{"id":9411,"date":"2025-10-23T09:41:05","date_gmt":"2025-10-23T14:41:05","guid":{"rendered":"https:\/\/www.c4trio.com\/?p=9411"},"modified":"2025-10-23T09:41:05","modified_gmt":"2025-10-23T14:41:05","slug":"c4-trio-has-a-trick-to-make-venezuelan-culture-global","status":"publish","type":"post","link":"https:\/\/www.c4trio.com\/en\/c4-trio-has-a-trick-to-make-venezuelan-culture-global\/","title":{"rendered":"C4 Tr\u00edo has a Trick to Make Venezuelan Culture Global"},"content":{"rendered":"<p>There are two ways to approach C4 Tr\u00edo, if you haven\u2019t already.<\/p>\n<p>One is listening to their 11 albums. The first, 2006\u2019s\u00a0<em>C4 Trio<\/em>, already contains what the band was meant to be from the start: the three\u00a0<em>cuatro<\/em>\u00a0players, H\u00e9ctor Molina, Jorge Glem, and Edward Ram\u00edrez, plus several illustrious collaborators such as Aquiles B\u00e1ez. The\u00a0<em>cuatro<\/em>\u00a0is Venezuela\u2019s traditional 4 string instrument. There are traditional songs from various regions of Venezuela, played with the band\u2019s careful audacity; a classic of Onda Nueva, \u201cCarretera;\u201d and jazz: \u201cA Night in Tunisia,\u201d the Dizzie Gillespie standard, turned into a Caracas\u00a0<em>merengue<\/em>\u00a0mixed with a San Benito\u00a0<em>golpe<\/em>, and the \u201cMambo Influenciado\u201d from Cuban maestro Chucho Vald\u00e9s. The list of pieces is designed to disorient you with every track. But it\u2019s, above all, a manifesto, which says \u201cthis is the range of what we can do, and there\u2019s more to come.\u201d In the following album,\u00a0<em>Entre Manos<\/em>, also produced by B\u00e1ez, you can already sense the leap in maturity, they are no longer kids who need to prove how good they are. They have an album with the Sucrense singer Gualberto Ibarreto, one with the ska band Desorden P\u00fablico, one with singer Rafael \u201cel Pollo\u201d Brito, one with the Brazilian mandolinist Hamilton de Holanda, and one with the Nicaraguan salsa singer Luis Enrique,\u00a0<em>Tiempo al tiempo<\/em>, which won a Latin Grammy as best folk album, while the band\u2019s fourth member, bassist Rodner Padilla, who is now the fourth member of this trio that is actually a quartet, won another for his arrangement of the song \u201cSirena.\u201d They also have compilations and a 2023 Christmas album. This extensive discography also offers many opportunities to explore the same universe, for different audiences, not necessarily Venezuelans.<\/p>\n<p>Another approach is to see them live, to understand why the allusion to an explosive, C4, is in the play of words in their name. To witness their most famous trick: interlacing their arms to play three\u00a0<em>cuatros<\/em>\u00a0between three, accompanied by Padilla. To direct that youthful energy, that joy they display on stage, to the curiosity of our children who didn\u2019t grow up in Venezuela or witness the power of a\u00a0<em>pajarillo<\/em>.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<div class=\"wp-block-embed__wrapper\"><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" src=\"https:\/\/www.youtube.com\/embed\/xKjFAaPZo10?version=3&amp;rel=1&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;fs=1&amp;hl=en-US&amp;autohide=2&amp;start=691&amp;wmode=transparent\" width=\"690\" height=\"389\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/span><\/div>\n<\/figure>\n<p>They\u2019re currently on tour. In 2025, they have at least\u00a0<a href=\"https:\/\/www.c4trio.com\/en\/conciertos\/\">nine concerts left<\/a>\u00a0in the US and Canada; with their most ambitious show to date on\u00a0<a href=\"https:\/\/www.arshtcenter.org\/tickets\/2025-2026\/c4-trio\/c4-trio-los-20-de-c4\/\">November 13<\/a>\u00a0at the Miami Arsht Center for the Performing Arts. It\u2019s a demanding schedule, but the occasion is worth it: C4 Tr\u00edo is turning 20. Time to review their history and understand what this project has done for the\u00a0<em>cuatro<\/em>\u00a0and for Venezuelan music, precisely in the years in which the nation has been subjected to all the factors you can imagine to hinder cultural expression.