The Revisiting series features albums from the past that played a significant role in Latin Jazz history. The purpose of this series is to introduce new Latin Jazz listeners to important albums and look back at these albums in historical perspective. Each entry will jump to a different point in Latin Jazz history - this week we’ll visit 1979.

An artist’s debut album as a leader often serves as a viewpoint across the landscape of their career. It displays elements of their past career, as they draw upon their previous musical experiences. This may reflect the influence of an important mentor, an advanced musician that employed the artist prior to their debut as a leader. It may include concepts pieced together by the artist in collaboration with other musicians - a collective that acted as a precursor to the artist’s first true solo venture. Artists may include varying amounts of their previous influences, while they investigate new ideas that are personal interests of their own. This may involve the investigation of a style completely new to their repertoire or simply a more in-depth immersion into the genre. It may combine the artist with a new group of musicians or simply a reconfiguration of their past collaborators. Some artists choose to tread carefully while others dive headfirst into uncharted waters, exploring new and exciting artistic territories. Regardless of how much artists choose to reflect or move ahead, it’s a simultaneous look into both the past and the future that marks an important crossroads in any artist’s career.

Trumpet player and percussionist Jerry Gonzalez started his career early and accrued a great deal of experience before his first album as a leader. He began listening to Latin music intently by the age of 8, soaking in the influence of musicians such as Cal Tjader, Armando Peraza, and Mongo Santamaria, all the while checking out his father’s collection of classic jazz. In junior high school, Gonzalez began playing trumpet and congas, and by the time he reached high school, he had formed a Tjader-esqe Latin Jazz combo with his brother Andy. When Gonzalez had reached the ripe old age of 21, jazz icon Dizzy Gillespie hired him to perform on tour and record on the album Portrait of Jenny. This led to a series of jobs that straddled both the jazz world and New York’s exploding salsa scene; Gonzalez worked with important artists such as Eddie Palmieri, Manny Oquendo’s Libre, Bobby Paunetto, and Charlie Palmieri. Seeking relief from the commercial world of salsa, the Gonzalez brothers gathered many of New York’s top Latin musicians into the basement of their parent’s house for regular jam sessions. These legendary descargas evolved into Grupo Folklorico Y Experimental, a collective that combined folkloric styles with cutting edge improvisation in a loose and exciting fashion; their two albums, the 1976 release Concepts In Unity and their 1977 recording Lo Dice Todo, influenced a whole new generation of Latin Jazz artists. By this time, Gonzalez had a distinct idea about his musical direction and was ready to step out on his own as a leader.

Gonzalez made the transition into the leadership role with his 1979 album Ya Yo Me Cure, an intriguing combination of jazz and folkloric music. The strains of Grupo Folklorico Y Experimental peek through “Agueybana Zemi,” from the interactive bass of Andy Gonzalez behind a fiery rumba to the earthy drive of Milton Cardona’s vocals. Pianist Hilton Ruiz burns with a bebop intensity on “The Lucy Theme,” running endlessly creative lines through the changes, actively comping behind Andy Gonzalez’s bass solo, andtrading fours with Jerry Gonzalez on congas. The 6/8 bembe version of Wayne Shorter’s “Nefertiti” reveals the influence of Miles Davis’ 1960s quintet with tasteful solos from Gonzalez on muted trumpet and Edgardo Miranda on guitar. Thelonious Monk’s “Evidence” sits comfortably the group’s shifting foundation, making a perfect vehicle for improvisation as the group moves between rumba and swing. The group creates an unstoppable momentum on “Caravan” drawing passionate solos from tenor saxophonist Mario Rivera and trombonist Papo Vazquez. There’s a fiery commitment behind the music, driven by the wealth of Gonzalez’s experience and his smart insight into the music’s future.

In the years following Ya Yo Me Cure, Gonzalez continued to work as a bandleader, refining his concept and continually exploring with each successive release. He formed The Fort Apache Band in the early 1980s and proceeded to make two live recordings with the group, the 1982 release The River Is Deep and the 1988 album Obatala. Many of the musicians from Ya Yo Me Cure remained with Gonzalez, and he continued to include both Latin Jazz and folkloric arrangements on both albums. By 1989 Gonzalez had slimmed the group down to a sextet and focused more upon the Latin Jazz element with the ensemble’s third album, Rumba Para Monk. This recording received a general acceptance among the jazz world, and the group became a permanent fixture upon the scene. They recorded several more albums including the 1990 release Earthdance, the 1991 recording Moliendo Café, and 1995’s Pensativo. In 2000, Gonzalez traveled to Spain and after he collaborated with several musicians from the area, he relocated there part-time. This led to the stunning 2004 album Jerry Gonzalez Y los Piratas Del Flamenco, an interesting combination of jazz, flamenco, and Cuban styles. The following year, Gonzalez regrouped with The Fort Apache Band to record a tribute to Art Blakey, Rumba Buhaina. He continues to lead a variety of outstanding groups, following the path that he began with Ya Yo Me Cure.

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Check Out These Related Posts:
Jerry Gonzalez Trumpet Solo on “Obsesion”
Revisiting Latin Jazz Classics: Manhattan Mambo, Hilton Ruiz
Remembering Monk Through Latin Jazz
4 Latin Jazz Trumpet Players That You’ve Got To Check Out!

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