John Paul Jones
Zooma

"Why weren't Led Zeppelin influenced by John Paul Jones?!" that's how he answered the classic redundant question (it had been "only" 19 years!). Jonesy may have always been the quietest and gladly left the spotlight to his three companions, but few know his sense of humor. In this sentence, more than his innate humor, there is, however, a discernible awareness of his own talent and of the immense musician qualities that the environment has always widely recognized in him.

The death of his friend and companion, and the inevitable and so very right decision to end Led Zeppelin (it's a shame others didn't do it too!), was obviously a shock for everyone. But while Page and Grant never fully recovered from the end of their creation and Plant immersed himself into his solo career like a river in flood, John Paul took things relatively calmly. In the sense of "if I have to do things just for the sake of doing them, it doesn't exist", let's look around and evaluate.
Besides the various collaborations on others' albums, Jonesy released a couple of solo albums between 1999 and 2001. I don’t remember at the time, but honestly, they did not seem to have much visibility and/or public success.

It's a pity because "Zooma" is a truly remarkable album.

An album that's at the same time old in form but with modern sounds. The record flows delightfully, ends, and needs to be immediately replayed because so much of it deserves an immediate deep dive. A powerful, driving, technological, dark, obsessive sound. Bass and drums full blast and very little guitar. Drums that don't give you a break and bass played in all possible variations (you go into the technicalities). Jonesy collaborated with Fripp and it shows; it's not blasphemous at all to say we're facing a splendid mix of the darkest King Crimson and the Led Zeppelin of Physical Graffiti and Kashmir. Nine instrumental tracks: seven that tear you apart inside, a trippy oriental-tinged folk with John on mandolin, and a track (perhaps the only avoidable one) with only the rhythm section and the bass in evidence.
Pete Thomas's (Elvis Costello) drumming for the whole album (except for one track) doesn't miss a beat, it’s relentless, gives you no escape, its progress is perfect. Little guitar but devastating, played by Jones but especially by Trey Gunn (pupil of Fripp – 90s King Crimson) in the two tracks where he dominates.
Jonesy is the usual Master, impeccable arrangements, deluxe bass.

One of those lost (or not?!) albums that's great to recover.

I also wanted to point out a couple of tracks, but I've marked eight out of nine and obviously, it would sound ridiculous.

Crank it up and listen all in one breath!

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