01	Zooma						05:52
	02	Grind						05:20
	03	The Smile of Your Shadow						05:50
	04	Goose						04:58
	05	Bass 'n' Drums						02:32
	06	B. Fingers						05:26
	07	Snake Eyes						07:32
	08	Nosumi Blues						05:48
	09	Tidal						06:50

John Paul Jones: Zooma
Discipline (DGM9909)

Enchanced CD

John Paul Jones, 4, 10, and 12 string basses, electric mandola, kyma, bass lap steel, guitars, organ;
Pete Thomas, drums;
Paul Leary, guitar;
Trey Gunn, touch guitar;
Denny Fongheiser, djembe, drums;
London Symphony Orchestra conducted and arranged by John Paul Jones

Eric Porter:
The Quiet One returns! Former Led Zeppelin bassist/keyboardist comes out from behind the scenes for what is the best, most vital post-Zep release by any member period! Jones appears to have kept his hands in music, producing, and playing with some obscure artists. This all-instrumental release will not get the hype or fanfare that Plant and Page have received and that is too bad because it deserves as much. Released on DGM (home of King Crimson leader Robert Fripp), Jones covers everything from riff heavy Zeppelinesque tunes such as "Zooma", "Goose" and "B. Fingers", to blues based songs ("Nosumi Blues") and more experimental sounding material. Each track has a definitive sound of its own, and Jones (on 4, 10, and 12 string basses) really sounds thunderous underneath. The atmospherics and sound effects used in the songs add to the overall sonic quality giving some an almost industrial edge. "Snake Eyes" is a slow heavily played bluesy track which slowly evolves into an orchestral arrangement performed by the London Symphony. Jones also brings out the organ for a Doors-like sound on this one. "The Smile of Your Shadow" presents a mellower acoustic side using a stringed instrument called a djembe (which sounds a bit like a mandolin) and Jones uses a bass lapsteel giving a bit of country flavor. A funky number entitled "Bass _N Drums" is just what you would expect with a jazzy groove. Of note are the use of unconventional instruments such as djembe, kyma, touch guitar; from what I can tell, there is only one song that uses a conventional guitar. This is a very creative piece of work and I am really getting into it more and more. Though labeled his first solo release, Jones did do a soundtrack in 1985, Scream For Help, which featured Jimmy Page and Jon Anderson on some tracks. I for one am glad to see Jones putting out music. This is a great sounding, well produced, very original piece of work. Also, take a close look at the cover art and you will see Jones' symbol from the Zoso album. A highly energetic release from an underappreciated rock legend.




Jones, John Paul - Zooma

Member: notallwhowander

I don't know how John Paul Jones managed, but he proved himself able to draw fully on his Zeppelin roots without employing the least bit of sappy nostalgia. Apparently, his long absence from the popular music scene has done nothing to blunt his edge. In fact, there is more "edge" in ZOOMA than in all the post-Zeppelin efforts of Robert Plant and Jimmy Page combined. It took me more than a few listens just to get comfortable with the opening track.

It begins on a lonely stretch of seashore with something menacing on the horizon. Before you can quite make out what is going on, the music is upon you; a savage 10-string bass line that seems more akin to latter-day King Crimson than previous JPJ work. The album weaves in and out of more classic bluesy grooves and all-out bass driven assaults. Also, there are no vocals on ZOOMA, just the instruments themselves and a few choice soundscapes.

Highlights include "ZOOMA" the title/opening track (once it gets a chance to sink in), "Grind" (my personal favorite), and "Snake Eyes" (the most "progressive" of the lot). "Snake Eyes" begins with a haunting blues bass line, but goes on to incorporate JPJ wailing on a pipe organ and a rather unexpected ending by the London Symphony Orchestra.

I give JPJ a solid "A" for this effort. ZOOMA stands well on it's own, even if it is a painful reminder that Zeppelin could have flown again and still have been a force to reckon with. It's essential listening for any proghead who likes the hard rock/heavy metal end of the spectrum.