Duško Gojković and Big Band Sarajevo with guests, Sarajevo, March 3, 2001.
To the great satisfaction of several hundreds of Sarajevo jazz lovers, a concert by the famous Yugoslav international Duško Gojković was held as part of the Sarajevo Winter 2001 program, accompanied by the Big Band Sarajevo - reinforced for this occasion by musicians from Zagreb, Skopje, Ljubljana, Novi Sad and Belgrade.
Surviving as a lone light of hope and love in the darkness of besieged Sarajevo, today the orchestra consists mainly of young players whose faces show the excitement of collective artistic growth in meeting the old jazz wolves. U swing in the first part of the concert, all permanent members of the orchestra presented themselves, among whom tenor saxophonist Darko Poljak "jumped" the most. More interesting were two original (Alimanović) arrangements of folk themes - Albanian folk songs May cvet and Roma hymns Djelem, I don't want.
With detailed announcements by the respected Sarajevo jazz journalist Ognjen Tvrtković, which represented a kind of who is who guide through the history of Balkan jazz, the audience got an insight into the stellar biography of Duško Gojković, before the trumpeter came on stage to the charming exclamation "... and above all, a great Bosnian..." and took a recognizable "attacking" attitude towards the microphone. Keeping a smile on his face, Gojković motivated the Big Band to give more than its capabilities, which is a reflection of his pedagogical experience and the respect he enjoys among jazz followers.
His hands, interestingly, were not needed at all - after several masterful rehearsals in the previous days, the band understood the basic concept of Duško's musical expression and accepted his breathing as their own. The focus of the repertoire was on Balkan folklore, which is Duško's trademark, and in recent years the trumpeter has been living a second youth in the wake of the world's increased interest in this music (it should be noted that Duško was still writing on Balkan themes in the 1960s!). Alimanović freed the guest from worrying about the "ends of the tracks" and the distribution of the sections' responses to the soloist's call, but, more importantly, he had the opportunity to match his older colleague with exceptional pianism, which (for obvious reasons) remained hidden in the first part of the concert. Gojković had special help in the Ljubljana drummer Ratko Divjak, who grew into a great player - he came from the rock milieu and with many years of experience as a big band rhythmist, now he is still experimenting in shaping a tribal percussive atmosphere in the way that Elvin Jones does it in the world. .
Original compositions/arrangements Doboj, Balkans Moon i Kad ja I went na Bembas achieve direct communication with the pearls of the Miles/Evans legacy, and today the thoughts of their faithful successor, composer Marie Schneider. The trumpet carries the theme and sobs alone in an extended solo time, to the gradual dynamic rise of the orchestra until all the harmonic pockets are filled.
Rare standards, such as How insensitive or even more Night In Tunesia, are an opportunity to establish an adequate connection with world beat trips of Gojković's inspirers: from North to South America, through Africa to Europe, and back, this program takes us on a unique journey around the world with the emotion of timeless jazz.
In the saxophone section reinforced by two people from Zagreb (Andrej Henningman, alto sax and Josip Ereš, baritone sax), and in the trombone section with trombonists from Serbia (Igor Ilić from Belgrade and Aca Marinković Delfin from Novi Sad and Belgrade), Big Band Sarajevo that night reminded old get-togethers of RTV centers in Radenci and annual gala concerts in the capitals of the former SFRY, when the exchange of experiences contributed healingly to the development of jazz from the Balkans. It would be good if this meeting was only the beginning of the restoration of broken jazz ties. For the common good.
Even though the season is over and the technical employees have nothing to do, the director of the Šabac Theater ordered them to come to work every day, because that's according to the law. Until now, she has not decided according to the law
A Nation Bathed in Blood, Paul Auster's latest book published by Geopoetics, based on personal experience, explores the problem of mass murder.
As part of the Capital of Culture project of Serbia, a hall was opened in Šećeranski Park in Zrenjanin with money intended for the decoration of parks, not for culture, for which this country has no money.
The Belgrade Philharmonic is celebrating its one hundred and second birthday in Dortmund, not only because it does not have its own building even in those years, but above all because it is part of the "Rahmanjin Marathon"
Dear Heddle's painfully honest biographical diary "Matthias" about the life of his son, a scientist at Yale, who committed suicide
The dramatic appeal of United Media employees shows what can happen when the media is controlled by the regime and corporations. It is happening in Serbia now. If the audience does not recognize this, an even blacker media darkness threatens
Aleksandar Vučić now has only the old, proven methods of classic dictatorships left, because these modern methods of insanity and poisoning the public are failing. And that, however, goes against his head
Vučić is not defending the state, but himself from the state. With a drum on his back and a guitar in his hands, this man-orchestra performs two or three of the same songs without hearing, with falsifications and falling out of rhythm. His government and politics are like that. In short - dangerous for the environment
The archive of the weekly Vreme includes all our digital editions, since the very beginning of our work. All issues can be downloaded in PDF format, by purchasing the digital edition, or you can read all available texts from the selected issue.
See all
