Editing John Paul Jones (musician) (section)

===Session work===
Baldwin joined his first band, The Deltas, at the age of 15. He then played bass for jazz-rock London group, Jett Blacks, a collective that included guitarist [[John McLaughlin (musician)|John McLaughlin]].<ref name="westword.com">{{cite web |author=Michael Roberts |url=http://www.westword.com/1999-10-21/music/getting-out-of-the-led/ |title=Denver – Music – Getting Out of the Led |publisher=Westword.com |date=21 October 1999 |access-date=1 January 2012 |url-status=live |archive-url=https://web.archive.org/web/20110608080246/http://www.westword.com/1999-10-21/music/getting-out-of-the-led/ |archive-date=8 June 2011}}</ref> His big break came in 1962, when he was hired by [[Jet Harris]] and [[Tony Meehan]] of the successful British group [[the Shadows]] for a two-year stint. Shortly before hiring Baldwin, Harris and Meehan had just had a number 1 hit with "[[Diamonds (instrumental)|Diamonds]]" (a track on which Jones' bandmate-to-be [[Jimmy Page]] had played). Baldwin's collaboration with the Shadows nearly prevented the future formation of Led Zeppelin, when the parties engaged in talks about the possibility of Baldwin replacing their bassist [[Brian Locking]], who left the band in October 1963, but [[John Rostill]] was ultimately chosen to fill the position.

In 1964, on the recommendation of Meehan, Baldwin began studio session work with [[Decca Records]]. From then until 1968, he played on hundreds of recording sessions.<ref name="Like">Tolinski, Brad. (January 1998). "Like a Rock", ''Guitar World'', p. 60.</ref> He soon expanded his studio work by playing keyboards, [[orchestration|arranging]] and undertaking general studio direction, resulting in his services coming under much demand. He worked with numerous artists including [[the Rolling Stones]] on ''[[Their Satanic Majesties Request]]'' (Jones' string arrangement is heard on "[[She's a Rainbow]]");<ref name=tripleJ>[http://www.abc.net.au/triplej/music_specials/s1402502.htm Australian Broadcasting Corporation] {{webarchive |url=https://web.archive.org/web/20120120174156/http://www.abc.net.au/triplej/music_specials/s1402502.htm |date=20 January 2012}} – Triple J Music Specials – Led Zeppelin (first broadcast 12 July 2000)</ref> [[Herman's Hermits]]; [[Donovan]] (on "[[Sunshine Superman (song)|Sunshine Superman]]", "[[Hurdy Gurdy Man]]", and "[[Mellow Yellow]]"); [[Jeff Beck]]; [[Françoise Hardy]]; [[Cat Stevens]] (on "[[Matthew and Son]]"); [[Rod Stewart]]; [[Shirley Bassey]]; [[Lulu (singer)|Lulu]]; and numerous others. As well as recording sessions with [[Dusty Springfield]], Jones also played bass for her ''[[Hippodrome, London|Talk of the Town]]'' series of performances. His arranging and playing on Donovan's "Sunshine Superman" resulted in producer [[Mickie Most]] using his services as choice arranger for many of his own projects, with [[Tom Jones (singer)|Tom Jones]], [[Nico]], [[The Mindbenders|Wayne Fontana]], [[the Walker Brothers]], and many others. In 1967, Most, as [[music supervisor]], also tasked Jones with arranging the music for Herman's Hermits' theatrical film ''[[Mrs. Brown, You've Got a Lovely Daughter (film)|Mrs. Brown, You've Got a Lovely Daughter]]'',<ref>{{cite web|url=https://www.imdb.com/title/tt0063325/fullcredits|title=Mrs. Brown, You've Got a Lovely Daughter (1968)|access-date=28 April 2018|via=www.imdb.com|url-status=live|archive-url=https://web.archive.org/web/20070210142036/http://imdb.com/title/tt0063325/fullcredits|archive-date=10 February 2007}}</ref> released in January 1968. Such was the extent of Jones' studio work – amounting to hundreds of sessions – that he said years later that "I can't remember three-quarters of the sessions I was on."<ref name=uncutinterview>David Cavanagh, "[http://www.uncut.co.uk/music/led_zeppelin/special_features/12626 Interview with John Paul Jones] {{webarchive |url=https://web.archive.org/web/20111208143139/http://www.uncut.co.uk/music/led_zeppelin/special_features/12626 |date=8 December 2011}}", ''[[Uncut (magazine)|Uncut]]''.</ref>

It was during his time as a session player that Baldwin adopted the stage name John Paul Jones. This name was suggested to him by a friend, [[Andrew Loog Oldham]], who had seen a poster for the 1959 film ''[[John Paul Jones (film)|John Paul Jones]]'' in France.<ref name=d&c>Fortnam, Ian. "Dazed & Confused", ''[[Classic Rock Magazine]]: Classic Rock Presents Led Zeppelin'', 2008, p. 34.</ref> He released his first solo recording as John Paul Jones, "Baja" (written by [[Lee Hazlewood]] and produced by Oldham) / "A Foggy Day in Vietnam", as a single on [[Pye Records]] in April 1964.<ref>{{cite book|url=https://books.google.com/books?id=veOBJ9xrAEwC&q=baja+%22john+paul+jones%22&pg=PA81 |author=Dave Lewis|title='Led Zeppelin: the Complete Guide to Their Music |year=2004 |page=81 |publisher=Omnibus |access-date=1 January 2012|isbn=9781844491414}}</ref>

Jones has stated that, as a session musician, he was completing two or three sessions a day, working six or seven days a week.<ref name=Miserandino>Dominick A. Miserandino, [http://thecelebritycafe.com/interviews/john_paul_jones.html Led Zeppelin – John Paul Jones] {{webarchive|url=https://web.archive.org/web/20150512202604/http://thecelebritycafe.com/interviews/john_paul_jones.html |date=12 May 2015 }}, TheCelebrityCafe.com.</ref> However, by 1968 he was feeling [[Occupational burnout|burned out]] by the heavy workload: "I was arranging 50 or 60 things a month and it was starting to kill me."<ref name="Like2">Tolinski, Brad. (January 1998). "Like a Rock". ''Guitar World'', p. 122.</ref>