Duško Gojković - Ten To Two Blues

Bitrate: MP3@320K/s
Time: 41:51
Size: 95.8 MB
Styles: Bop
Year: 1971/2009
Art: Front

[7:00] 1. Ten To Two Blues
[5:14] 2. I Remember O.P
[8:33] 3. Old Fishernan's Daughter
[9:05] 4. I Love You
[3:37] 5. The Child Is Born
[8:19] 6. Blues To Line

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. Gojković is in excellent form on the hard bop-oriented Ten To Two Blues (a.k.a. After Hours) which conjures up images of smoky nightclubs, reflections in rain puddles under dark skies, or perhaps just the quieter music... This album is a little too busy and blustery to live up to those preconceptions, but it is nevertheless an excellent example of that all-too-rare commodity, the trumpet quartet. With no saxophone to trade solos with, the trumpet must bear the burden of carrying the tune and sustaining interest while sharing the spotlight with the supporting trio. With influences extending from Serbia to Dixieland, from bebop to blues, Gojković contributes three songs and adds three standards to this mostly uptempo collection. With the pianist playing up to his usual level and fine support contributed by Langereis and Nay, Gojković takes stimulating solos with his poignant, soft tone on two standards (Thad Jones’ “A Child Is Born” and Cole Porter’s “I Love You”), Slide Hampton’s “Last Minute Blues,” and three basic originals. There is muted artistry of Gojković on “Old Fisherman’s Daughter” and a nostalgic opening solo on the title tune. Montoliu probably deserves a double-billing here: he is outstanding throughout, particularly on the ballad “Remember Those Days” and a boppish take of “I Love You.” Gojković never dominates the proceedings, and steps aside for long stretches on “Last Minute Blues.” One drawback here is the musty, prehistoric engineering: Langereis and Nay give great performances but are not heard to their best advantage, with Langereis especially sounding like he is in the next room. If the wide range of influences and the less-than-ideal (but typical for the time) recording are not a hindrance, listeners should enjoy this album. One mystery surrounding Ten To Two Blues regards its original release date. The recording date is given as November 1971, so one can assume it was first released not too long after. It has appeared on many labels in many different countries throughout the years, sometimes with different track listings. The LP/CD release on Enja After Hours has also two tracks re-titled: “I Remember O.P.” is re-titled to “Remember Those Days,” while “Blues To Line” is re-titled to “Last Minute Blues.” No matter the title, this album is recommended to straight-ahead jazz fans, while the Enja CD reissue seems to be the easiest to find. ~Slobodan Mihajlović

Ten To Two Blues mc
Ten To Two Blues zippy

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Dusko Goykovich - Celebration

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 61:51
Size: 143,2 MB
Art: Front

(4:16)  1. Celebration
(6:48)  2. Inga
(7:49)  3. Nella
(3:58)  4. Blues In The Closet
(5:13)  5. New Bop Theme
(7:51)  6. Doboy
(7:41)  7. Recado Bossa Nova
(5:54)  8. Easy Living
(4:59)  9. Faros
(7:17) 10. The Touch Of Your Lips

Bosnian trumpeter, composer, and general jazz hero Dusko Goykovich is an anomaly among his Eastern European countrymen. Far from the madding crowd of avant-guardists, Goykovich has his roots deeply sunk into the post-bop, early modalism of early-'60s jazz, and the lyrical, melodic improvisational invention of Paul Desmond and Bill Evans. With a band that includes pianist Kenny Drew, bassist Jimmy Woode, and drummer Al Levitt, Goykovich penned six of the set's ten tunes, and they are easily the best stuff here. His gorgeous bossa ballad, "Inga," comes from an A minor motif and works horizontally, bringing the entire range of chromatic color into its off-key, metrically resilient structure. The Drew and Goykovich solos complement each other nicely, trailing from modal into bossa and samba patterns before weaving each other into a patchwork quilt of matching arpeggios. Of the covers, Oscar Pettiford's "Blues in the Closet" is in the pocket funky. As greasy as its name, Goykovich allows the melody line instigated by Woode to settle in before kicking in to a stomping hard bop blues reminiscent of a Hank Mobley or Art Blakey thematic feel. Drew shines here as his ostinato walks the bar all over the tune, punching deck at every sharp and turning the blues riff around on a dime. Goykovich trusses the piano and then ventures on his won into stuttering skein of clipped bop phrases, scattering eighth notes all over the scale. As the pair come together to approach the melody for the send off, they square off harmonically, teetering on the edge of disaster only to sweep it all under the rug at check out time. It's a breathless ride, full of stops, starts, and surprises, and is indicative of not only how well this band plays together, but how well their leader can hold court and remain a part of the ensemble. Celebration is a disc that lives up to its lofty title. ~ Thom Jurek http://www.allmusic.com/album/celebration-mw0000202713

Personnel: Trumpet – Dusko Goykovich;   Bass – Jimmy Woode;  Drums – Al Levitt;  Flugelhorn – Dusko Goykovich;  Piano – Kenny Drew

Celebration

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Dusko Goykovich - In My Dreams

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 54:13
Size: 125,5 MB
Art: Front

(7:29)  1. In my dreams
(6:53)  2. St.Germains de Pres
(4:13)  3. Sequoia song
(4:59)  4. Introduction
(8:02)  5. Skylark
(5:21)  6. One morning in may
(4:28)  7. All about love
(5:13)  8. Little Teo
(7:30)  9. I miss you so

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. http://musicians.allaboutjazz.com/duskogoykovich

Personnel: Dusko Gojkovic (trumpet, flugelhorn); Bob Degen (piano); Jarrod Cagwin (drums).

In My Dreams

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Dusko Goykovich - Samba Do Mar

Bitrate: 320K/s
Time: 60:02
Size: 137.4 MB
Styles: Latin jazz
Year: 2003
Art: Front

[6:37] 1. Samba Do Mar
[5:39] 2. Jim's Ballad
[6:04] 3. Chega De Saudade (No More Blues)
[7:59] 4. Insensatez
[6:00] 5. Bachianas Brasileiras No. 5 (Arr. For Trumpet, Guitar, Double Bass And Drums)
[3:47] 6. The Fish
[6:35] 7. Quo Vadis
[5:04] 8. Love And Deception
[5:32] 9. Danca Comigo
[6:40] 10. Sunset

Born in 1931 in Jajce (Bosnia, SFR Yugoslavia), 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.”

Samba Do Mar

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Dusko Goykovich - Samba Tzigane

Bitrate: 320K/s
Time: 56:27
Size: 129.2 MB
Styles: Bossa Nova, Gypsy jazz
Year: 2008
Art: Front

[6:54] 1. Samba Tzigane
[5:00] 2. Melodia Sentimental
[7:07] 3. Menina Moca
[6:18] 4. O Grande Amor
[3:43] 5. A Descoberta De Lentidao
[3:04] 6. Trio Loco
[4:16] 7. Samba Triste
[3:32] 8. Coracao Do Sul
[5:16] 9. Five O'clock In The Morning
[3:43] 10. Este Seu Olhar
[7:29] 11. Every Day And Every Night I Dream Of You

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.

Bass – Martin Gjakonovski; Drums, Percussion – Jarrod Cagwin; Flute – Márcio Tubino; Guitar – Ferenc Snétberger; Trumpet, Flugelhorn – Dusko Goykovich; Vocals – Céline Rudolph (tracks: 2, 5, 7, 8).

Samba Tzigane

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