Simón Díaz, Gualberto Ibarreto, Hugo Blanco, Juan Vicente Torrealba, Aldemaro Romero … I have always been an admirer of the international work of great Venezuelan masters like these and others who have brought the music of my country around the world. To truly connect with the authentic roots, I have dedicated my life to sharing with the musical masters of the most recondite places of Venezuela; yet at the same time, I have allowed myself to be permeated by the music of the world, thanks to my traveling and the company of my trusty ipod. As a result, I have achieved harmony between two worlds that perhaps look distant, but that eventually converge into one aspect I call magic.
In Venezuela there are more than 300 genres of traditional music, all product of the encounter between African, Caribbean, European, indigenous currents and also consequence of a valuable influence of contemporary music. Within this heterogeneous universe, the cuatro is the common denominator, present in more than 90% of Venezuelan music in all its extension, perhaps because it has the ability to include the three basic components of music (melody, harmony and percussion) in a single execution.
What is my dream? That the Venezuelan cuatro acquires the same universal relevance as other instruments such as the violin, piano or drums and that one day you can recognize the sound of Venezuelan music in all corners of this planet.
I want to take with me the rhythms of Venezuela wherever I go and be able to teach students this music without them having to travel far. I would like to develop a workshop that breaks taboos and borders, to the point of connecting these traditional currents with contemporary genres such as jazz, funk or salsa, opening paths of improvisation, discovering the magic behind those mergers, expanding the spectrum and building a complex base rhythmic that would complement any musical education