# Remembering Jerry Gonzalez: Photos, Videos

- Link: https://jazzblues.eu/2019/06/09/remembering-jerry-gonzalez-photos-videos/
- Published: 2019-06-09T13:17:54+01:00
- Author: https://JazzBlues.EU

**Not long ago, I was interviewing two important contributors to the world of American
music and letters – Eddie Palmieri and the other was Joe Conzo Sr. – both of whom
named the late Jerry González as the most important musician, along with Bobby Sanabria,
in the realm of Latin-Jazz. Both of them said – in as many words – that being the
youngest in the generational continuum, upon the shoulders of Mr González and Bobby
Sanabria rested the future of this music. **

Bobby Sanabria is still around and active in music to continue to make significant
musical contributions. But the inimitable conguero and trumpet player Jerry González
sadly passed away not yet a year ago in Madrid, on the 1st of October, 2018 when
his stout heart gave out from inhaling toxic fumes after his home caught fire the
night before.

Today is the 5th of June and had he lived, Mr Jerry González would have turned seventy
years old, which for many musicians is often the prime of their existence. For Mr
González, however, the proverbial “prime of his existence” began when he founded
his seminal Fort Apache Band. The year was 1979 and Mr González had already paid
his dues in venues that included dives and late-night bars around the United States
as well as in the established ensembles of that of the great Dizzy Gillespie in 
the 1970’s. After his apprenticeship with Dizzy Gillespie’s band, where he played
congas, Mr González was hired by Eddie Palmieri with whom he stayed until 1974, 
before moving on, with his brother, bassist Andy González, to Conjunto Libre, a 
band led by timbalero Manny Oquendo. Towards the end of the 1970’s Mr González and
his brother founded the Conjunto Anabacoa.

![](https://i0.wp.com/latinjazznet.com/wp-content/uploads/2019/06/Jerry-and-Andy-
Gonzalez.jpg?resize=640%2C414&ssl=1)

Andy and Jerry González

This was followed by a larger ensemble – the charismatic Grupo Folklórico y Experimental
Nuevayorquino – that included musicians such as Frankie Rodríguez, Milton Cardona,
Gene Golden, Carlos Mestre, Nelson González, Manny Oquendo, Oscar Hernández, José
Rodríguez, Gonzalo Fernández, Alfredo “Chocolate” Armenteros, Willy García, Heny
Álvarez, Virgilio Martí, Marcelino Guerra, Rubén Blades, Orlando “Puntilla” Rios
and Julito Collazo. This group recorded just two albums, _Concepts of Unity_ (1974)
and _Lo Dice Todo_ (1975). Mr González’s breakthough album as leader was entitled
_Ya Yo Me Curé_ (American Clavé/Sunnyside, 1979/1982).

Mr González’s real moment of glory came when he founded the Fort Apache Band, reputed
to have been named after the place in the Bronx where their music was frequently
heard. In its first incarnation, the Fort Apache band was a mid-to-large-sized ensemble
that included alto saxophonist Wilfredo Velez and the late pianist Jorge Dalto. 
Also in this seminal band were Kenny Kirkland, Sonny Fortune, Nicky Marrero, Milton
Cardona, Papo Vázquez, Steve Turre and others. Two albums: _The River Runs Deep_(
ENJA Records 1982) and _Obatalá_ (Enja, 1988) followed. Personnel changes were triggered
by Jorge Dalto’s passing.

![](https://i0.wp.com/latinjazznet.com/wp-content/uploads/2019/06/Jerry-Gonz%C3%
A1lez-photo-by-Jaime-Massieu.jpg?w=640&ssl=1)

Those albums were followed by _Rumba para Monk_ (1988). By now the Fort Apache Band
was down to quintet, which included Larry Willis on piano, Steve Berrios on percussion,
Carter Jefferson on tenor saxophone, Andy González on bass and Jerry González on
congas, quinto, trumpet and flugelhorn. Sadly soon after this release, Carter Jefferson
also passed away. He was replaced by John Stubblefield and tenor and soprano saxophonist
Joe Ford was added. As much as the music of _Rumba para Monk_ became the benchmark
for the Fort Apache Band much more magnificent recordings were to follow. Among 
these was _Moliendo Café_(Sunnyside Records, 1991) and – seven other albums later–
_Rumba Buhaina_dedicated to the legendary Art Blakey.

