On September 13, 1999, JPJ released his long-awaited solo album entitled "ZOOMA", on Discipline Global Mobile (DGM). The disk was composed entirely by him, the title track "Zooma" was written while he was working as producer for a band called Elephant Ride on Zuma Beach in Malibu, California. He began his stateside tour in Northampton, Massachusetts on October 12, and was in Boston at the Paradise on October 15, 1999. "ZOOMA" is an eclectic, innovative disk that doesn't disappoint. "ZOOMA" is strictly an instrumental disk on which JPJ plays 4-, 10-, and 12-string bass, a custom double neck Manson lap steel bass, Chapman Stick bass, electric mandola, Kyma, and keyboards, as well as conducts the London Symphony Orchestra, produces, and arranges. Clearly, this is his baby and one he is deservingly very proud of. "ZOOMA" is JPJ's first solo effort in the 20 years since Led Zeppelin disbanded.
Boston SoundCheck Magazine: Hi, John. Congratulations on a terrific recording - it was well worth the wait!John Paul Jones states that he went with Discipline Global Mobile (DGM) records because he didn't want a major label because they would ask, "Where's the single? Where's the vocals, where's the video?" And he didn't want to have to deal with all that. Jones feels that DGM is open-minded, no contracts, all done on trust - rather like it was done with Peter Grant. Artists own all the masters and copyrights. DGM offers the artist the ability to just walk away when they feel the time is right, you're not owned. He goes on to say that no artist wants to feel like they're working with someone that makes them unhappy, and no label wants an artist that feels unhappy at their label. I would say it's a win-win.John Paul Jones: Thank you.
BSM: A few questions on how do you compose your music? Do you set down a bass line and work around that? Or do you approach it more as a complete piece, having some idea of what type of instrument you want to employ in the recording?
JPJ: I usually - from a composition point of view - I usually go for a long walk and think about it. Then I will take manuscript paper with me, and if it's a riff bass piece, I will write down - pick up the riff on the walk - write it down and then come back to the studio and choose the instruments that I want, that I can hear in my head. And then build it up from there.
BSM: It sounds like a nice walk to take.
JPJ: It certainly is! Yet is a compositional trick in a way. Because I know I either come back with nothing or I'll come back with something that's good. I try and go for my first idea. I try not to change it too much.
BSM: Does the current trend of technology, specifically things like MP3 files, and downloading of artist's work concern you? Or do you see that as just an inevitable part of technology and where music's heading in the future in terms of marketing and things like that?
JPJ: Well, like everything there's good and bad. The internet's certainly freed up a whole lot of things. It's made a lot of people having to think again about music delivery and about who owns what and - I mean I think it's inevitable. I think it's good in the end. Again, a lot of artists who simply wouldn't get any exposure can get their music out without having to do some of the things that I was previously concerned about, which is like singles and videos, and stuff like that. Then, you know, of course, there's the piracy issue. And well, yeah, the piracy issue I suppose which we just have to play out.
BSM: Yeah, it's definitely not fair to the artist, and its too bad. But it is widespread.John Paul Jones states as an arranger he adds instruments, such as orchestral arrangements and/or strings arrangements. For example, JPJ arranged REM's "Everybody Hurts", and "Automatic for the People". REM's Michael Stipe, sent him a note along with a tape and said, "We like what you do, and think that we would like some strings on these tracks and maybe if they came in half-way through. . . .". JPJ did the arrangements, booked the Atlanta Symphony, went to Atlanta, and the piece was born. JPJ's ear is still tuned toward the harder edge of rock-n-roll, however, he is quick to point out that he doesn't find a lot of rock that is on the edge presently. Some of the artists he enjoys are: Nine Inch Nails, The Chemical Brothers, Tool, and Morphine. Expounding on his opinion that he feels that there isn't currently too much on the edge in rock, JPJ has expressed his appreciation for world music, Cuban music, flamenco, and bluegrass. He feels that bluegrass is ". . . pretty exciting at the moment."JPJ: Yeah, you know, there's benefits and there's pitfalls as well.
BSM: Do you have plans to produce anybody in the future that you have lined up?
JPJ: No, I rarely have future plans especially with production side. Normally stuff comes and I decide yeah, that's great, or no, it isn't. And I'll do it, or I'll just move on and wait for something else. But at the moment I've got my own second album that's in my brain at the moment, so that's really where I want to go.
BSM: Well, great! When can we expect that?
JPJ: Oh, hopefully a little sooner than another 20 years.
BSM: John, what's your view on digital versus analog? Do you have a preference of one or the other?