<\/p>\n<h3 class=\"wp-block-heading\"><strong>Something Different<\/strong><\/h3>\n<p>Like many great bands, the story of C4 Tr\u00edo began with a handful of young, talented, and ambitious musicians who became friends and discovered they had common goals. Glem came from Cuman\u00e1, Molina de M\u00e9rida, and in Caracas, they met other musicians who were adding more years to a lifetime of music. \u201cH\u00e9ctor and I had an ensemble with Rafael Ramirez at the IUDEM,\u201d Jorge Glem recalls. \u201cH\u00e9ctor played cuatro, I played mandolin, and Rafael played double bass. We made an arrangement of \u2018Zumba que zumba\u2019 that later appeared on the album with Gualberto Ibarreto, and we started playing together.\u201d \u201cC4 Tr\u00edo was a project that was born spontaneously; it wasn\u2019t something we planned,\u201d says H\u00e9ctor Molina. \u201cWe were invited to play at a concert on November 24, 2005, at CELARG, organized by our friend Edwin Arellano with the Multifon\u00eda Foundation. Jorge Glem, Edward Ram\u00edrez, Rafael Mart\u00ednez, and I were going to play there, just songs for\u00a0<em>cuatro<\/em>. We decided it would be good to do some duets and then some songs together at the end, as a quartet. What happened there that day was so\u00a0<em>chevere<\/em>\u00a0that we decided to continue with that format. That\u2019s why we chose November 24th as our founding date.\u201d Soon after, Rafael Mart\u00ednez moved to San Crist\u00f3bal, and the quartet became a trio: Edward, Jorge, and H\u00e9ctor. When the time to record their first album came, on Ernesto Rangel\u2019s Guataca Records label, Edward resolved a long discussion about the group\u2019s name with the idea of \u200b\u200b\u201dC4 Tr\u00edo.\u201d<\/p>\n<h3 class=\"wp-block-heading\"><strong>A Confluence of Worlds<\/strong><\/h3>\n<p>\u201cWe all were\u00a0<em>cuatro<\/em>\u00a0students, coming from different worlds, that merged into similar searches,\u201d says Edward Ram\u00edrez, defining the project\u2019s three components: openness to the world, knowledge of traditional heritage, and world-class quality on stage: \u201cWe wanted to immerse ourselves in other styles of music, while understanding our roots as much as possible, and elevate our performance and productions.\u201d Molina points out that Venezuelan instrumental music ensembles were on the rise at the time. \u201cGroups like Ensamble Gurruf\u00edo, El Cuarteto, Ra\u00edces, and Onkora were an inspiration. But we also agreed that we liked all kinds of music and that we are music lovers. So, in addition to traditional or Venezuelan roots music, we liked other types of music like jazz, rock, pop, and salsa. And all of that would somehow be reflected in our approach to the\u00a0<em>cuatro<\/em>.\u201d<\/p>\n<p>Glem wanted to take advantage of the cuatro\u2019s potential for percussion, exploring the instrument\u2019s full range with an ensemble of\u00a0<em>cuatros<\/em>\u00a0that complemented each other and gave themselves permission to invent. Ram\u00edrez wanted to continue the work of his\u00a0<em>maestros<\/em>\u00a0and unleash the instrument within and outside of Venezuelan music. \u201cThat is one of C4\u2019s greatest pursuits, and we have been gradually achieving it, although there is still much to be done.\u201d<\/p>\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u201cC4 Tr\u00edo has been a group that hasn\u2019t set limits. And that\u2019s why it\u2019s sometimes difficult to classify. I think part of our contribution has been this vision that there are no limits to music or to the instrument.\u201d<\/p><\/blockquote>\n<p>Gerardo Guarache, author of the book\u00a0<em>C4 Tr\u00edo y la leyenda de los cuatros explosivos<\/em>, notes that \u201cC4 Tr\u00edo showed that the traditional ensemble format can be altered with three cuatro players, not just one, and that Venezuelan music can also be a good show. The very birth of the group was a daring undertaking, but they gradually showed they were more than just a traditional group, but performers of music in general.