So, Jones comes with a resume that includes working with B-Movie auteur director and producer Roger Corman (Rock’n’roll High School, Frankenstein Unbound, Death Race 2000), indie rockers with an avant-garde twist Cul-de-Sac in Boston, and much-regarded guitarist John Fahey (leading light of “American primitive guitar�) and former 1970’s Can vocalist Damo Suzuki (who currently works with Now). This record, however, though rich and complex in arrangement, is also near-new age in its often-bucolic commitment to soft escapades and interwoven textures. Featuring 12 boundless tracks, it is described by The Wire as “scored across a series of open tunings, which he threads with beautiful rolling melodies, his slide work soundings like the flutter of tiny metal butterflies.� Each, in essence, becomes a narrative, a journey, and a procession, which reminds me of the flitting finger work of dexterous Richard Thompson, in his most alone and concentrated moments. “Little Dog’s Day,� at some junctures, feels like it is edging towards a kind of rural backwater blues, but then the sophisticated technique, minus overt pretension and seductive though empty sheen, allows a certain inchoate intelligence to flex into the “natural� sound without harming the true-to-form vibe.  In turn, “Cady� is slightly more roomy in places, until the nimble instrumental poetry curls and weaves into a porous wall of sound, creating a tone at once open and welcoming, not aloof and stroked by melancholy. Even ‘Heartbreak Hill,� which could be cinematic song styling, doesn’t fall prey to gray dispatches from the edge. It’s like looking out the window to see gusts shake the green grass until each blade becomes a minnow trying to find its way towards the horizon. Some slow and huddle in groups, while others rise and fall in a curving and elastic nod to undulating forms. Overall, not for those looking for rock’n’roll tread marks, but for those looking for agile and acute intelligence in the way a guitar can be prodded by the most accomplished of hands.