank butler). this session is where i snagged these transcriptions. they were not available until 2004 when columbia records released the 6 cd box set seven steps: the complete comumbia recordings of mles davis 1963-1964.

so... people were asking me about the tony williams solo on what might be considered the 'classic' version of the tune: the one recorded in nyc with 17 year old tony williams. it's interesting to hear the new language mr. williams is using on this recording. it's such a drastic change from the fluid bebop language mr. butler used during the l.a. sessions.
in addition the classic version, i transcribed the rehearsal take of the nyc recording of 7 steps (again, not available until 2004) and i included the super trippy breaks he played on the head in:

here's tony's classic solo:

here are the breaks from the beginning of the rehearsal take -trippy, right?
and here is the rehearsal take solo:
freaky new language developing here.

i cleaned up another transcription i did a while back. it's brian blade's opening 8 bars to chris potter's album ,gratitude, from 2001. as always, click on the image below for a larger version. also, comments and suggestions are welcome.


here's another frank butler solo transcribed from the same session (this time it's take 3 of 'seven steps to heaven'). as always, please feel free to contact me about any mistakes, notation issues, etc.

click the image below for a larger version.

i just transcribed this frank butler solo from miles davis' seven steps box set of of the tune 'seven steps to heaven', take 5 (not the take used on the studio album).
you see any mistakes or revisions that need to be made, email me! let's chat.
click the image below for a larger version.

here is a recent recording of my piece, musica ficta, written for the physics for listeners composers concert hosted by homeroom chicago. thanks to aaron rodgers for his dedication and help to make this concert possible!

jill kaeding - cello
alex rowney - piano
ellen mcsweeney - violin
james falzone - clarinet
frank rosaly - percussion
keefe jackson - contrabass clarinet
recorded by kyle vetger
mastered by gerard barreto

here are the program notes for musica ficta:

In this simple work, I have attempted to create a perceptual dichotomy for the listener. There are two distinct pieces being performed simultaneously:

1) A 2-part counterpoint between the strings inspired by the compositional style of Estonian composer Arvo Pärt, called Tintinnabuli. With cantus firmus (violin) moving almost always diatonically and the titinnabular voice (cello) moves within an arpeggiated “triad” (in this case, I use clusters of 3 diatonic notes that are a major and minor second apart rather than Pärt’s diatonic triad), the music moves similarly to early chant music.
2) Spread throughout the room, piano, clarinet, contra bass-clarinet and percussion will be interpreting a graphic score to be played along side the counterpoint. The graphic score infers to the improvisers when to play, density of musical gesture(s), volume, and implies drawing from two sonic banks from which to improvise - using “sounds” or melodic/rhythmic figures, sometimes a mixture of both.
"Physics for Listeners was a concert series produced by Homeroom on October 19th and 20th, 2010 at the Viaduct theater in Chicago. The goal of the concert was to bring composers and musicians from different disciplines and traditions into a musical dialogue. With the help of Paul Giallorenzo and Seth Boustead, we were able to draw from the city’s vital jazz/improvised and contemporary music communities to find composers who approached the project from a variety of angles, using a variety of techniques. We are very pleased to have a program that we think reflects, in part, the depth and range of creative music being composed and performed in Chicago."

Frank Rosaly by Experimental Sound Studio
this is a tiny excerpt from my solo birthday show at experimental sound studio on may 30, 2010.

I'm excited to announce that on Monday 10/25 two new releases will be available for consumption!
the first is scorch trio's new record, melaza on rune grammafon
the other is a limited edition chicago luzern exchange cdr on molk records:
just click on the links to find out more. thanks!

michael paiste!

i'm not the type of person that talks drum gear often. my bass drum is an 18" ludwig vistalite junker floor tom i had my friend and colleague jon brumit (a fabulously creative musician, artist, thinker) chop it up with a circular saw (12"x18!). most of my favorite cymbals are the ones that have some cracks in them. i don't really change my drum heads often. my bass drum pedal of choice is a cheap tama thing. i still call it a drum set, not a kit. i call my rack tom a ride tom. you know, i like old drums.
on the other hand, there are a few obsessed souls out there actually doing the right thing when it comes to making new musical instruments. recently, i got a hold of some that deserve acknowledgment.

