ZPZ’s secret weapon speaks to Scambot
There are some musicians that make you see things in a different way. Open your eyes and ears to a different way of musical expression if you will. Frank Zappa, Miles Davis, Hiromi Uehara….all game changers for me. At a Zappa Plays Zappa gig in Basingstoke, another was added to the list.
Scheila Gonzalez has been taking her virtuoso talents around the world with Dweezil’s Zappa Plays Zappa for nearly a decade now, showcasing her saxophone, keyboard, flute and vocal prowess to the world. As someone who has been trying, unsuccessfully, to master one musical instrument for twenty years, watching and listening to someone tearing it up on sax with one hand whilst simultaneously doubling the line on a keyboard was a jaw-dropping moment. Scary? Yes. Inspiring? Absolutely.
Scambot recently caught up with Scheila, to talk influences, playing Carnegie Hall and all things ZPZ……
You started music lessons at an early age – piano at 4, saxophone at 12 – Who were your inspirations during that stage of your musical development?
As a young child beginning the learning process, I didn’t actually have any instrument-specific inspirations. It was more about the process of learning. Playing music felt very natural to me, so even at that point in time, I enjoyed practicing and playing. If I had to cite early influences, it would be the music being played at home. I was exposed mostly to Motown, R&B and funk. I heard a lot of Stevie Wonder, Sam Cooke, Earth, Wind & Fire, Lou Rawls, James Brown. In high school my band director was a saxophonist and his main influence was David Sanborn, so that was my starting point for saxophonists. My musical taste through high school remained mostly in the Funk/R & B/Pop/Dance realm. Once I began college, I discovered a world of influences from saxophonists Paul Desmond, Charlie Parker, John Coltrane, Dexter Gordon and Cannonball Adderly, to name just a few, to other jazz greats such as Monk, Miles, Jaco, Pat Metheny, Sarah Vaughan, Ray Brown, Chick Corea, Carmen McCrae, Gene Harris, Dizzy Gillespie, Oscar Peterson, Joe Pass…I could go on and on. Going forward, my tastes, interests and influences have continued to evolve.
You joined the DIVA Jazz Orchestra in 2000, culminating in an appearance at the Carnegie Hall. As a jazz musician, that must have been a career highlight?
This was INCREDIBLE. After several years of playing in this band full of amazing jazz musicians, our 15 piece big band had the opportunity to perform the arrangements we knew so well, fully orchestrated and surrounded by the New York Pops Orchestra, under the direction of Skitch Henderson. To be enveloped by the lush tones of the cellos was enough to bring many of us to tears. No exaggeration. Gorgeous. Chill inducing. I’ll never forget the moment I stepped forward to take a solo in front of the band and orchestra. As the spotlight came down from one of the upper levels, I could feel the history on that stage. It was awe-inspiring and ultimately humbling.
You auditioned for ZPZ in 2005, how did that opportunity come about?
A guitarist that I had worked with for years passed my name along to an agent in Los Angeles. About five years later, a call came from that agent stating that Dweezil Zappa was putting together a tour of his father’s music. He mentioned that it would involve about three months of rehearsals for a six week tour and asked if I’d be interested in auditioning. Without really knowing what I was in for, I said “sure!”. The rest is history and my life is forever changed.
I’ve heard that you weren’t too familiar with Frank’s work beforehand? Were you surprised by the complexity of some of it?
I was not very familiar at all. I had a couple of different college friends that were fans and through them, I encountered it peripherally. The first time I LISTENED to the music was sometime in the late 90s. On the way to a gig in northern California, I was played Joe’s Garage in its entirety. I laughed so much at the fun “theatrical” nature of the album as well as the lyrical content and subject matter. Once I stopped giggling, however, I really noticed the depth and complexity of the music behind these lyrics and I was floored. And though I was certainly blown away by the odd meter sections and difficult passages, it wasn’t until I auditioned for ZPZ and began to learn the music that I began to fully understand just how extensive and beyond category Frank’s catalogue is and the inherent challenge it would present even the most skilled, virtuosic musicians.
Dweezil has referred to the initial rehearsal period as being akin to a “Zappa Boot Camp”. Was that as tough an experience as it sounds?
It was! We rehearsed five days a week, six to eight hours a day for three months…that doesn’t include time spent at home transcribing and practicing our individual parts. We HAD to put in that time and fully dedicate ourselves to the process in order to deliver the music as it deserves to be delivered. Us newbies to the music ESPECIALLY had to have that time to not only absorb the notes, but become familiar with the types of musical phrases musical language AND Frank’s special vernacular contained in his compositions.
You couldn’t have expected that only 4 years later, you’d be on stage collecting a Grammy for “Peaches en Regalia”?
This was a GREAT and unexpected honor. We had filmed our first DVD at the end of our first year of touring (2006). None of us were aware that our performance of Peaches En Regalia from the soundtrack of that DVD had been submitted. You can imagine our surprise when we found out that we were nominated. When they announced us, we could hardly believe it. It was a well-deserved accolade for such an incredible composition and it was also wonderful recognition for all the hard work and preparation that went into our performance of this great piece.
In addition to touring, you have taught at the Santa Susana Performing Arts High School in California. Do you find that as rewarding as playing to sold out concert halls?
I feel that we have the opportunity to teach every time we are on stage. Bringing real life musical experience to a classroom setting and/or individual lessons is something that I really love. Everyone learns differently. The challenge is finding the right approach for each individual, the reward comes when the “lightbulb” goes off and the student REALLY gets it! Ultimately, teaching guiding each student to find their own inner teacher.
You are currently on tour with the ZPZ Roxy & Elsewhere show. How’s that going so far?
We are now in the UK! The U.S. and Canadian shows were amazing! Although we had an arduous schedule, the band delivered night after night. We just finished our show in Bristol and it was GREAT!
The tour has now hit these shores. What should your UK fans expect from the shows?
Expect the unexpected!
For more info on Scheila and ZPZ check out these lovely internet type things!
SCAMBOT 
Thank you for the interview. Scheila is doing an amazing job with the current ZPZ line-up and we kind of fell in love with her right at the beginning of the Québec City concert. A long and explosive sax solo that blew my mind.