Oblivity

The growth of a creative jazz guitarist is not only in how one improvises or performs, but in the music that they release, traditionally via albums. The change that we hear in an icon such as Pat Metheny from Bright Size Life (1976) to MoonDial (2024) documents his spirit of exploration and his aesthetics over a long career.

Social media in particular has made many musicians chase views and virality instead of building a clear creative statement over time. The fact that most musicians and bands won't get much income from streaming music platforms only adds to the pain of a musician looking to build something lasting artistically.

In this regard, it's always inspiring when I see a guitarist who still works on crafting their vision. Such is the case of guitarist Shawn Purcell.

I first wrote about Shawn's music back in 2022, with Shawn's last album "180" , and eBooks back in 2022. After three years since his last major release, we now get "Oblivity" - a new record released on the Origin Records label.

The big difference this time is that Shawn decided to go with an all-star ensemble of six musicians including saxophonist Walt Weiskopf. This time as well, we are treated with ten all original compositions from Shawn, with no covers in sight. This is not surprising since his last record "180" only had one cover to begin with, but still shows that Shawn is ready to let the strength of both the music and the musicians be the way we measure the album, instead of having any familiar standards to draw listeners in.

The records opens with Oblivity, the title track of the album and immediately we are greeted with an intro that sets the mood before the driving theme pushes the energy into the first solo. Walt Weiskopf's improvisation carries through the power set at the beginning and the band solidly supports this. Chris Ziemba solos next and the tasteful blues answers close his solo before the man of the moment Shawn Purcell takes his first solo that is a nice mix of legato playing, post bop power and rhythmically interesting phrases. The intro is then used as a backdrop for the drum solo before we hear the head again.

The second track Quiet the Chaos goes into a contrasting vibe with Darden Purcell on voice over a 3/4 groove. Ben Patterson takes a trombone solo that is accompanied tastefully by Shawn's comping before he takes the second solo. Shawn's tone here is beautiful and the double time lines are reminiscent of Pat Martino intense lines and his playing here really shines. By the time the theme returns, I am reminded of how this sounds like some of Maria Schneider's works.

Moving on the the third piece Verdigris, the vibe alters into an initially ambient solo vocal intro before the rhythm sections sets the groove. Shawn's guitar solo on this has a lot of tasty ideas, and the rhythmic intensity shines here.

Primaries and Spares, showcases the band in a groovy context and a real treat is hearing the contrast on this piece relative to the previous pieces. Some parts of this track reminds me of early 90s Charlie Hunter, which is cool. The sax solo on this is burning as well, and the trading sections works well for the vibe of the piece.

Reaching the midpoint of the album, track five is Gentle Giant. For me, this ballad is a real personal highlight for me, and probably my fave track in the whole release. It's just so beautiful. At times it reminds me of the playing of my late teacher Garrison Fewell. The vibe is so on point.

Back to a swinging piece, Lazy Day Reverie, gives us that classic swinging jazz feel, but with a Kurt Rosenwinkel inspired tinge. Walt Weiskopf's solo on this is amazing. Overall this piece delivers.

Next up is Meu Amor, which is a real highlight because we get to enjoy a thoughtful straight 8ths tune that also features Shawn's wife, Darden Purcell on vocals doing melodic syllables before Walt Weiskopf takes another solo. Darden's vocals really adds a lot to this piece's romantic feeling.

Sunday Best brings us back to a relaxed mid-tempo swing tempo feel with a tasteful bluesy head. Shawn's solo on this is a nice mix of flowing bebop ideas, double time lines, swinging phrases and bluesy melodies. As a guitarist, I really felt like transcribing some of these ideas (or maybe check out the transcription in his book).

Approaching the end of the album, we have Move The Needle which has a long solo feature for pianist Chris Ziemba.

Closing the record is Flow, an ostinato-driven piece that is a fitting end to the record. Shawn's solo on this continues the jazz-rock vibe of many of the pieces on the album. As with the other tracks, there's a relatively short but powerful solo from Walt Weiskopf.

In conclusion, this is the kind of record that is for jazz fans who like a mix of styles especially in the John Scofield meets Pat Martino kind of sound. There's the jazziness of it all and there's a lot of rocking moments. This is certainly a different vibe from his previous album, 180 in one regard, but also does show a certain kind of logical continuity in the kind of sound that Shawn has been pursuing.

For fans of John Scofield, Kurt Rosenwinkel and Pat Martino this album might just be the next record in your playlist. Check it out!


Rating: 4.5/5