michael paiste of paiste cymbal/gongs fame broke away from the family business to focus on making custom cymbals. he is also an expert at taking old cymbals and changing their sonic qualities: removing particular overtones, brightening or darkening a cymbals center, repairing cracked cymbals, etc.
having cut his teeth first in the lathing department at paiste for many years, then hand-hammering for many more years, and finally product development for many more years still, he decided to leave the company to focus on custom cymbal making. i visited his studio in luzern, switzerland fall and scored a pair of hi hats that i am actually excited about. his cymbals are a little expensive for my taste, however, they are seriously custom cymbals from conception to completion. it clearly takes loads of passion, skill and patience - michael paiste exhibits each of these attributes in excess. he is a real artist, and he is truly obsessed with the process of making a wonderful cymbal.
dare i compare michael paiste to the likes of roberto spizzichino? i do, though the scope of michael's work is broader. from wonderful jazz ride cymbals and hi hats,
entire families of cymbals more akin to popular music, to some truly freaky, experimental sounds, michael has a broad understanding of cymbals for specific applications. his wife also does some interesting engraving on some of his cymbals - you can see a bit of her work on my hi hats following the link below:
check out some pictures from my visit to michael paiste's workshop and a few shots of my new hi hats here.

just got asked to play with rhys chatham trumpet trio with david daniell at LOLA festival sept 18! click here for details
i've also recently been asked to compose and perform for the program physics for listeners: a composers concertwhich takes place on oct 19th and 20th at the viaduct theatre in chicago!
click here for more info

i'll be pairing up with jeff parker to perform live improvisations to the work of bruce bickford at the gene siskel film center on october 7th in chicago
click here for more
here's another review of my solo record, milkwork, from all about jazz:
click on the image below for a larger image

duo with david daniell ... jim becker and joe adamik also rock it duo!

here's a great review from illinois entertainer, the least appropriate rag to review an improvised drumming record. i love it.

Looking for the perfect gift for the drummer-geek/music-theory-buff in your life? Then look no further than
Milkwork, the solo drumming project by Chicago drummer/composer Frank Rosaly. Not only is the entire album composed solely of percussion (both acoustic and electronic), but most of it is completely improvised by Rosaly. There really is no social setting appropriate for ever playing this album, but it might serve to help one study for a music-theory class, or just to satisfy some odd curiosities. (
– Carter Moss

i ran into peter margasak at the premier of the documentary, scrappers, that i scored. he wrote a review of the film:
peter margasak's post-no-bills
Yesterday afternoon I caught the world premiere of Scrappers, a locally made documentary about Chicago scrap-metal scavengers that screened at the Gene Siskel Film Center as part of the Chicago Underground Film Festival. I direct you to Cliff Doerksen’s review in this week’s paper; I also enjoyed the film quite a bit, though I found it a bit too long. I especially liked the gorgeous score by percussionist Frank Rosaly, which is beautifully integrated into the sound mix. The music includes experimental solo percussion and electronics—occasionally blended with clanging, metallic sounds recorded at the scrap yards where the filmmakers did some of their shooting—as well as ruminative, lyrical quintet pieces performed by Rosaly with vibist Jason Adasiewicz, clarinetists Keefe Jackson and Jason Stein, and bassist Jason Roebke. Scrappers will screen again a 8 PM this Thursday at the Siskel.
— Peter Margasak

gaper's block also recommended the screening!

In 2008, we featured the production of Scrappers, a feature-length documentary film about laborers who collect scrap metal on the streets of Chicago. Two years later, co-directors Brian Ashby, Ben Kolak and Courtney Prokopas have wrapped up production with editor Aaron Wickenden and composer Frank Rosaly and are premiering the film at the Chicago Underground Film Festival on Sunday, June 27 at 4:45pm. The filmmakers will be present for a Q & A following the Sunday screening. Highly recommended.
Information about other screenings and events are available on the film's blog.
David Schalliol6/26/10

here's a little review i found from kfjc 89.7 by thurston hunger

Rosaly, Frank - “Milkwork” - [Contraphonic Music Ltd.]

