Those up to date with the Chicago scene will be more than familiar with Rosaly. He has done excellent work with such as Nicole Mitchell, Josh Berman and Keefe Jackson, so this debut is not before time. The very specific context of the music – it is an extension of a soundtrack for Scrappers, a documentary about recyclers in the Windy City – partly explains why some tracks are ‘incidentals’ of no longer than a minute and a half. At the other end of the spectrum, there are full-length compositions whose suite-like structures run to 12 minutes. The common denominator between the two is a fascinating sound canvas that Rosaly builds by way of a focused use of piano and percussion as well as an artful meshing of gurgling bass clarinet and sparkling vibraphone, whose relationship intermittently conjures up the spirit of Dolphy and Hutcherson. Having said that, Rosaly comes into his own when he gets busy with electronics on a track such as ‘Bedbugs’, where a clanging, metallic-tinged riff rotates away in 6/8 and is fuel-injected by heavily syncopated rimshots and a nervous ride cymbal. The piece has a wonderfully jerky but nonetheless entrancing momentum. This and other tracks have echoes of the Mazurek/Parker/Taylor ‘Chicago Underground’ sound, making it clear that Rosaly is very much a contemporary improviser whose antennae are tuned to the many things that lie in or outside the numerous traditions found within jazz.