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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