El Puente (The Bridge), Steve Pouchie

Context means many things to a musician, significantly effecting their ability to develop meaningful statements. On one hand, context might refer to the type of rhythmic foundation placed beneath the music. Different styles demand unique rhythmic approaches that change the musical requirements of the performance. Musicians must phrase differently, structure their improvisations from a distinct perspective, and interact through unique channels based upon the stylistic foundation.

On the other hand, context can relate to the music’s instrumentation, ranging from traditional combinations to absolutely unique mixtures. The limits of an artist sitting in a sea of musicians among a big band are quite different than an artist in a small combo. Instrumentations provide both freedom and limits for musicians, allowing opportunities to interact with the individuals around them.

The meaning of context changes based upon the conversation, but its impact always stays the same; it effects the musician’s ability to perform at their highest level. Certain contexts play upon a musician’s strengths and they bring out the best in the musician. Other contexts challenge the musician, forcing them to struggle through unfamiliar territory. Strong musicians demonstrate the ability to navigate their way through numerous different contexts, consistently performing at a high level. Vibraphonist Steve Pouchie creates a number of different contexts through smart compositions and arrangements on El Puente (The Bridge), showing strong musicality at all points.

Featuring Guest Artists With A Full Ensemble
Pouchie features a number of original compositions with a full ensemble, bringing several guest artists into the mix. Pouchie provides a melodic vamp over an up-tempo son montuno on “Journey Into Outland,” until a full brass section interjects explosive attacks around melodic phrases from saxophonist Julio Botti. Sharp edged band breaks send Pouchie into an enthusiastic improvisation full of quick runs, followed by a rhythmically engaging solo from Botti.

Pianist Adan Perez charges full steam into his improvisation, playing with a rhythmic abandon that inspires response from the rhythm section. Perez provides an uplifting vamp behind Pete Nater’s trumpet embellishments on “The Shores Of Summer,” leading into a catchy vibes melody framed by brass accents. Nater attacks his improvisation with an assertive edge, spinning bop edged phrases through the full range of his instrument over an active montuno.

Pouchie grabs the song’s energy and flies into his solo with long rapid lines and short percussive phrases that build upon the band’s momentum. Freely interpreted vibraphone, flute, and saxophone lines float over a spacious guaguanco on “Naomi’s Fantasy,” until the band jumps into a son monunto behind intertwining lines from Botti and flautist Ariel Santiago.

Botti mixes long flowing melodic ideas and clave driven rhythmic ideas into a strong improvisation, grounded by musical integrity. Santiago plays upon the percussive potential of his instrument, creating a rhythmic improvisation that leads into an exciting solo from timbalero Erik Piza. These pieces expose the strength of Pouchie’s compositional and performance skills in a large ensemble setting, revealing a powerful voice.
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