Strange Attractors
To innovate, one must not only stand on the shoulders of giants but
recognize that they do so, if only to learn how to provide a solid
footing for others. Boston-based Cul De Sac are innovators of the
highest caliber, and the members have made astounding music for years,
utilizing elements of any number of styles, genres, and movements. On
their last few releases, guitarist Glenn Jones has led them into a deep
relationship with the output of Takoma records and their troika of
acoustic guitar virtuosos John Fahey, Robbie Basho, and Leo Kottke.
Their adaptations of Takoma sounds and ideas mixed in with often
visionary electronic, world music, and post-rock juxtapositions have
made for truly wonderful pieces of work.
This Is The Wind That Blows It Out
marks the first solo release by Glenn Jones, and he revels in the
startlingly evocative sound produced by the six and twelve string
guitar. Allowed to develop the Takoma fetish to its natural conclusion,
Jones is able to create a beautiful work that raises itself above
tribute and establishes him as a musician and thinker capable of
speaking that language in a thoughtful and articulate way. "Sphinx Unto
Curious Men" is an extreme delight to followers of Cul De Sac, as it
elaborates on the "Second Victim?" motif from their last release,
The Strangler's Wife.
Here, Jones draws the thick, oscillating hook out of the unfortunately
brief limitations of that soundtrack work and lets it unfurl. His
nimble playing conveys a spooky tension that is now even more affecting
as it blooms into more developed avenues of melody and rhythm. The new
intermediate section of the piece offers a warm respite in looming
darkness of the hook, each note stinging through the fog to offer a bit
of comfort before ultimately plunging back into the depths. "Sphinx"
captures everything that makes Jones an adept aural storyteller,
capable of utilizing the strengths of his instrument with clarity and
precision. "Friday Nights With" inhabits the same pastoral noir of dark
woods and wind swept fields that "Sphinx" introduces, loping across
moonlit hills albeit with less curious fear and a tenor of playful
chase or dance amidst these elements. The piece is free from the heavy
riddle of "Sphinx," a boundless Friday night in the glory of
unencumbered abandon. "The Doll Hospital" shimmers as the notes rise
and fall with stunning alacrity, flashing briefly and barely fading
before the next reveals itself brightly. Jones' fingers cast off sounds
in numbers that flood the senses as they try to receive and appreciate
every new addition to the impeccable series. "Nora's Leather Jacket"
spins about like a carousel, with rapidly repeating strums swirling,
augmented by quick plucks that promenade themselves delicately,
courting the fancy of those who pass by. For a moment it seems like
something out of a Nino Rota score, the carnival wonderment and
emotional discourse of
La Strada is seeping through Jones'
displays of feeling here. Throughout the album, Jones is able to imbue
his pieces with a sensitivity and power that instantly communicates the
message and input of his music.
This Is The Wind That Blows It Out
is a noble effort for Glenn Jones and demonstrates that his mastery of
his instrument goes well beyond the speed of his fingers and lies in
the investment of his mind and soul in his art. -
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