The Wanting balances a homespun intimacy with instrumental guitar performances that verge on jaw-dropping. Jones' fourth album was recorded in an apartment overlooking a Boston suburb’s commuter rail line, which explains the occasional clang in the distance. The Wanting reveals how Jones has graduated from his American Primitive studies of the Takoma Records roster and is now exploring his own tunings and tones; it’s one of those rare situations where the student has become the master. “A Snapshot of Mom, Scotland, 1957” leads off, exuding feeling and emotion through dexterity and virtuosity. Over delicately picked arpeggios, Jones plays subtle fretboard slides while plucking out occasional harmonic overtones. He also further explores the banjo starting with “The Great Swam Way Rout,” applying his own style to the instrument. Returning to his musical roots, he closes with the nearly 18-minute epic “The Orca Grande Cement Factory at Monolith, California,” a tribute to John Fahey’s “The Portland Cement Factory at Monolith, California.”