\u201d Soraya Rojas, their first manager \u2014whose early death is one of the losses in the history of C4 Tr\u00edo, along with that of their first bassist, Gustavo M\u00e1rquez, and their first producer, the legendary Aquiles B\u00e1ez\u2014, induced them to change customs in the score and on stage. \u201cEver since they appeared on the scene,\u201d Guarache continues, \u201cthey were already studying Pat Metheny, Bela Fleck, and Djavan; they would get together to watch them play on DVD. From their first album, they have had that cosmopolitan restlessness.\u00a0<em>Back to 4<\/em>\u00a0is one of my favorite albums of theirs because it shows how far their freedom has taken them. But they will always sound Venezuelan; the fabric of the group is made of that. That breadth allows them to play at a Venezuelan party or at a jazz or world music festival, or in an alternative or academic music environments, and it manifests itself in all the collaborations they have done with people ranging from Gualberto Ibarreto and Oscar D\u2019Le\u00f3n to Desorden P\u00fablico, and the work they do as soloists.\u201d\u00a0H<\/p>\n<p>Because they all have careers outside of C4 Tr\u00edo. Edward Ram\u00edrez formed El Tuyero Ilustrado with Rafa Pino (a project to reinvent the very specific genre of\u00a0<em>joropo central<\/em>) and an album with jazzmen Roberto Koch and Carlos \u201cNen\u00e9\u201d Quintero. H\u00e9ctor Molina has a solo album,\u00a0<em>Giros<\/em>, and collaborates regularly with traditional and symphonic musicians such as Pacho Flores and Rafael Payare, the conductor of the Montreal Symphony Orchestra. Jorge Glem recorded Gonzalo Grau\u2019s\u00a0<em>Odyssey<\/em>\u00a0with the Sim\u00f3n Bol\u00edvar Symphony Orchestra conducted by Gustavo Dudamel; he has a solo album,\u00a0<em>En El Cerrito<\/em>; and two jazz duo albums,\u00a0<em>Stringwise<\/em>, with pianist C\u00e9sar Orozco, and Brooklyn-Cuman\u00e1, with American accordionist Sam Reider. And Rodner Padilla is a highly sought-after bassist and arranger, who, among many other albums, recorded his concerto for electric bass and orchestra with the Miami Symphony, conducted by Eduardo Marturet.<\/p>\n<p>\u201cH\u00e9ctor studied classical guitar in M\u00e9rida, and Jorge studied classical mandolin, as a native of Sucre studying in Caracas\u201d, says Guarache. \u201cGonzalo Teppa, a double bassist who has played with them, called Edward \u2018the Bill Evans of Venezuelan music\u2019 because he trained as a master of harmony. Rodner is the most versatile of the group, like any good bassist, and he doesn\u2019t stick to the parameters of folklore.\u201d<\/p>\n<h3 class=\"wp-block-heading\"><strong>Now the Cuatro Is Cool<\/strong><\/h3>\n<p>For H\u00e9ctor Molina, \u201cC4 Tr\u00edo has been a group that hasn\u2019t set limits. And that\u2019s why it\u2019s sometimes difficult to classify. I think part of our contribution has been this vision that there are no limits to music or to the instrument. And now we\u2019re pleased to see that many kids are immersed in the cuatro, making any kind of music. Always starting from folklore, which is the original realm of the\u00a0<em>cuatro<\/em>, but without setting limits on musical styles.\u201d Jorge Glem defends the effort to view the\u00a0<em>cuatro<\/em>\u00a0as a universal instrument, a path already followed by Cheo Hurtado and \u201cPollo\u201d Brito. \u201cTo show that the\u00a0<em>cuatro<\/em>\u00a0can play any genre, to not be afraid of other genres or other ideas a little removed from traditional Venezuelan music.\u201d Edward Ram\u00edrez emphasizes that \u201call the music we make has one foot in the roots of Venezuelan music, no matter what style we\u2019re working on. Living abroad gives us the opportunity to share time with different musicians who have a different vision, and that feeds our music. And that\u2019s evident in the projects we\u2019ve been able to complete, like\u00a0<em>Tiempo al tiempo<\/em>. It speaks volumes about how important those connections are. But it\u2019s also evident in the music on\u00a0<em>Back to 4<\/em>, produced by an incredible musician from American band Snarky Puppy. We toured with them on a bus a couple of years ago in the US. Those experiences are huge for feeding our music.