Today we’d like to introduce you to Paul Zhao.
Paul, we appreciate you taking the time to share your story with us today. Where does your story begin?
I grew up in Kobe, Japan, picking up the piano at age four and soon participating in classical competitions nationwide. However, what really sparked my connection with music was when I became an accompanist at my church. As a bright-eyed ten-year-old, I knew close to nothing about teamwork or musical collaboration. Despite my naivety, the members of the band embraced me with friendship and support. I learned the basics about chords, song structure, and even those acapella choruses that somehow always prove so compelling during Sunday service. It was the first time I had ever seen someone shed tears mid-song. That was when I realized the profound impact music could have on people. Without knowing it at the time, those moments set up the foundation behind my desire for musical storytelling.
Several years later, college applications were right around the corner and I–like many other teenagers–was going through an identity crisis. While originally planning to study international diplomacy, I could never shake the thought of pursuing music instead as a form of connecting people. Fortunately, Berklee College of Music, a vibrant contemporary musical institution, happened to be doing auditions in my city that same year. I jumped at the opportunity, and in Fall of 2019, enrolled as a Film Scoring and Piano Performance dual major.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
Berklee’s ecosystem was more diverse than anything I could’ve ever imagined. I found myself in a multidimensional space of creativity, surrounded by people of all backgrounds, musical taste, and choices of artistic expression. I was once again a tiny fish in a gigantic pond.
It took me a while to gain the courage to break out of my shell. I joined ensembles of varied styles, including jazz, gospel, funk, and flamenco, always trying to attain the knowledge in a metric way. During my studies, I was invited to be part of Tiger Okoshi’s Original Fusion Ensemble and played in the band as a pianist for three semesters. I also studied composition extensively with Professor Vadim Neselovskyi, who helped me to think outside of the five-line grid.
As I got to know the art of performance and showmanship, I realized that music is but only a vessel for emotions. While qualities such as instrumentation and key signature are still essential, ideas like spontaneity/moderation, tension/release, and individuality/universality have become the foundation for my music-making process. Musicianship to me now, means how well one can illustrate feelings like passion, love, anger, and everything else in a soundscape. Adopting this attitude helped me become more gregarious in my musical approach.
Appreciate you sharing that. What else should we know about what you do?
I specialize in scoring for film and media, as well as orchestrating and arranging for live events. That being said, I believe in the value of being an all-around musician, ranging from being a performer, producer, recording engineer, and so on. I put as much effort as I can into being useful in all parts of the production process.
I’ve worked extensively with Director Jaron Weatherly, whom I met during an internship at Angel Studios. One of the shorts that we worked on together, JENNIE, recently won Best Animated Film at the Florence Film Awards. I also had the pleasure of being selected for the Best Original Score. It talks about an Italian family’s departure from their homeland and migrating to the United States for the first time. Needless to say, as a third-generation kid myself, the story hit close to home.
As a composer, I’ve come to think through the performer’s lens, laying emphasis on how I want my pieces to be delivered on a mental and emotional level. One of my projects that I fondly reflect upon is my senior short film project, where I incorporated a jazz trio into an original score. Groove changes were written to picture in an effort to accentuate the emotional shift, not only through notation but also through the performer’s own improvisation.
My inspirations include the likes of Les Baxter, Bruno Coulais, and Alan Menken, to name a few. I also believe that there has been a bit of Japanese influence in my writing, both because I grew up there but also owing to legends such as Toru Takemitsu and Joe Hisaishi. I am also a big fan of Natalie Holt’s recent work in “Loki.”
Alright so before we go can you talk to us a bit about how people can work with you, collaborate with you or support you?
I will be releasing a few compositions of my own this summer, including my debut single, “Far Away.” In terms of genre, I’ve had peers describe my music as a mish-mash of contemporary jazz and chamber. A live version of another one of my pieces, “Telescope,” can be found on YouTube (Link: https://youtu.be/woFzPzf_i7A). I’d appreciate it if folks could take a listen.
I believe that the arts have always been a safe (or at least inquisitive) space for expression, representation, and appreciation. Studying in a nation as diverse as the United States has reinforced that idea, as I have been privileged to collaborate with musicians and creatives at a multitude of capacities. I am always searching for stories that will bring together many, in spite of our differences.
Contact Info:
- Instagram: https://www.instagram.com/zhaopuxing
- Linkedin: https://www.linkedin.com/in/paul-zhao-46095b1b0/
- Youtube: https://www.youtube.com/@zhaopuxing
- SoundCloud: https://soundcloud.com/zhaopuxing
- Other: https://www.imdb.com/name/nm12788137/
Image Credits
Personal Photo: Elizabeth Friar Additional Photos: Ethan Yu, Yuval Gur
