‘My aim is to get you involved in my music in your very own personal way. I’ve got my stories but it does not necessarily follow that these stories are equally intriguing for you. I would like you to follow your or stories in your head when you are spending time with my music’ – says singer-songwriter pianist Frank Sharman.

’It was 14 March 2003 when I listened to ’Scarlet’s Walk’ for the first time. I didn’t know I held a time bomb in my hand.’ After spending 18 years in the world of classical music, Frank turned for the alternative music. Right after his graduation at the University Of Music Budapest he started to write and produce his first album ’a strange foreigner’. The whole production took more than a year. ’It was harder than you’d believe. I was frustrated and overwhelmed in the same time and I’ve had to learn how to balance myself between the words my songs needed and sentences I didn’t want to publish. I’ve had to come to terms with many things in my life and that’s why the production took more than a year.’ The album was published in early 2004 and it is full of self-references, personal explorations and the whole structure of sound is closer to chamber music rather than to the mainstream sound. From now on Frank started to use Roland instruments for his recordings. ‘The way Roland approaches the creation of a sound that’s very interesting and exciting, I just simply love it’.

His following record completed in six months from start to finish. ’Abandoned Times’ (2004) continues its predecessor’s way. This time he chose the upright piano as the Roland’s companion. He calls this album as his ’return to the piano, the only instrument I play since I was 3’. The haunting melodies and rhythms are crossed with a heavy load of synths and electronica. This experimental fusion of totally acoustic and synthetic sounds marks the step forward compared to the first album. The songs from these years are enabling a deep introspection in Frank’s way of thinking about music and its creation. ’I thought from day one that I want you to be involved in this music. A song carries my personal point of view about the subject matter – that’s a factor but I want you to think of your very own story behind the song. I believe that makes a song personal.’

The inchoate returning to the piano resulted in the following two solo piano releases. Both based on passion for improvisation but the recorded material contains written piano pieces. ’Night Stories (from Vienna)’ (2006) uses a modern impressive tone as a backdrop for an imaginary motion picture soundtrack, the story takes place in one of Frank’s most beloved European capital city Vienna. ’It was easy to compile this album, I just closed my eyes and the streets I know so well are came alive’. Another complete album came out next year: in 2007 Frank completed a record of three sets of self-written piano pieces, one of them composed for this release. ’Shades of Fall’ committed to its title is about reflections of autumns based on personal memories. The material is completely keeping clear of the possibility of placing the subject in kitsch; rather one can listen to these animated images in an absolutely natural language.

Four years after the last major release of ’songs with words’ it was the time to return. ’Secret Room’ (2008) is definitively a landmark with its clear-out and ’grown up’ form. It’s discernible that everything was in right time right place for this album. The impact of mainstream sound technology is auspiciously applied with Frank’s highly personal and intimate music – resulted in a strong, vivid and diverse creature. It’s first single ’Angel’ aired on various alternative radio stations and the core material was premiered at the Budapest Fringe Festival.

’On the Waterfront’ (2009) is a worthy continuation of the high standards of ’Secret Room’, introducing new yet unspoken subjects, such as migration, politics and religion. ’I said I won’t deal with these subjects in my songs but I’ve got to change my mind. This crisis concerns us it’s out of question. It’s not like you shut the door and say this unknown man won’t ever cross my doorsill. It’s getting you and yes it’s does harm. The question is that how one can ensure him or herself to not to go nuts. This is really tricky and to find the way out is not that easy. All I can say is we have to try over and over again. No one’s got a right answer for me but if I got a right answer for myself then I can get through of it. Maybe that’s why we are here.’

Frank’s recorded a live session with the core material of ‘On the Waterfront’ and it really proves his statement that ’a song is never finished to me’. Each song gets a different color of spotlight and so the song shows another possibility of interpretation.

His latest album ‘The Weatherman’ (due to release in 2013) is coming out of the second period of a four year hiatus and it hands over a showcase of a grown-up and developed material. The music presented herein is reflecting on his deeply classical roots and has a close relation to his first collection of songs started to compose exactly ten years earlier. Even though this relation is quite obvious we are listening to much more polished and refined chamber music here with intriguing lyrics and a vast array of interesting landscapes of sound. The piano here is not more or less than an instrument that accompanies synths, strings, cello, vibraphone, English horn or acapella voices. ‘Weatherman’ was tend to be his first concept album but this option has dropped during the recording sessions. ‘I tried to keep the original arc behind the story which is the most important for me. The journey from the uncertain and dark and shaking to the clear and sunny and firm is kept and it is the reason I created this album’.