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<div class=\"wp-block-embed__wrapper\"><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" src=\"https:\/\/www.youtube.com\/embed\/3Jl1lmBvT2k?version=3&amp;rel=1&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;fs=1&amp;hl=en-US&amp;autohide=2&amp;wmode=transparent\" width=\"690\" height=\"389\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/span><\/div>\n<\/figure>\n<p>For Glem, emigration has meant learning that a Venezuelan musician shouldn\u2019t arrive somewhere \u201cwith the idea that we\u2019re coming from the best country in the world and have the best instrument, because that immediately hinders the possibility of collaborating with other musicians who see their country and their instruments in the same way.\u201d Molina agrees: \u201cWhen you share time with local musicians, you begin to learn about their culture and incorporate those elements, those other perspectives, and tools into your background. This gives you a broader perception of what music means, increases your ability to adapt, and allows you to better integrate into other worlds. It\u2019s a great way to become a musician with a broader spectrum and less of a local identity.\u201d<\/p>\n<p>Molina understands the guardians of tradition but defends the right to innovate. \u201cMusic is a dynamic art that is constantly changing, and there will always be disruptions to the norm. A\u00a0<em>cuatro<\/em>\u00a0that was built 50 or 60 years ago didn\u2019t sound like the ones that are made today. And the same goes for all the instruments and the people who play them. Of course, especially in the beginning, we received some criticism. But over the years, as the project became more established, many people began to understand that, although we use folklore as our foundation, we are not a folk music group. Today, there is much more openness to innovation. In Venezuela, the incorporation of popular music into the national orchestra system\u2019s training programs has led to a generation of players of popular instruments like the\u00a0<em>cuatro<\/em>, the\u00a0<em>maracas<\/em>, the\u00a0<em>bandola<\/em>, and the Venezuelan harp, who already have formal musical training. What\u2019s happening with the\u00a0<em>cuatro<\/em>\u00a0is amazing: kids as young as 13 or 14 are playing it, something unthinkable just a few years ago. The evolution the\u00a0<em>cuatro<\/em>\u00a0is undergoing seems endless.\u201d\u201cC4 Tr\u00edo helped young people become interested in the\u00a0<em>cuatro<\/em>, making it cool,\u201d says Guarache. \u201cWhen they travel to Venezuela and open workshops, they gather 300 kids who see them as idols. Not even Ensamble Gurruf\u00edo, an incredible group, generated that kind of enthusiasm.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Fuente: <a href=\"https:\/\/www.caracaschronicles.com\/2025\/10\/22\/c4-trio-has-a-trick-to-make-venezuelan-culture-global\/\" target=\"_blank\" rel=\"noopener\">caracaschronicles.com<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>There are two ways to approach C4 Tr\u00edo, if you haven\u2019t already. One is listening to their 11 albums. The first, 2006\u2019s\u00a0C4 Tr\u00edo, already contains what the band was meant to be from the start: the three\u00a0cuatro\u00a0players, H\u00e9ctor Molina, Jorge Glem, and Edward Ram\u00edrez, plus&#8230;<\/p>","protected":false},"author":1,"featured_media":9412,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-9411","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noticias-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>C4 Tr\u00edo has a Trick to Make Venezuelan Culture Global - C4 Tr\u00edo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.c4trio.com\/en\/c4-trio-has-a-trick-to-make-venezuelan-culture-global\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"C4 Tr\u00edo has a Trick to Make Venezuelan Culture Global - C4 Tr\u00edo\" \/>\n<meta property=\"og:description\" content=\"There are two ways to approach C4 Tr\u00edo, if you haven\u2019t already. 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