1 - Doboy     8:03
2 - You're My Everithing     5:35
3 - The Bopper     6:36
4 - Manhattan Mood     7:09
5 - Balkan Blue     6:30
6 - You Don't Know What Love Is     5:52
7 - A handful O'Soul     7:11
8 - Why Not You     4:54
9 - Night Of Skopje     6:41
10 - Nella     7:13

Alto Saxophone – Peter Peuker, Thomas Bouterwek
Baritone Saxophone – Michael Lutzeier
Bass – Luigi Trussardi
Drums – Ratko Divjak
Tenor Saxophone – Gianni Basso, Tony Lakatos
Trombone – Eberhard Budziat, Michael Kohler, Rainer Müller, Uli Plettendorff
Trumpet – Gil Kaupp, Joe Rivera , Thomas Bendzko, Tom Howard
Trumpet, Flugelhorn – Dusko Goykovich

In 1996 Duško Gojković recorded his own big band music. Like on Soul Connection, his compositions and arrangements on Balkan Connection recall the spirit of Miles Davis as well as his Balkan roots. His well-chosen big band personnel delivers an hour of swinging music crossing the borders between pure bebop, ethnic reminiscences, and the cool sounds of the 1950s. There are only two standards on Balkan Connection, the other eight are all originals by Gojković; the whole album is arranged by him which testifies as to his compositional and arranging skills undoubtedly a result of his studies at the prestigious Berklee School of Music. Although this is a big band album, the most striking thing about Gojković’s playing was on the two standards and the final selection where he showed a lot of resemblances to Davis, most probably it was just because he was using a Harmon mute. The opener, “Doboy,” had a slightly Spanish tinge that reminds of some of the music heard by Gerald Wilson. This also featured some fine piano by Peter Michelich who also turned in some good work on “Balkan Blue” and displays some funkiness on a soul jazz type of blues, “A Handful O’Soul.” “The Bopper” more than likely reflects the time Gojković spent in the USA “Manhattan Mood” is a relaxed big band ballad spotlighting some exceptionally smooth tenor saxophone by Gianni Basso. There is a nice quote starting Gojković’s solo on “Balkan Blue,” attributed by the liner notes to Gershwin, actually taken from Cole Porters “You’d Be So Nice To Come Home To.” “Nights Of Skopje” is a sort of jazz waltz while “Why Not You” is another ballad incorporating a nice blend of instruments giving very fat sound and providing a good background to another fine tenor saxophone player, Tony Lakatos. Balkan Connection is a very listenable album, a lot different from big band charts usually heard. ---Slobodan Mihajlović, allmusic.com

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1  It's About Blues Time  Goykovich  13:55 
2  Old Folks  Hill, Robison  5:57 
3  The End of Love  Hampton  5:27 
4  Bosna Calling  Goykovich  6:03 
5  You Know I Care  Pearson  5:23 
6  Nameless Tune  Povel  5:16 

Dusko Goykovich - Trumpet 
Rob Langereis - Bass 
Tete Montoliu - Piano 
Joe Nay - Drums 
Ferdinand Povel - Sax (Tenor) 

Pianist Tete Montoliu recorded two fine albums under trumpeter Duško Gojković’s leadership in November 1971 in Barcelona, Spain. In quintet formation, with the Spanish pianist regular rhythm backing of German bassist Robert Langereis and drummer Joe Nay, they did It’s About Blues Time (Ensayo, reissued on CD by Fresh Sounds) and a day later in quartet they did Ten To Two Blues (Ensayo, reissued as After Hours on Enja). The rhythm section on both is the same and both albums are recommended. Rare Spanish LP (also on the Musical Heritage Society Inc. release in the USA) from the early 1970s It’s About Blues Time is a very soulful quintet session that features fantastic performances from two of excellent European players—Gojković and tenor player Ferdinand Powell (Ferdinand Povel), along with Langereis and Nay. The marathon blues “It’s About Blues Time” which opens the set hits a formidable high. Gojković’s tone is wonderful, and is a real mix of jazz and non-jazz European influences. He is in spanking form throughout and his superb eastern modal at “Bosnia Calling” is impressive. Other tracks include “Old Folks,” “The End Of Love,” “You Know I Care,” and “Nameless Tune.” Gojković and Powell groove hard in the frontline, bringing a hard edge to the session that jazz fans do not always hear on some of Montouliu’s sessions from the time. Nay makes a tremendous noise at the drums, with Powell coming on like he has just heard his first John Coltrane record. The one who suffers ironically is Montoliu; the fierce studio separation shunts him to one side, but he is well down in the mix anyway. This set grooves like a classic Blue Note, or some of the best straight ahead jazz on MPS with lines that have their roots in soul jazz, but also show a real preference for modal grooving and lyrical soloing. ---Slobodan Mihajlović, allmusic.com