It was music like that on recordings from _The River Runs Deep_ to _Rumba Buhaina_
that carved out that special niche for the Jerry González and the Fort Apache Band.
It was one where the propulsion of the band’s Afro-Cuban rhythmic orientation provided
by the deep rumble of Andy González’s bass and Steve Berrios’ drums and percussion
intertwined itself with the inspiration of Jazz improvisation of the rest of the
band members. The glue that held things together was forged by Larry Willis’ piano,
the horns of Carter Jefferson’s as well as Joe Ford’s and John Stubblefield’s.

But nothing would be the same without the lead voice of Jerry González, who provided
the kinetic thrust with his magnificent percussion colouring on congas and quinto,
alternating between this and the wail of his horn that he used to pierce through
the melodies of the band’s repertoire with his trumpet, often softened with various
mutes or the flugelhorn. Mr González’s rippling percussive grooves shaped the sound
of every band he fronted, most especially that of the Fort Apache Band. His masterful
arrangements brought the full force and elegance of Afro-Cuban rhythmic forms such
as the rumba and guaguancó to the music of the band. His performances on the horn–
whether it was the trumpet or the flugelhorn – are strikingly expressionist, angsty
hotchpotches of jazz idioms and flaming Latin techniques that he applied, in equal
measure, into the music’s texture – sometimes obliquely and at other times with 
loud and direct reports.

Moreover, whether played muted or open horn the colours he produces in the music
are extraordinary with muted parts seeming to go under the melody and then exploring
other harmonic routes through almost imperceptible changes like watercolour washes.
Almost always these magical variations make it seem as if Mr González’s musical 
lines have been created from a palette fashioned from real life. When this is heard
with the music provided from the rest of the Band it always appears to be a most
organic process that has an earthly beginning, but then rises to an utterly rarefied
realm. It is this unique sound palette – a rare melding of aural language into which
nuanced emotions were expressed with a poignant humaneness – without an ounce of
guile that came to be recognised as the voice of one of the most unique musicians
in all popular music; certainly in Latin-Jazz, a stream of American music that ran
parallel to the great tradition of African-American music called Jazz.

![Remembering Jerry González](https://i0.wp.com/latinjazznet.com/wp-content/uploads/
2019/06/Jerry-Gonzalez-with-Andy-Steve-Berrios-Larry-Willis-John-Stubblefield-and-
Joe-Ford-circa-1995.jpg?w=640&ssl=1)

It is hardly surprising therefore that When Fernando Trueba was producing his celebrated
documentary _Calle 54_ that Jerry González and the Fort Apache Band came to be one
of the featured acts in the film. While touring with Director Trueba to promote 
the film Mr González landed in Madrid, Spain on balmy day in the year 2000. The 
single promotional date in that city was enough to seduce Mr González to make it
his home. Dropping anchor must have been one of the easiest decisions for Mr González
to make. Madrid welcomes him with open arms and Mr González was lionised by the 
musicians of every spectrum – especially the numerous Cuban émigrés, and other local
and Flamenco who called Madrid home. His reputation as one of the great trumpet 
players and percussionists had already preceded him. It wasn’t hard to find work
there and Mr González became a leading light of the Madrid scene. He also founded
two ensembles comprising Spanish and other musicians.

The first of these was Los Piratas del Flamenco (2004). An eponymously titled album
resulted in 2004 on Mr González’s old Sunnyside imprint. The album features music
that puts a magical twist into Flamenco music featuring the incomparable guitarist
Niño Josele playing opposite the high and lonesome trumpet voice of Mr González.
The album also includes the flamenco, the percussionist Israel Suárez “Piraña” and
the singer Diego El Cigala. One of the uniquely innovative aspects of the recording
is that it was made without bass, drums or piano. The result is Flamenco music infused
with the heart-breaking trumpet of Mr González’s take on Jazz and Latin-Jazz idioms.
The album was nominated to the Grammy Awards in the Best Latin Jazz Album category
and won the Critics Award in New York for Latin-Jazz Album of the Year.

