Few names loom as large in the Yugoslav jazz landscape as Duško Gojković. A Serbian trumpeter, composer, and arranger born in Jajce (now Bosnia and Herzegovina), Gojković studied at the Belgrade Music Academy before moving abroad — first to Germany, then to the U.S. He would go on to perform with legends like Miles Davis, Chet Baker, Sonny Rollins, and Stan Getz. Alongside vibraphonist Boško Petrović, he’s considered one of the most important jazz figures to emerge from former Yugoslavia.
Released in 1967, Swinging Macedonia is believed to be Gojković’s first LP as a bandleader. Recorded in Cologne and produced by Eckart Rahn, it’s a pioneering piece of Balkan jazz fusion, rich with original compositions that pull heavily from Macedonian folk idioms while rooted firmly in post-bop and cool jazz. The international sextet lineup is impressive: Eddie Busnello (saxophone), Nathan Davis (saxophone/flute), Peter Trunk (bass), Cees See (drums), and the great Mal Waldron (piano).
This album follows shortly after the Zagreb Jazz Quartet’s With Pain I Was Born (1966) — another milestone in Yugo-jazz that spotlights Boško Petrović’s masterful vibraphone. Taken together, these releases underscore the quiet explosion of creativity happening in the Yugoslav jazz world during the ’60s.
I should preface this by saying that jazz can be a challenging genre to write about — especially compared to rock or pop. But Swinging Macedonia is such a compelling listen, it’s worth the effort.
The album opens with a tambourine and trumpet motif, Macedonia, that’s instantly iconic, nostalgic, powerful, and unmistakably Balkan. As the rhythm section kicks in, the track blooms into a vibrant, driving blend of swing and Eastern European color. It’s a standout opener that never loses its luster, no matter how many times you hear it.
Old Fisherman’s Daughter is soft, soothing, and understated — this is the album’s warmest moment. A gentle piano progression and restrained horns give it a fireside calm, like a cup of Turkish coffee on a rainy morning.
Jumbo Uganda is a sudden left turn — wild, rhythmic, and borderline chaotic at times. It leans into hard bop and Afro-jazz territory, with heavy percussion and propulsive energy. It’s the album’s most eclectic detour, and a welcome jolt after the previous track’s calm.
The Gypsy is seductive and hypnotic; this one balances slower pacing with deep, modal grooves. You can imagine it soundtracking a late-night walk through a misty Balkan street or a noir film set in post-war Belgrade.
Macedonian Fertility Dance is arguably the album’s crown jewel. Pulsing with rhythm, drenched in ethnic motifs, and brimming with dance-like urgency, this track is over far too soon. There are echoes of Mulatu Astatke’s Ethio-jazz here, strangely enough, though filtered through a uniquely Yugoslav lens. It’s a concentrated blast of ethnic fusion that leaves you wanting more.
Bem Basha is a cool-down moment. Leaning more into classic cool jazz territory, it’s pleasant but arguably the least adventurous track here — a breather between more dynamic pieces.
The Wedding March of Alexander the Macedonian is playful and upbeat, as the title suggests. It captures the celebratory, slightly theatrical feel of a traditional Balkan wedding, reimagined in smoky jazz-club fashion.
The Nights of Skopje is evocative and rich in atmosphere. You can almost picture the scene: a hazy kafana in Skopje, full of smoke, cards, rakija, and clinking glasses. Gojković paints a vivid sonic picture here.
Balkan Blue is another strong closer that fuses ethnic melodies with powerful trumpet and lively percussion. It’s not as wild as some of the earlier tracks, but it pulls together many of the album’s themes — roots, rhythm, and experimentation.
The original LP has become a collector’s item, with original pressings selling for eye-watering prices. Thankfully, reissues exist — and if you’re even remotely interested in jazz or Balkan music, this is a must-own.
Swinging Macedonia is more than just a jazz record — it’s a document of cultural fusion, an album that bridges East and West, old and new. For me, it was an ideal introduction to Duško Gojković’s work, and I’m excited to explore more of his vast discography. Sadly, he passed away in 2023 at the age of 91 — but not before leaving behind a deep and lasting legacy.
A Yugoslav jazz essential.