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1.But Not For Me (3:02)
2.Love For Sale (4:53)
3.I Remember Clifford (7:40)
4.Inga (8:27)
5.Tell It Like It Is (7:49)
6.Adriatica (9:56)
7.One For Klook (5:59)
8.Recado Bossa Nova (10:28)
9.Balkan Blue (10:31)

# 1,2:Recorded In June 15,1959
# 3,4,5:Recorded In January 23,1970
# 6:Recorded In June 29,1993
# 7:Recorded In December 10,1994
# 8-9:Recorded In April 21,1999
Label: Enja ENJ 9427-2

# 1: Dusko Goykovich (trumpet); Oscar Pettiford (bass)
# 2: Dusko Goykovich (trumpet); Lucky Thompson (tenor sax); Hans Hammerschmid (piano); Oscar Pettiford (cello); Fred Dutton (bass); Hartwig Bartz (drums); Monica Zetterlund (vocal)
# 3,4,5: Dusko Goykovich (trumpet & flugelhorn); Ferdinand Povel (tenor sax & flute); Larry Vuckovich (piano); Isla Eckinger (bass); Clarence Becton (drums)
# 6: Dusko Goykovich (trumpet); Jimmy Heath (tenor sax); Tommy Flanagan (piano); Eddie Gomez (bass); Mickey Roker (drums)
# 7: Dusko Goykovich (trumpet); Abraham Burton (alto sax); Kenny Barron (piano); Ray Drummond (bass); Alvin Queen (drums)
# 8,9: Dusko Goykovich (flugelhorn); Steve Gut (trumpet); Tony Lakatos (tenor sax); Bora Rokovich (piano); Branko Pejakovich (bass); Dejan Terzic (drums)

Born in 1931 in Jajce (Bosnia), Dusko Goykovich studied at the Music Academy in Belgrade from 1948 to 1953. As a youth he played with several jazz and dixie bands, mostly for dancing audiences and eventually on parties at the embassies of the capital. When the 18-year-old joined the Radio Big Band of Belgrade, he was considered a talented young jazz man who also can read music. When he left the band five years later, he had grown into a fine big band player and featured soloist. Dusko went to Germany where he quickly became an integral part of its uprising young jazz scene. In 1956 he made his first record as a member of the Frankfurt All-Stars.

After a short stint in the big band of Munich's Max Greger, Dusko stayed for four and a half years with Kurt Edelhagen's band, then Europe's leading jazz orchestra. Francy Boland, Claus Ogermann, Jerry van Rooyen and Rob Pronk were among the arrangers who worked for Edelhagen. In addition to being the band's premier trumpet soloist, Dusko performed with such as Stan Getz and Chet Baker. It came as no surprise when in 1958 he was invited to play with the Newport International Youth Band at the Newport Jazz Festival. Other members of the Newport band included Albert Mangelsdorff, Ronnie Ross, George Gruntz, and Gábor Szábo.

Following the performance at Newport, Dusko's trumpet became very popular in Europe. In 1961 the Berklee School of Music offered the 29-year-old a grant for studying composition and arrangement in Boston where Herb Pomeroy was to become one of his teachers. Looking forward to writing his own arrangements for his great love, the big band, Dusko concentrated on his studies at Berklee so exclusively that he regrettingly turned down offers by Count Basie, Stan Kenton and Benny Goodman to join their bands. While at Berklee Dusko (now also on flugelhorn) recorded with the Berklee School Quintet and Orchestra including fellow students such as Gary Burton, Mike Gibbs, Sadao Watanabe, Steve Marcus, Mike Nock, and Dave Young.

When he had just finished his studies and prepared his return to Germany, Dusko received a call from Canadian bandleader Maynard Ferguson offering him Rolf Ericson's place (who had just left to join Ellington). Of course, Dusko accepted. Ferguson, a virtuoso trumpeter himself, featured him as a second trumpet soloist and even used some of his big band arrangements. When Ferguson's band split in 1964, Dusko joined Woody Herman and stayed with him for a year. It was his work for Herman that founded Dusko's international reputation as an outstanding big band player and soloist. “Woody Herman encouraged me a lot,” Dusko recalls. “He not only accepted my big band charts (with a single exception), but also recorded all of them.”

The same year Dusko (together with Sal Nistico) left Herman's band and returned to Europe, eager to record his own music. Mal Waldron and Nathan Davis played on his sextet album (1966) that emphasized Dusko's personal, Balkan-influenced style. In those years, Dusko - by then a member of the leading league of international jazz artists - also worked with Miles Davis, Dizzy Gillespie, Gerry Mulligan, Clark Terry, Lee Konitz, Sonny Rollins, Phil Woods, Duke Jordan, Thad Jones-Mel Lewis, Slide Hampton and many more. He continued his big band career as a member of the Clarke-Boland Big Band in 1966 that assembled some of the best musicians living in Europe, among them US ex-patriates Benny Bailey, Idrees Sulieman, Johnny Griffin, Sahib Shihab, Jimmy Woode and - of course - Kenny Clarke. The CBBB was probably the finest jazz orchestra of the sixties, but it seldom played for live audiences at all.

