Rozz Zamorano | Fondue Monks
Author Ben Sanders
In the world of Hollywood the word “monster” can strike up many images. From the classic black and white Dracula to the ultra modern high tech Terminator, the monster has long been a symbol of strength for the movie industry. Many of the faces associated with these creatures are etched in stone. These individuals provide a foundation for new monsters to attack the ever-evolving screen and stretch it even farther.
The same is true in the bass world. Someone mention bass monster and pictures of Jaco and his rapid-fire sixteenth note barrages come to mind. Who can forget Stu Hamm with his multipart solos that seem impossible without three hands? Victor Wooten attacks with a thumb so fast that time must be slowed just to see the motion.
The bass monsters share common traits with their film counterparts. Not only are they masters at the sudden in your face surprise factor, they also possess the cunning survival skills that allow them to hide in the dark yet always be felt. A simple groove, a tasteful lick, and solid time are just a few of the tools that allow a bass monster to lurk in the shadows waiting for that spotlight moment. The state of Texas is blessed to have Rozzano Zamorano as one of it's four string creatures of the night. I was honored with the opportunity to sit down for a chat with the bassist for the Fondue Monks, a man whose heart is as big as his sound.
Born and raised in Texas, 33 year old Rozz was influenced by his brother’s involvement in the Houston music scene. Picking up the bass at 11, Rozz started gigging at 14. He did his first South by Southwest when he was 17 with his band “The Rest”. Rozz says this was a time when it was not even called South by Southwest and Eric Johnson and Steve Ray Vaughn were regulars on the Austin scene. Passing on a trip to New York, Rozz started a college tour of duty. This is where he discovered the great legends of jazz that would provide the fuel for his ever-expanding bass career. He spent several years with bass instructor Dave Nichols at the University of Houston followed by study with jazz guitarist Tod Vullo. The study of bass with Tod not only provided Rozz with an education of jazz standards and chord changes, it also opened doors to alternate voicings that continue to enhance the uniqueness of his style. Recently he has been working with a saxophonist to further expand this untraditional but extremely successful approach to the low end.
In 1992 Rozz founded the FONDUE MONKS. Eleven years later the original line up is still supplying their own style of “Eclectic Texas Gumbo”. A mixture of blues, funk, rock, jazz, and fussion, the Monks cannot be put in any one category. Accomplishments include a residency gig at Steamboats in Austin on Wednesdays. In defining a residency, Rozz explains that Wednesday is the night that clubs in Austin showcase certain bands. The residency refers to the same band playing every Wednesday for some period of time. Greats like SRV and EJ have both done residencies. The Monks are one of the first non-Austin bands to receive this honor. They have opened up for such bands such as Yes, Little Feat, 38 Special, and the G3 tour. Be sure and visit their site, WWW.fonduemonks.com, for more info and scheduling.
Away from the Monks, Rozz stays just as busy. His solo CD, EUDAMONIA, showcases Rozz’s commitment to versatility. From the dirty and infectious groove of “Voting in Florida” to the bluesy jazz chordal arrangement of “Song For Vullo”, every song highlights his skill as a player and groove maker. The title track is an excellent example of solo bass with it’s piano tones and double stops. Rozz’s web site WWW.ZAMRECORDS.COM has sound clips and ordering information. Also on the site are clips of his trio from a show at FITZGERALDS. The site is a must surf for all bassists. Other non-Fondue projects include D BO’s Chicken Coupe, which is a variety band made of one player from several top Houston acts, and also the jam band Moses Guest.
Rozz’s equipment ranges from sentimental to top of the line. His main axe is a 1983 Ibanez Road Star four string given to him by his father. Even with several high end bases in his closet, he can always be seen with his EMG powered Road Star. Dean Markley strung with an action so low that marks are left on the pick-up covers, the Ibanez feeds a Danelectric Dan Echo, and a Danelectric PB&J delay. An EBS Octave Divider and a Dunlop 535 Wah-Wah pedal complete his effects chain. Rozz uses a Demeter VTBP-201 preamp and a Mackie 1400 power amp to drive his Euphonic Audio Cabinets. He has 3 enclosures with a total of 7 - 10”speakers.
Speaking with Rozz over a nice lunch at Rio Rita’s, you get the impression that if he had not chosen a career playing bass, he would have made a great teacher or counselor. Rozz is full of love and is always ready to share his time and wisdom. Here is a man that opened up for Yes, shook hands with Victor Wooten, sold over 7,000 CDs of different projects , and yet he still makes time to talk to the Bassment and offer his support.
I asked Rozz in closing what advice he had to offer young players. He responded with the need to have the proper attitude every time you pick up the bass. The self appreciation is satisfied by the desire to play the bass. The need for respect and response one hundred per cent of the time, regardless of the style of music, will push you to bigger accomplishments. Also it is about working with a group that matters. Even a solo recording is a group effort. When asked about bass players writing songs he reminded me of Sting, Paul McCartney, Jaco, and Charles Mingus. Take the bass out of their hands and they are all great songwriters. When asked what was in his CD player at that very moment, he said Marcus Miller’s Grammy Award winning M2, another great songwriter who happens to play bass. A bass monster, a writer, a promoter, a booking agent, a friend, Rozz is a man committed to the success of the low end.
by Ben Sanders
Ben Sanders - BASSMENT ARTICLES (Dec 6, 2006)