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Description

Glenn Jones is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo, and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer. Fleeting was recorded in a house on the banks of the Rancocas Creek in Mount Holly, New Jersey. Cozy, cluttered with artifacts of a life well-lived (by its owner Bill Bolger), the house struck the right note for Jones and his recording engineer, Laura Baird. Jones in particular likes spaces with character that are remote from the day-to-day world. Jones and Baird made no attempt to soundproof the recording environment, happy to let sounds filtering in from the outdoors to become part of the listening experience. One of Fleetings underlying themes is the past and the way places and people resonate in our lives. Jones reflects on the brevity the fleetingness of all things, while also looking towards the future. Spokane River Falls which Jones calls his water song recalls the all-but-forgotten city of Spokane, Washington, where he was born. Cleo Awake and Cleo Asleep share the same melodies and the same inspiration the newborn child of Jones friends (the conceit of Cleo Asleep is that Jones plays with a mute on the banjo called The Happy Wife Banjo Mute so as not to disturb Cleo, no matter where in the world she is!). In Durance Vile, one of the albums more dissonant, prickly tracks, was originally written to accompany three poems by the abstract painter Wassily Kandinsky, whose texts Jones found absurd, playful . . . sometimes cruel. Two of the albums songs are dedications to fellow guitarists (and friends) Robbie Basho and Michael Chapman.