Session work is not something where you call a studio and say "here I am!"  You must have something that would make you valuable to the producer.  What do you have that makes you better or unique?  Do you have a local reputation?  You are an unknown quality, why would a studio or producer want to take a chance?  These are some of the questions that require some thought and great answers.  It is hard for an established drummer to change areas and move into session work. 

In my opinion, cold telephone calls seldom produce results.  You need a good press kit, some high quality samples of different styles and then contact the studios in person with the intention of making an appointment but hopefully being able to talk to someone in person while you are there. 

Yeah ... I've never heard of auditioning for session work. Typically producers hear you play live and want you to do a session, or they've heard your recorded work, or you are referred.

I'm just saying that perhaps they aren't calling you back because the audition for session work is strange to them as well. It takes time to audition people; time that they may not want to part with.

If they don't have a drummer in the band, or this is for an artist without a band, you need to be in touch with the producer who is handling the recording project OR have a relationship with the studio (owner, engineer).

You've got to start some place.

I have to agree with what Bart and Louis said about someone has to know about you, saw you play somewhere, heard some of your work or you were recommended. The way to do this is play as many different things as possible and if you are really that good, the studio will find you.
                    Nutty

This reminds me of what it feels like to try to *break into* jazz playing
in this area.  I have tried to network with a whole lot of people, but
it's a tight knit assembly of the same crowd morphing into the different bands.
Since they don't know me, I don't get the time of day.
[Even if I may not be ready to play with them, but, they don't know that.     ]
[I could be Buddy Rich, and they don't know that either, and they really don't care, because they haven't seen me out there.]
[So, it's me - and Jamey - Jamey Aebersold.     ]

yeah, the jazzer scene is hard to break into.

They all really kinda are.  There are way more musicians than there is paying work.

Keep plugging and playing.  Get out and network if you can.  If you aren't that busy, nowz a good time to mingle.

But if the guys don't dig you, there's nothing you can do no matter how great a player you are.

studio playing is not easy.  Ya gotta have the smoothest groove in the world, you have to play with measured dynamics and it helps being able to read, count, and or follow and make charts.  Knowing when you are on the click, in front or behind it is helpful also.

Playing 2 years?  You have lots and lots to learn and practice!

Of course in my mind I was ready to do studio work from about the age of 16.
The nature of the beast is that there are older and better drummers ahead of you. It'll be a while, it could be years, before the day everyone on the list ahead of you will be unavailable and you'll have your chance.
I was gigging with bands from 17 onwards. I was full time from 20 onwards. I travelled far and wide, to foreign countries. Auditioned all the time. Toured.
In the end, a friend got me involved in some recordings in Italy.
All due respect to Italians, but that did absolutely nothing for my recording resume. I did get some experience under my belt.
A year or so later I got to work with a well known producer in London.......and didn't have my sound together enough. So that was another step backwards.
All the while you aren't being considered for session work, you need to be building on your playing experience, perfecting your sound and tuning technique.
You talk about Josh Freese as if it just happened, but I bet years of hard work and many set backs went into the drummer he is now.
As for the prog-rock and fusion thing......
One thing about session work, it's not about being yourself. It's about being what the other person wants you to be.
When I'm discussing a project with a possible client. I try to say as little about myself as possible. Even some of the well known names on my resume can put people off.
Oh, you worked with Johnny Cash? Yeah, we're not about old school country...goodbye!

On the flipside, I try to educate myself about pop music history and current trends.
If a possible client mentions The Police, it's good to look enthusiastic and throw some knowledge about the band back at them. like songs you particularly like.
The Foo Fighters? "Yeah man, I love both Dave Grohl and Taylor Hawkins as drummers"
"Simple, but intelligent drum parts. Lot's of power"
If someone mentions Motown, you have to be able to talk on that subject for ten minutes without appearing never to have heard a Motown song in your life.
I rarely offer an offbeat form of music I personally like unless really interrogated.
Customers are scared of stepping outside the box.

im not saying its going to happen tomorrow or anytime soon for that matter. just saying thats what i want to do. im just going to start gigging as much as i can.