JPJ: Well, I usually - this album for example was recorded all digitally, and I've mastered it onto analog. I mixed it to analog. I use whatever, you know, it's quite like that golfing analogy, you know? When you come to a hole, what do you do? So everything's recorded on the Pro Tools, and then it's mastered onto an old 70 Ampex two-track I've got, which just sounded gorgeous, and is right for the job. You know, I have all sorts of tools and digital mastering, but it just sounded perfect. Whatever sounds good, whatever works.
BSM: Sure, and it worked!
JPJ: Thank you!
BSM: Is it difficult - you wear so many hats on "ZOOMA". For example, the conducting of the symphony, and the producing, and the composing, and of course, the musicianship. Is it difficult to change those hats and be able to balance all your roles?JPJ recalls a time back in the day when he was in Chicago with Plant and Page, in search of blues clubs. But nobody whom they asked seemed to know where any of the blues clubs were. JPJ was quite taken aback from this, because after all ". . . this is your music, you might as well have a listen to it..."JPJ: The balance is difficult in a certain way. I mean, the hardest thing about producing yourself is not that you're self indulgent, it's that you don't let yourself be self indulgent. You tend to throw out more than you keep. And sometimes I have to remember to stand back and not be quite so critical. Because also, if I'm producing a band as opposed to producing myself, there's some things that I say to myself that you simply wouldn't say to a guitarist. He'd walk out! So you got to be - I have to learn not to be too hard. You know? Not to be too critical otherwise nothing gets done at all.
BSM: Do you hope to do any more conducting with symphonies and orchestras in the future in that capacity?
JPJ: Well, if the situation requires it, I probably shall. You know, it's quite good fun! It's really nice to hear the arrangements played back once you've sweated over it for a couple of weeks. To see nothing but manuscript paper and little dots on it, to actually hear it played back for the first time is pretty gratifying.
BSM: In regards to your appreciation for bluegrass, I share that. I think it's fabulous. Who are some of the bluegrass artists that you're currently listening to?
JPJ: Strictly bluegrass - Steve Del McCory, I like that. There's a fantastic mandolinist called Chris Thile with Nickel Creek. Again, all those - Sandbush. I'm a mandolin fan as well.
BSM: You should check out David Grissman.
JPJ: Oh yes, Dave Grissman! And what is it? Rice - John Rice?
BSM: Tony Rice.
JPJ: Tony Rice, and Union Station.
BSM: Alison Krauss, sweet voice...
JPJ: Alison Krauss, fantastic fiddle player, too!
BSM: Absolutely! We get treated to her about once a year here. She plays in Cambridge - beautiful stuff.
JPJ: Right! Of course, Ricky Scaggs has come back to bluegrass again now. There's a lot happening. There's really a lot happening there.
BSM: I think there is. And hopefully it will just keep becoming more of a focal point for people, not a second thought, or an afterthought.
JPJ: Well, you know, it's American roots music again. And as I said, the standard of musicianship is extremely high in bluegrass.
BSM: I agree.
Naturally, in the course of the conversation, the issue of Led Zeppelin came up. I found JPJ to be very polished, not at all abrasive or egocentric. Accordingly, it was no surprise that he didn't discuss his former band-mates specifically, except to say that Bonzo was a great musician, and his death was a terrible shock. Rather, he approached it more on the level of his feelings about the past, present, and future. Too much of a kind spirit embodies JPJ for him to have been negative - however - in regards to his former band-mates one gets the distinctive feeling that JPJ won't be asking the lads over for a pint anytime soon.
BSM: Jimmy Page will be in Boston the night after you perform Boston. Do you plan on hooking up and having a cocktail together?JPJ says he felt hurt when he read in the newspaper - and that's how he found out - that Plant and Page were taking it out on tour. He says he is around for business meetings (regarding Led Zeppelin business) but his focus is now on "ZOOMA" and getting it out there live. The "ZOOMA" tour is trio based and encompasses: Nick Beggs, on Chapman Stick bass (stick bass is a combination of bass and guitar); Tyrl Bryant, on drums and percussion; and JPJ on 4-, 10-, and 12-string bass, keyboards and lap steel bass. The lap steel he'll be playing is an instrument he used to take on the road and use as his hotel instrument, ". . . but not to the sound of breaking furniture. . ." He has put extra bass strings on it to give it a deeper, fuller sound.JPJ: I doubt it. I doubt it. I think he's going on somewhere and I'm going on somewhere else, probably. So, I don't have too many days off on my tour.
JPJ states that there aren't many overdubs on the recording, it's somewhat live, so he is really looking forward to getting out there. He intends on performing most of "ZOOMA" and possibly one or two Zeppelin tunes done strictly instrumentally if he feels that he comes up with a respectable rearrangement.
BSM: Thank you, John. I look forward to seeing you here in Boston.JPJ: You're very welcome. Look forward to seeing you.