Chicago drummer crosses his sticks with wires. For a solo
release that is sometimes a duet versus himself. It’s
Rosaly’s drumming that generally wins out, he’s just got a
lot more precision with percussion. “Adolescents” is a nice
example of his battery skill, a pure drum solo that has wide
receiver jukes over a rollicking rhythm. That being said, his
piece “Burnshine” really works well delivering control more in
conjunction with both inputs. On a lot of tracks, either the
drums or synth/pedal/etc work reminds me of quick bursts of
rain. “He’s Junkin’” uses that flash flood style with volume
washouts reminding me of Supersilent in a very good way.
Some of the found or otherwise tweaked percussion is quite
nice, maniac metronome, toy gamelan, tuned drum drama, bicycle
spokes spooked. “Zoquete” offers a too short harmonium hymn
No wrist for the wicked…

tres honchos - trust.
yesterday was extremely exciting for me, as i had the fortune to record with jacob wick and marc riordan at the strobe studio in chicago.
improvising in the studio has a dear place in my heart, namely the part where my dreams typically go to die. it is often so difficult for musicians to make music in the studio that is, in my estimation, supposed to be performed in a live setting for a live audience. when my audience is a bunch of fancy sennheiser mics and an engineer, the dynamic of the performance can feel isolated and self-motivated. i feel an obligation to deliver something that doesn't happen naturally in an isolation booth. this self induced feeling of forced output leads to synthetic choice making, jump-to-conclusion problem solving, and hyper-critical inner-dialogue that stifles my means to express freely, to quiet my ego, to make music.
perhaps it was the late night tacos before the session.
naw. it was marc and jacob... the entire recording session felt completely unbiased, open and free. the deceptive oppression of the recording studio had no place in my mind. it was merely a location to play with extraordinary musicians. they trusted me, i trusted them.
i was consistently reminded of bukowski's words -

"as the spirit wanes, the form appears"

i have updated my upcoming performances page. stay informed.
a lot of exciting things to report. one of which is a recent review of milkwork from lyn horton at jazztimes:

"Thirty-six year old drummer Frank Rosaly lives in Chicago. He has worked with musicians from Chicago, New York, Europe and has his own quintet, Viscous. His physically gorgeous white solo LP Milkwork, from 2009, grew out of a renewed curiosity in the music of late 20th century classical composers while he was composing a group piece in which he was experimenting with contact microphones on cymbals. Not really turning on to an electronic sound until he discovered how he could “thoughtfully” integrate it into his own improvisations, he kept his instrumentation simple, maximizing the effects of what he could produce from microphones, oscillators and pedals.
The music in Milkwork addresses a simplicity that proves that playing the drums is not just about rhythm. It is about the topography of the trip the drummer takes…about how tonality changes in the touch of the skins. It is about how the drummer finds a tempo and transcends it, skating through a musical line, relying on his intuition to make one move after the other from traditional drumming to percussive drumming and back again. Rosaly’s pristine phrasing not only coalesces a variety of sounds but also disperses them.
When he flips the electronic switch, Rosaly changes the form of communication. What sounds like an accordion introduces another set of voices. Strange electronic sounds and often weighty action on the drums punctuate each other. The music no longer draws a palpable topographic map; the music paints imaginative pictures with multiple colors and intensities. Rosaly exercises his intuition accurately to mold the peculiarities of his homegrown electronic vocabulary to populate this solo recording event. The record closes with an even mix of acoustics and electronics, as if to count off the minutes to silence, where eventually electronic-ity sours and the acoustic drums re-emerge in solitude."- Lyn Horton
the other stuff i'll get to soon! so busy!!

here's a new review of my solo record, Milkwork, from Signal to Noise magazine:

"The day that Frank Rosaly began recording Milkwork, he woke late, got stuck in traffic, and tried to rescue a kitten that got thrown out a car window and took refuge in his engine only to learn that the no-kill shelter sends kitties to the pound. Nope, not a good day- and you can really hear Rosaly blowing off some steam with the heavy wallop you hear "NY Prices!"Quite different are the focused, carefully modulated cymbal figures that follow on "Calcetines," and the confused-clock rhythmic variations and elusive electronic washes that punctuate "Burnshine." This may be a solo percussion record, but not one of drum solos. The sound world he works in lies closer to This Heat or Xenakis than the jazz and improv he practices with Rolldown, Valentine Trio, or pianist Paul Giallorenzo's group. And it's testament to his grace under pressure that he executes this music with as much clarity and precision as force. A feline aside: my cat is usually completely uncurious about music, but when I spun Milkwork's milky white vinyl prior to writing this review, he stuck his head into the stereo cabinet for the first time ever." -Bill Meyer

here's that remix of steve dawson's beautiful song, mastodons, i did for diane christiansen's installation currently on display at the hyde park arts center:

my friends of the protest series at the heaven gallery in chicago are celebrating their historic 5 year anniversary.
click here for a review of this weekends events on peter margasak's blog, post no bills.
also, i got to check out eve fineman and damon locks' new work being displayed at heaven. i missed the opening last friday - dan bitney and johnny herndon were spinning at the event. i'm double sad i missed it. anyway, the works are absolutely beautiful. highly recommended.

