He uses full distortion here and there: most notably on Gary Thomas' 'Till We Have Faces; occasionally with the PMG (Half Life of Absolution from Live in Europe), one track on the new M/M, and probably some other stuff I'm forgetting. He's not known for that type of tone, though, clearly. I think the synth is his answer to it... take it from me - distortion is a wild and crazy animal, hard to control. It often seems to be "not quite right", especially for jazz-type lines.
You might check out Frisell's contribution to Cuong Vu's It's Mostly Residual. Nothing candyass about it, and a great fuzztone.
Does Zero Tolerance for Silence fit the bill? For some reason I can't find the energy to pull it out and listen to it and find out how fuzzy it is.
Is it even Jazz?