John Paul Jones Zooma CD - Import

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel includes: John Paul Jones (conductor, guitar, electric mandola, organ, 4-, 10-, 12-string & lap steel basses, kyma); Paul Leary, Trey Gunn (guitar); Pete Thomas (drums); Denny Fongheiser (djembe).
Engineers include: Richard Evans, Stuart Sullivan, Brian Foraker.
Recorded at The Malthouse and Air Studios, London, England, Skip Saylor, Los Angeles, California and Pedernales Studios, Spicewood, Texas.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Led Zeppelin fans waiting nearly two decades for John Paul Jones to release a solo album could be forgiven for assuming that the bassist/keyboardist had probably mellowed with age. Luckily, ZOOMA reveals the exact opposite to be true. Long known to be the driving force behind many of Zep's most experimental moments, Jones here goes for the jugular, delivering a slab of highly aggressive instrumental music that sounds like his former band jamming with a punk rock King Crimson. Replete with crushingly heavy grooves and gnarly sounds courtesy of an array of standard, 10-, and 12-string basses, the album twists and turns like a monster serpent devouring everything in its path. Notable guests include frequent Robert Fripp collaborator Trey Gunn and Butthole Surfers guitarist Paul Leary, the presence of both of whom gives some indication of ZOOMA's intensity and disregard for expectations.
John Paul Jones stayed quiet for years after the disbandment of Led Zeppelin, performing the occasional arranging, soundtrack, or production gig, or collaborating with such avant garde musicians as Diamanda Galas. Throughout it all, he never released a full-fledged solo album -- until the fall of 1999, when he unleashed Zooma. Anyone that was following who Jones worked with in the '90s -- including Galas, the Butthole Surfers, and R.E.M. -- shouldn't be entirely surprised by the depth, range, and gleeful strangeness on Zooma, but those expecting something like Led Zeppelin IV will be disappointed. That's not to say that there's no Zeppelin here at all. Jones was a key member of Zep, contributing heavily to their sonic majesty and experimental bent, all things that are apparent throughout the album. The difference is, Jones frees himself and his collaborators -- including Paul Leary and members of the London Symphony Orchestra -- to push the envelope hard by making Zooma an instrumental effort. Freed from the boundaries of songs, but not compositions, Jones crafts a series of nine truly impressive songs, blending together blues, worldbeat, heavy rock, jazz, and the avant-garde into a distinctive, unpredictable, and original sound. It may have been a long wait to receive the first solo album from Jones, but the end result makes it all worthwhile. ~ Stephen Thomas ErlewineRolling Stone (9/30/99, pp.84-5) - 3 stars out of 5 - "...downright hellbent grooves....Jones creates thunderous, King Crimson-like, brainiac rock with a battery of four-, ten- and twelve-string basses....Jones has outpaced his more flamboyant former band mates in the adventurous department."
Alternative Press (11/99, pp.104-5) - 3 out of 5 - "...goes a long way toward proving he's capable of serving up a slamming blend of classic blues grit and contemporary, head-banging rock-and-roll....proof that rockers over 50 still have what it takes to create fresh, incendiary music."
The Wire (9/99, p.58) - "...undeniably visceral....it becomes apparent that JPJ is basically refining his past....'Snake Eyes' and 'Nosumi Blues'...would have sounded right at home on PRESENCE."
Mojo (Publisher) (9/99, p.112) - "...a bass-man's album in excelsis, an instrumental set which, on an open-windowed sunny day, could knock the whole street down....Well past bombastic technical display, Jones just goes for power and thrill..."