While in Madrid everyone who was anyone wanted to play with Mr González including
the legendary Paco de Lucía as well as Enrique Morente, Javier Limón and Jorge Pardo,
and _copla_ musicians like Martirio as well as and pop musicians living in Spain–
the Argentinean Andrés Calamaro being among them. Mr González also formed a quartet–
El Comando de la Clave – with the Cubans pianist Javier “ Caramelo” Massó, drummer
Kiki Ferrer and the inimitable composer, bassist, vocalist and timbalero Alain Pérez.
An album, _Avísale a mi contrario que aquí estoy yo_ (Cigala Music, 2010) resulted
and this album was released in the US in 2011 by Sunnyside Records to much critical
acclaim including a nomination for a Latin Grammy Awards in the Best Latin Jazz 
Album category. It was also voted Best Latin Jazz Album of the Year 2011 in several
polls. Meanwhile the album was given the “Latino of the Year Award” in the 100 Latinos
Awards in Madrid.

Mr González made a triumphant return to New York’s Blue Note with his fabled Fort
Apache Band in 2012. The resultant live album was released by the Half Note label.
Meanwhile in Spain he focused on wonderfully new projects, one of which was a recording
with the magnificent Spanish contrabass player Javier Colina, and a duet album with
the flamenco guitarist Niño Josele. He continued to remain much in demand and extremely
busy, performing with a number of local and visiting musicians. Among his new friends
were the bandleader Miguel Blanco and the producer Thomas Schindowski who helms 
the Youkali Music label. For Youkali Music – and with Miguel Blanco arranging – 
Mr González made two magnificent big band recordings. The first was Music for Big
Band (Youkali Music, 2012) largely with repertoire written by Mr Blanco who also
arranged and conducted. This was followed up two years layer by A Tribute to the
Fort Apache Band, another big band sojourn, this time with repertoire made famous
by Mr González’s legendary band once again arranged for big band and conducted by
Mr Blanco.

![](https://i0.wp.com/latinjazznet.com/wp-content/uploads/2019/06/Jerry-Gonz%C3%
A1lez-by-Jaime-Massieu.jpg?w=640&ssl=1)

Although the two big band recordings including his last release (2014) with Miguel
Blanco feature Mr González in a setting where the musical textures are considerably
denser than what one is accustomed to listening to with the Fort Apache Band, it
is impossible to miss the singular magic of Mr González’s horn gliding effortlessly
like a proverbial swan through liquid phrases that occasionally dive and dart in
and out of the viscous music. His phrases are elliptical with lines climbing in 
iridescent arcs filling the pregnant air with a mystical sound as he dissects and
analyses Mr Blanco’s arrangements then puts them together as a whole and communicates
in his own unique voice the stories that speak to him in a very personal way.

During the nearly two decades he spent in Madrid, Mr González was not only reincarnated
musically and performed and recorded with great major Spanish musicians such as 
Paco de Lucía, Javier Limón and Federico Lechner, he also found love, marrying Andrea
Zapata-Girau from Vigo, Spain. A filmmaker, editor and visual artist, as well as
jazz and Afro-Caribbean music lover and collector Miss Zapata-Girau and Mr González
had a daughter who featured prominently as a member of the audience at various concerts
and club dates. Miss Zapata-Girau is the proud keeper of the flame that is Jerry
González, iconic musician and legendary musician who helped shape Latin-Jazz in 
ways that we will be coming to terms with for years to come.

On the 6th of May, 2019 Mr González was honoured by the City of Madrid with a plaque
to commemorate his monumental contribution to music. Miss Zapata-Girau and many 
of his friends – musicians and just plain admirers of the man they knew as neighbour
and friend were there to celebrate his life. There can be little doubt that Mr González
was there among them smiling his crocked smile as he acknowledged the honour as 
only he could: in all humility.

Reviewing his last album Jerry González & Miguel Blanco: A Tribute to the fort Apache
Band I made the mistake of suggesting that the ensemble whose repertoire was being
celebrated had been disbanded. I had not heard from them in a while and, while assuming
that Mr González had relocated permanently to Spain, that was it, so to speak. Mr
González was justifiably upset and made his anger known in no uncertain terms. My
editor had to apologise on my behalf as I was too mortified to respond. He passed
away on October 1, 2018 without my ever being able to make my peace with him. Here
then, is what I should have done before that fateful day last year.

![Remembering Jerry González](https://i0.wp.com/latinjazznet.com/wp-content/uploads/
2019/06/Jerry-Gonzalez-with-Thomas-Schindowski-Javier-Colina-and-others-at-Cafe-
Central-Madrid.jpg?w=640&ssl=1)

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