Drummer Frank Rosaly has become an indispensable part of the local jazz and improvised-music scene—he’s got a sharp sense of time, an imaginative vocabulary, and a knack for knowing just what a given context requires, whether it’s the tumultuous free improv of the Rempis Percussion Quartet or the vintage tunes of Josh Berman & His Gang. But he’s also developed a rigorous solo practice, where he focuses on color and texture using a hybrid setup of percussion and electronics. Rosaly is hardly the first to combine the two—Jon Mueller, Jason Kahn, and most notably Paul Lytton have all incorporated electronics into their improvising—but his approach is distinctively elegant and controlled. On the three-CD set Milkwork (Molk) he carefully warps the sounds of tuned metal bowls, gongs, and of course his trap kit with real-time processing; fractured rhythms propagate through fun-house refractions, slow-moving figures swell and ebb, and digital sizzles and beeps pepper his acoustic drum patterns. And on “Apathy of a Cow,” a recent online-only track released as part of Contraphonic’s Little Hell series, he buffets a low-end drone with lacerating electronics, then ends with a gentle scattering of bell-like percussion. The Friction Brothers headline; Rosaly opens with a solo set, then plays in a trio with drummers Jonathan Crawford and Michael Zerang. The show is a benefit for Scrappers, a documentary by Brian Ashby, Ben Kolak, and Courtney Prokopas about local men who work salvaging scrap metal; the filmmakers will screen excerpts and host an audience discussion with some of the scrappers. —Peter Margasak
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