after having written and recorded the score for the documentary scrappers this past summer, i walked away from the project extremely excited about the vibe of the music and the group of musicians who performed it. the material was fairly straight-forward, but it seemed like there were ways of opening the material for a more exploring context. i have reorganized the music over the last several months and have performed it a bit under the wrongest name ever, ox bow. so several emails from an angry band (oxbow) later, we have a new name and a new lease on life: enter cicada music. we are performing on thursday, march 18th at elastic in chicago! the band features clarinetist james falzone, bass clarintetist jason stein, contra bass clarinetist keefe jackson, vibraphonist jason adaseiwicz and bassist jason roebke.
come check it out!

in other news, artist diane christiansen approached me last year about remixing some music for her upcoming installation with shoshanna utchenik at the hyde park art center. the music was to pair up with an animation of hers. after a few months of fumbling, i was finally able to get it together - it's a s remix of steve dawson's fantastic song, mastodons.(this is the original song, not the remix... for that you have to go to the hyde park art center and hear it yourself!)
the installation is now up and it looks fantastic!
check it out here:

record release party was a smashing good time. thanks so much to everybody that came out. and thanks to pillars and tongues and toby summerfield for rocking it so extraordinarily.

DAMN! my solo record, milkwork is officially in stores today!
if you're in chicago, please stop by the jazz record mart,
dusty groove, death or glory, reckless, lauries' planet of sound to pick up a copy. it is also available online via contraphonic and itunes, as well as tower, amazon and emusic.

did i mention you can pre-order my new LP, milkwork, coming out 1/12/09 at ? you can hear some of it if you click on the link.
here is the link again:
and did i mention my LP release party in association with contraphonic's winter of love musical happening at the hideout on 1/16/09 in chicago. you really oughta go.
did you say you wanted to hear a track?
hit this link to my piece, adolescents.

just got back from new york where i recorded new music with the scorch trio (with raoul bjorkenheim and ingebrigt haker flaten). we had an amazing time playing together, playing strong happen from the get go... it's always interesting to play with a new group with a bunch of microphones around you recording your every move.
i feel like we got an excellent recording out of the 2 days we spend in session with bob musso (he's a super bad-ass). not only does bob have it completely together behind the console, but he knows a bunch of drummer jokes i've never heard before.


daniel levin trio mini tour!

tuesday dec 15 - 8pm douglass street music collective, 295 douglass street, brooklyn

wed dec 16 - 8pm downtown music gallery 13 monroe st
thur dec 17 - 8pm philadelphia performance for ars nova
friday dec 18 - firehouse 12 @ 45 crown st in new haven, ct

i've been in nyc the last week performing with the daniel levin trio (levin on cello, ingebrigt haker flaten on bass and myself on drums) in the northeast, including brooklyn, nyc and philly thus far... tonight we are playing at firehouse 12 in new haven, ct.. it has been a great experience playing with such articulate, thoughtful musicians. they have kept me on my toes the entire time, feeling out new options and thinking about my approach to playing music. as with most improvised music, making choices, listening to your fellow musicians, along side what you hear in your head, then blending the two while simultaneously trying to anticipate where the music is headed takes an extraordinary amount of energy. it's a particularly interesting when you are playing in a new group. what a fascinating process!
tomorrow i begin tearing into more new music with the scorch trio (raoul bjorkenheim on guitar, ingebrigt haker flaten on bass, myself on drums). we're recording for the next few days. i've been listening to the scorch trio for years, and now i have the opportunity to play with them. it's an exciting proposition.

dave rempis/frank rosaly duo tour!
dave and i played a super fun show at the hungry brain in chicago on sunday in celebration of our new release on 482 music - cyrillic.
we headed out of chicago yesterday and just landed in buffalo, ny where we are set to play at the hallwalls contemporary arts center.
we're off to rochester tomorrow...
here's the list of dates and venues we'll be hitting on our tour:

