Vibes master Martin Fabricius is a great one for collaborating and here, from the archives, comes an album recorded back in 2018 with guitarist Brad Shepik, bassist Steve Swallow and drummer Claes Brondai.
Having corresponded for a number of months, although a number of the players had shared stages before, when the quartet convened at the Southampton Arts Center in New York state they had never actually all played together.
Although a bit of a baptism of fire, Martin felt a connection with the others that thankfully for us and for the sound crew was captured for posterity. Eight years later, clearing out an old computer, the files were rediscovered and the end result is here.
Although essentially the leader and composer of the majority of the eight pieces here, it is very much in Martin’s nature to allow collaborators to take the lead. The generosity of spirit shown by all four players imbues the performance with a sense of kindness and openness throughout which an appreciative audience show their gratitude.
It is a gentle introduction, the shuffling drums and wavering vibes fully supported by the murmuring bass and as the guitar enters with its crystalline bell-like chimes, you can see why Brad is such a suitable foil; there are similarities in the clarity of sound and the willingness to expound on a theme with points where they finish one another’s sentences with ease.
Generally the momentum is buoyant and there is something about “The Journey” that had me thinking of ’80s cop show themes, such is the uptempo catchiness; whereas “Little Africa” is more springlike, the guitar leading with a hop, skip and a jump to which the others react with gusto. The sense of inclusivity permeates, with Steve taking the lead on the mellow-toned “Out Of The White” and Brad giving things an Iberian inflection on “Spanish Winter”. His fingers are all over the fretboard on what feels like a madcap dash, and you can’t help but be cheered and moved by the fluency of the players.
“Bill’s Will” has a striking drum-roll strut, with Claes leading them in a country blues direction that has Brad ably providing heartbreak twangs over what can best be described as shifting sand percussion. This more textural passage provides the players with further opportunity to flex their muscles and it really is quite a joy.
The variety of pieces on offer here is impressive considering the basic line-up, but it is the energy that the players bring which pushes the pieces on with the closer “Sweet Henry” coming on like it was made for radio, such is the catchiness. It is a great spot to finish as it leaves you feeling that there was more for the quartet to give.
It is another lovely facet to Martin’s œuvre and one which shines considerable light on the collaborators.
-Mr Olivetti-
