Glenn Jones isn’t the only practioner of the guitar style known as American primitive, but he certainly has delivered a series of fine albums that spotlight his unique performances based on this compositional technique. Pioneered and perfected by the late John Fahey, American primitive’s origins have been expanded upon by contemporary practitioners. But Jones may be the one who has perfected it. Working at a home far from the haste of the day, Jones uses his unique musical perspective to remind us to stop and celebrate the unhurried life—one that embraces the easy-going heart, the patient ear and nature’s awe-inspiring presence.

Jones’ approach to the instrument involves alternate tunings (which he lists, track-by-track in the liner notes), partial capos and an occasional go at the five-string banjo. Jones is an artist in the greatest sense of the world and a man who recognizes the intersection of various art forms. Witness “In Durance Vile,” a piece developed from a shorter work commissioned by renaissance man Karl Bruckmaier to accompany readings of three poems by the great Russian-born artist Wassily Kandinsky. The piece is appropriately lyrical, revealing Jones at his most expressive and far-reaching: A man in command of and in communion with his instrument. Not only does the music summon reflections on beauty but it also inspires the artist/listener to take up their own instrument and create.

Elsewhere, Jones turns to impeccable melodies and flawless execution via “Mother’s Day” and “Gone Before.” As fine as those performances are, Jones’ turns on the banjo via “Cleo Awake,” “Cleo Asleep” and “Spokane River Falls”—a piece inspired by a visit to that city and personal reflections on the life of Jones’ father. The artist also finds time to celebrate another master of the guitar, the all-too-underappreciated Michael Chapman, on “Close to the Ground,” which Jones says was inspired by some time they spent together in 2014 during an evening spent wandering the streets of Utrecht, Netherlands after a Yo La Tengo show.

The piece conjures images of friendship and the strange, wonderful worlds that both Jones and Chapman occupy. It’s a world that’s also reflected in “Portrait of Basho as a Young Dragon,” which will appear on a record dedicated to another guitar master, Robbie Basho. Taken in isolation or taken together with Jones’ larger body of work, this is an undeniably enjoyable musical stroll taken in our time but sounding remarkably timeless.

This is music that is refreshingly unpretentious, remarkably poignant and decidedly in tune with the human experience. Jones’ other work for the Thrill Jockey label remains available and worthy of as much attention as this release. (He also crops up on various compilations including the marvelous Imaginational Anthem series.)

If ever there were an artist whose complete discography were necessary, it may be Glenn Jones. And if ever there was music that makes life more interesting, more bearable and more true, it may be Glenn Jones’.

Without haste, then, embrace Fleeting wholeheartedly or ignore it at your peril.

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