29 NOV :: Chicago, IL | The Hungry Brain01 DEC :: Buffalo, NY | Hallwalls Contemporary Arts Center
02 DEC :: Rochester, NY | Bop Shop Records03 DEC :: Montreal, QC | Sala Rossa05 DEC :: Middlebury, VT | 51 Main (workshop and concert)
06 DEC :: Cambridge, MA | The Lily Pad (w/ Pandelis Karayorgis)
07 DEC :: Providence, RI | The Gordon School (private workshop)
07 DEC :: Philadelphia, PA | International House09 DEC :: Columbia, SC | 701 Center for Contemporary Art10 DEC :: Asheville, NC | Bobo Gallery11 DEC :: Crestview Hills, KY | Thomas More College12 DEC :: Lexington, KY | Al’s

save the date!
the official record release party date for milkwork has been announced.
on 1/16/2010 at 9pm, contraphonic, inc. is holding it's annual winter of love 2010 @ the hideout in chicago.
pillars and tongues and the toby summerfield ensemble will be at hand to celebrate with me.

a little pre-holiday music for you. i've been doing a lot of listening and studying of xenakis recently. after spotting this excellent performance of his solo percussion piece, psappha, by percussionist steven schick on you tube, i decided to purchase a number of his scores to further confuse myself with his meticulous process.

jeff parker just sent a link to his friends on facebook about billy higgins:
the interview is an excellent representation of his nature as a human being, his breadth of knowledge and wisdom, and his genuine love for the music he helped define and defy.
i am very pleased to mention that my upcoming solo performance, along side the debut of my new group, OXBOW, was written about in this week's chicago reader by mr. peter margasak.
here is the link.
i hope you can make it!
october 30th @
the hideout (chicago, il)
1354 w. wabansia
10pm $7

i just finished recording, sequencing, mixing and mastering a new record of my solo project, milkwork. i am extremely excited about the way it sounds. chicago's very own contraphonic records is going to be putting it out this fall, with a release date set for september 29th, just in time for my west coast solo tour.
oh yeah - my solo tour is looking something like this:

sept 30 wed. chicago, il
@ the hideout (along side my group, OXBOW with jason stein, james falzone, keefe jackson, jason adasiewicz and jason roebke)
oct 1 thurs. lebanon, il
@ mckendree university workshop and performance (afternoon)
oct 1 thurs. st. louis, mo
@ lemp arts (pm)
oct 3 sat. new orleans, la
@ allways lounge with an opening set by hellen gillet, me second, third set is the special all-libra cast: rob cambre, jeff albert, bill hunsinger and hellen gillet!
oct 4 sun. houston, tx
with hosts they, who sound @ the avant garden
oct 5 mon. austin, tx
@ the church of the friendly ghost
oct 7 wed. santa fe, nm
@ high mayhem
oct 8 thurs. flagstaff, az
@ the coconino center for the arts (eveningtime)
oct 9 fri. flagstaff, az
@ northern arizona university - workshop
oct 10 sat. phoenix, az
@ modified arts
oct 11 sun. san diego, ca
@ other ideas at kava gallery presented by trummerflora with percussionist nathan hubbard

oct 13 tues. santa barbara, ca
12:20-2pm @ UCSB lecture and performance in the college of creative studies
then an improvisation workshop
(4-6pm) with the UCSB jazz ensemble
oct13 tues. santa barbara, ca
@ muddy waters cafe (evening performance)
oct 15 thurs. san francisco, ca

@ bluesix with aram shelton and friends

here it is - the final product!

the keefe jackson/frank rosaly 7" on my very own label, molk records! this 45rpm record is pressed on white vinyl and the covers are hand stamped and numbered by yours truly.
as you may or may not know, molk records is a shoestring operation. i don't have a whole lot of distribution as of yet. if you are interested in picking up a copy, you can order one through there you can purchase a physical copy of the record, or download an mp3 version. if you live in chicago, you can pick up a copy at the jazz record mart.

duo record woes/whoas!
the 500 keefe jackson/frank rosaly duo 7" lay in piles at my house, sans record covers.
the reason: UPS is the worst. ever.
i am praying to god that the covers come today so that i can get busy stamping them for mass consumption at the pitchfork music festival where they will be available at the contraphonic table - prior to the
the official release of the record, i might add.
be the first! stop buy. oops. stop by.

