Shawn Purcell has lengthy been wowing East Coast guitar followers. A former member of elite U.S. Air Pressure Airmen of Word and U.S. Navy Band Commodores jazz ensembles, and presently a professor at George Mason College, his credit are voluminous and he holds three music levels in addition to the eye of savvy audiences within the Washington D.C. space. Oblivity is his fourth album, first all-original set, and arguably his most intriguing and numerous work.

What was the mindset for Oblivity?
I didn’t need to cater to hardcore jazz followers. I have a tendency to jot down music for a selected mission. Right here, I wrote for individuals who will not be accustomed to jazz in addition to devoted jazz listeners.

Your tone on a number of tracks isn’t typical of jazz guitar sounds.
I’m a product of the ’80s and grew up listening to Stern, Scofield, and Metheny in addition to Zeppelin, Van Halen, Yngwie and Vai, after which Jimmy Raney and Peter Bernstein. I play quite a lot of gigs in numerous types and actually take pleasure in utilizing gizmos and results to create a different sonic panorama; not all clear guitar, not all distorted guitar or processed guitar. On my final album (180), I used overdrive and an octave field along with principally clear conventional bebop tone.

The range extends to tracks in addition to sounds – gospel, bop, funk, jazz ballad, Latin, in addition to fusion and heavy intervallic stuff.
Sure, I hope it’s not too numerous (laughs). “Oblivity” is kind of completely different from “Primaries and Spares” or “Sunday Finest” in sound and magnificence. That is my most eclectic and exploratory album, and probably the most adventurous compositionally and sonically.

How did the band come collectively?
Walt Weiskoph is the sax participant, and he’s a beautiful soloist. I found him in my early 20s; I cherished his tone, writing, and fashionable concepts. He was an enormous affect so far as jazz ideas, however I didn’t know what he’d consider funkier tunes just like the James Brown vibe of “Primaries and Spares.” I didn’t notice he’d been enjoying with Steely Dan for 20 years! I composed a variety of the fabric with him in thoughts.

Ben Patterson (trombone) and I’ve been buddies for years; he was greatest man at my marriage ceremony. We have been within the Air Pressure band collectively and I’ve performed on all his information.

Steve Fidyk (drums) can be an previous good friend; he dealt with the number of tunes higher than anybody I might think about. Hearken to “Stream.” His time is outstanding; we solely had a click on observe on two items.

Jeff Reed (bass) match the music technically and conceptually; he performs nice electrical although it’s all upright on Oblivity. Chris Ziemba (piano) can be from Airmen of Word. He’s a fantastic accompanist and soloist who can simply cross over from bebop and fashionable piano to Fender Rhodes, like on “Primaries.” All of them learn so effectively; we solely had a two-hour rehearsal per week earlier than to organize, they usually sounded ok to document then!

Your spouse, Darden, contributes vocals.
Sure, I’ve needed to discover the voice extra in instrumental mixtures. The vocalese is a central facet in a number of tunes, and a pleasant addition to the combo. She was co-producer with myself and Wealthy Sigler, and we’ve recorded collectively earlier than, however Oblivity options her prominently. “Verdigris” units the temper along with her intro solo that’s very completely different from different tracks. We went overboard on the reverb for a ghostly impact. Dave Darlington (Wayne Shorter, John Patitucci, Pat Martino) blended the document and did a masterful job.

Which tracks greatest signify your enjoying?
“Verdigris” demonstrates my bop aspect, “Mild Large” is a ballad efficiency I like and “Oblivity” has the edginess and different sonics. These are three completely different views.

What gear did you employ?
I performed my Benedetto Pat Martino mannequin with D’Addario nickel roundwounds into two amps with the controls set the identical. On the suitable aspect it’s a black-panel Vibroverb I constructed from a silver-panel Bandmaster Reverb right into a 2×12 cupboard with Celestion Alnico and Weber California audio system. It’s a hotter, fatter sound with slightly grit. On the left is a ’69 Twin with Weber California ceramic and EV audio system. That’s very clear – brighter and thinner with much less low-mid girth. Tomas Jackson did the mods on the Twin.

My overdrive is a Fulltone tenth Anniversary Full-Drive 2. I take advantage of a Boss SY-1 synth pedal for my Methenyesque synth sound on “Stream,” with overdrive into an Origin Cali 76 compressor to even the assault, and a Strymon Timeline delay. I alternate it with straight clear sound (no results) on “Quiet the Chaos.” On “Oblivity” and “Lazy Day Reverie” it’s an Electro-Harmonix POG 2 with overdrive and compressor. On the finish is a micro noise-reduction unit, an previous Ibanez refrain, and Strymon reverb. – Wolf Marshall

This text initially appeared in VG’s October 2025 situation. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.