Obituaries

Jerry González, innovator of Latin jazz, dies at 69

FILE -- Jerry González, right, on fluegelhorn, and his brother Andy, on bass, performing with Arturo O’Farrill and the Afro Latin Jazz Orchestra at Symphony Space in New York, Oct. 14, 2011. Jerry González, a trumpeter and percussionist who was a central figure in Latin jazz, especially through the Fort Apache Band, died on Monday in Madrid. He was 69. (Willie Davis/The New York Times)
NEW YORK TIMES/FILE 2011
Mr. González, on fluegelhorn, and his brother Andy, on bass, performed with Arturo O’Farrill and the Afro Latin Jazz Orchestra at Symphony Space in New York.

NEW YORK — Jerry González, a trumpeter and percussionist who was a central figure in Latin jazz, especially through the Fort Apache Band, which he formed almost 40 years ago with his bass-playing brother, Andy, died Monday in Madrid. He was 69.

The cause was smoke inhalation suffered during a fire in his home, his sister, Eileen González-Altomari, said. A product of New York City, he moved to Spain in 2000.

Jerry González spent time as a sideman for stars like the trumpeter Dizzy Gillespie and the pianist Eddie Palmieri, but his greatest skill was weaving together musical styles and influences from Cuba, Puerto Rico, Africa, and more to create his own music.

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His explorations ranged far and wide. His 1989 album with Fort Apache, “Rumba Para Monk,” infused the compositions of Thelonious Monk with Afro-Cuban flavor. His album “Ya Yo Me Curé” (1979) includes a jazz riff on the theme from “I Love Lucy.”

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He was, in short, an innovator who, along with his brother, the drummer Steve Berrios, and a few others, melded different strains of music into new sounds.

“More than almost anybody else,” Todd Barkan, a jazz presenter who produced several of Mr. González’s albums, said in a telephone interview, “they combined straight-ahead jazz and Latin music in an organic and progressive way that really pointed the way toward a lot of musical language to come.”

Gerald Antonio González grew up in the Bronx. His father, Geraldo, was a vocalist who had his own band in the 1950s and ‘60s. His mother, Julia (Toyos) González, was a homemaker who also did secretarial work at New York University and, for a time, for the FBI.

González-Altomari said her father filled the house with music when his children were young. “He was the one who bought Jerry and Andy their first instruments,” she said in a telephone interview.

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Mr. González recalled those early influences in a 1991 interview with The Boston Globe.

“We listened to everything — Machito, Tito Rodríguez, Cortijo y su Combo, Tito Puente,” he said. “So when I started,” he added, “I didn’t even think about what I was going to do. It was Latin jazz. That’s what was in my head.”

He began playing the trumpet in junior high school. His sister said that the congas came into his repertoire by accident: He broke his leg and could not get to school for a time, so he began hanging out with street-corner musicians.

After attending the New York College of Music, he joined Gillespie’s band at 21 and stayed with it for a year. He then spent time under Palmieri.

“Playing with Palmieri, you had to know Cuban music,” he told the Globe. “That band for me was like going to school.”

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He would later play with Puente, the great Latin jazz percussionist and bandleader, as well as pianist McCoy Tyner, bassist Jaco Pastorius, and others. His musicianship gave him unusual versatility.

“As an instrumentalist, he was that rare artist who played with equal dexterity conga drums, trumpet, and fluegelhorn,” Raul Fernandez, a professor emeritus at the University of California Irvine, who curated the Smithsonian Institution exhibition “Latin Jazz: La Combinación Perfecta” in 2002, said by e-mail.

But Mr. González and his brother were also carving their own musical trails. In Andy González’s basement in the Bronx in the mid-1970s, veteran Cuban musicians and younger New York-bred Puerto Rican players were jamming, eventually recording two albums as the Grupo Folklorico y Experimental Nuevayorquino — the New York Folkloric and Experimental Group. Jerry González was also playing congas in the salsa ensemble Conjunto Libre.

Then, about 1980, the Fort Apache Band was formed (taking its name from a Bronx police precinct house). It has varied in size over the years, but whatever the lineup, it has always been adventurous.

“Where much of Latin jazz features a jazz musician soloing over a Latin rhythm section, the Fort Apache band has instead brought a jazz flexibility to the Latin rhythm section,” a 1995 article about the band in The New York Times said.

Jerry González elaborated on the approach. “This is New York music,” he said. “We play music influenced by everything we’ve experienced here. We play Mongo Santamaria, John Coltrane, and James Brown all at the same time.”