After his time at Berklee, Dusko Goykovich began writing big band charts of all of his compositions and many standard tunes. He has been asked to play his arrangements with many European big bands, among them Dutch Skymasters and NDR big band. In Munich (where he settled down in 1968) Dusko soon started his own “rehearsal” big band including such as Rolf Ericson, Palle Mikkelborg, Rudi Fuesers, Ack van Rooyen, Ferdinand Povel, and Frank St. Peter. Due to the difficulties in organising a European free-lance orchestra, this band broke up in 1976 and was revived only for some performances in 1981/82. Yet in 1986 Dusko was able to re-found his own orchestra which has been on the scene ever since. In 1993, he also started a much-acclaimed international comeback as a recording artist with his prize-winning CD “Soul Connection” featuring Tommy Flanagan, Jimmy Heath, Eddie Gomez and Mickey Roker. Soul Connection was followed by “Bebop City” which featured young alto sax wizard Abraham Burton, Kenny Barron on Piano, Ray Drummond on bass and Alvin Queen on drums. 1996 saw the fullfillment of a long stanbding wish for Dusko: the recording of his own big band playing his music, “Balkan Connection”. 1997 saw the release of the 2-CD set “Balkan Blue”, another high point in his career. Disc One features a wonderfully relaxed quintet with Italian master saxophonist Gianni Basso and Disc Two is an extended work performed by the NDR Philharmonic with a jazz rhythm section and Dusko Goykovich as soloist. His compositions arranged by Palle Mikkleborg ( who had done a similar piece of work for Miles Davis ). Balkan Blue evokes strong memories of Miles Davis work with Gil Evans - a seminal recording of our days. --- musicians.allaboutjazz.com

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01. Samba Tzigane (Dusko Goykovich) (6:54)
02. Melodia Sentimental (Márcio Tubino, Dora Vasconcelos, Heitor Villa-Lobos) (4:59)
03. Menina Moca (Luiz Antonio) (7:08)
04. O Grande Amor (Antonio Carlos Jobim) (6:16)
05. A Descoberta de Lentidao (Céline Rudolph) (3:43)
06. Trio Loco (Ferenc Snétberger, Jarrod Cagwin, Márcio Tubino) (3:04)
07. Samba Triste (Billy Blanco, Baden Powell) (4:13)
08. Coracao Do Sul (Márcio Tubino) (3:31)
09. Five O'Clock in the Morning (Dusko Goykovich) (5:13)
10. Este Seu Olhar (Antonio Carlos Jobim) (3:42)
11. Every Day and Every Night I Dream of You (Dusko Goykovich) (7:30)

Dusko Goykovich - Trumpet, Flugelhorn;
Márcio Tubino - Flute;
Ferenc Snetberger - Guitar;
Martin Gjakonovski - Bass;
Jarrod Cagwin - Percussion, Drums;
Celine Rudolph - Vocals (#2,5,7,8).

Usually much admired for his perfect bebop lines and his soulful ballad renditions, Duško Gojković opened a new chapter in 2003 when he presented Samba Do Mar, his first complete Brazilian-inspired album that was to charm and conquer listeners worldwide. Accompanied by a choice team of individualists on guitar, bass and drums and going for a mix of evergreens (Antônio Carlos Jobim, Heitor Villa-Lobos) and originals, Gojković’s playing adds a fresh, elegant and sometimes elegiac touch to the lovely grooves of Brazilian music. Samba Do Mar was a big success, received a lot of critical acclaim and was awarded the prestigious German Record Critics’ Award. Now Gojković and his international team—guitarist Ferenc Snétberger, bassist Martin Gjakonovski and drummer Jarrod Cagwin—return to Brazil with Samba Tzigane. Featuring guest performances by Brazil-born flautist Márcio Tubino and Brazil-loving singer Céline Rudolph, this album covers an even broader terrain of cool samba and joyful bossa vibes. Beside the classics by Jobim, Villa-Lobos, Baden Powell and Luiz Antonio, it offers relaxed and charming originals by Tubino, Rudolph and Gojković himself. There is a fair bit of influences here from Brazilian jazz—acoustic guitar, flute, and percussion—all dancing along in a lively blend of bossa, samba, and more, served up with a warm glow and soulful finish that is a perfect foil for Gojković’s bold and well-stated solos. This is nice Brazilian-tinged jazz from Gojković, one of the few that really lives up to the cross-cultural genius of his key albums from many years back. The mix of modes here is interesting with a depth and sense of feeling that really brings out an added layer in his music. Released on the occasion of his 75th birthday in October 2006, Samba Tzigane celebrates trumpeter’s melodicism, imagination and youthfulness. --- Slobodan Mihajlović, allmusic.com

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