the official release date is tuesday, july 21st!

on another front - i just completed a 2 day stretch recording solo at strobe studio (thanks jamie!).
the first day started off terribly - i woke up late, got stuck in traffic... and as i sat there steaming, i saw an 8 week old kitten who had been thrown out a window of a car in front of me. when i stopped the car to get him, he jumped up through the bottom of my car into my engine. luckily he didn't meet the fan. i turned off the engine and with help from an esteemed chicago minuteman (stranded vehicle assistance, not the racists), we grabbed him without harm. then i took the completely distraught kitten to the no kill shelter. they informed me it's "cat season", so he would be going straight to the pound. thanks for breaking my heart, assholes.

OK, frank rosaly!!! let's go make some music!

though most of the day was terrible,
i played a piece that will be dedicated to the brief life of an innocent soul thrown out of a window.

day two was a lot better, and i feel like i actually made a solo drumming record that doesn't completely suck. now it's time to sequence, mix, master and bid to some record companies. when that fails i'll just put it out myself and make huge money*.

*in free jazz dollars huge money is over $20

i just found this bad boy. it cost next to nothing, but the shells are just like an old premier from the 60's. it sounds fantastic, and the navy blue and gold oyster finish is boss.

last night i had my first opportunity to see an outstanding percussionist from milwaukee, jon mueller, perform live with dan burke and fred lonberg-holm at the hideout in chicago. i really enjoyed the performance and immediately bought his newest lp/cd/dvd offering. after hearing the recording, physical changes, i can sefely say that what i saw at the hideout was a version of his extended piece called 'nothing changes'. attempting to describe what i experienced at the show would be an injustice to the experience and to the music - it was beyond excellent... and his new recordings are excellent. visit: for more on jon and his work.
david daniell and doug mccombs have a new record coming out on thrill jockey this fall. I am playing on a couple tracks, and just got a chance to hear an unmastered version. holy sh*t. it sounds fantastic. there is a track with johnny herndon and steven hess playing with dd and dm that is particularly beautiful. i'm super excited to be on this release.

the jeb bishop trio (jeb bishop - trombone, jason roebke - bass, me - drums) just finished a 2 day recording session at the strobe studio in chicago. we were able to record over 5 hours of material, which means we have to listen to all of it before we can sequence a record. *sigh*... listening to yourself playing can be taxing, but jeb wrote some great stuff, and once again jamie wagner did a great job behind the mixing board, so it'll be easy.

in collaboration with
director & producers brian ashby, ben kolak, and courtney prokopas, i am working on the score for their feature length documentary Scrappers. please visit the scrappers website for more information. i will to be going into ESS studio in the coming months to complete the recording.

april is international duo awareness month. the dave rempis/frank rosaly duo, isa wiss/frank rosaly duo, jason stein/frank rosaly duo, matt schneider/frank rosaly duo (aka anchor), keefe jackson/frank rosaly duo all have recorded in the recent past and are in the process of completing recordings for mass consumption.
multi-reedist dave rempis and i have just finished our initial mix for a duo record we hope to have out in the fall of 2009 on 482 records. we will be supporting it with a short east coast tour this winter. bass clarinetist jason stein and i are also keen on releasing a live set with edgetone records we performed at strobe studio for their intimate strobe sessions series, a monthly intimate concert/recording session. isa wiss, a wonderful vocalist who is the current artist-in-residence as part of the chicago/lucerne sister cities program, recorded with me at boocoo in evanston, illinois a few weeks back. we were both very pleased with the result, so we are going back for another session to complete a full length release. the house engineer at boocoo, jason van hoose, did an brilliant job of capturing my drums. last month my duo, anchor, (along with supremely skilled guitarist matt schneider) recorded at strobe as well.


the keefe jackson/frank rosaly duo 7" masters have been received by rainbo records. i am hoping to get test pressings later this month for final approval. btw: this will be molk records first official release (unlike the prior seven releases, which have been available in very small, sexy quantities and sold exclusively from the bandstand). it's coming out on white vinyl, so if the musical material just isn't enough for you, the delicious creamy vinyl should help you make the right decision.
molk records' website should be up and running in the next month or so. you can be sure that i will let you know when it is initiated.