01. Ov zarmanali
02. Svjete tihij
03. Allting finns
04. Litany
a) Litany
b) Otche nash
c) Dostoino est
05. Surb, Surb
06. Most Holy Mother of God
07. Tres morillas m’enamoran           play
08. Sirt im sasani                     play
09. Hays hark nviranats ukhti
10. Alleluia. Nativitas
11. We are the stars
12. Nur ein Weniges noch

Musicians:
Jan Garbarek – soprano and tenor sax
The Hilliard Ensemble:
David James – countertenor
Rogers Covey-Crump – tenor
Steven Harrold – tenor
Gordon Jones – baritone

With the unexpected massive success of Officium (ECM, 1994), Jan Garbarek's first collaboration with The Hilliard Ensemble, it would be all too easy for the Norwegian saxophonist and British vocal ensemble to rest on their not inconsiderable laurels, and simply repeat the formula. But while Officium featured a repertoire of structured early music—from Gregorian chant to early polyphony, over which Garbarek soared improvisationally—the double-disc follow-up, Menemosyne (ECM, 1999), expanded the quintet's purview by introducing music of a more contemporary nature, including fragments of minimal notation that encouraged The Hilliard Ensemble to extemporize alongside the saxophonist. A decade later, Officium Novum continues to broaden this remarkable pairing's already expansive perspective, by bringing in music of a distinctly eastern flavor, with considerable focus on music composed or adapted by Armenian composer Komitas Vardapet (1869-1935).

As with Mnemosyne, the lines between form and freedom are completely and utterly blurred by Garbarek and the Hilliards. Even when turning to one of two Garbarek compositions—the first time this group has adapted an extant piece from the saxophonist's repertoire, in this case the calm-inducing "We are the Stars," first heard on the saxophonist's Rites (ECM, 1998), where Garbarek performed the piece with a larger boys choir—it's hard to know where notation ends and improvisation begins. More likely, it's a case of the two existing conterminously, with melodies preconceived and lines pulled from the ether occupying the same multidimensional space.

As ever, Garbarek's attention to the purity and precision of each and every note is matched by countertenor David James, tenors Roger Covey-Crump and Steven Harrold, and baritone Gordon Jones. By using both tenor and soprano saxophones throughout the program, Garbarek augments the vocal group at both ends of the spectrum, moving underneath and soaring above, often within the same phrase. That reeds and voices merge together so effortlessly—engendering a curiously paradoxical combination of peace and passion—is this ensemble's particular strength; even brief moments of dissonance, as in the Hillards' approach to Garbarek's other original composition, "Allting finns," only serve to create a momentary sense of tension that softly resolves back to translucent beauty.

Once again recorded at the acoustically profound Propstei St. Gerold in Austria—a favorite locations when the label looks to include the sound of the room as a near-equal partner to the musicians performing in it—timbral purity is matched by sonic transparency; even as the five voices merge together into a seamless whole, so, too, can each and every part be discerned with pristine clarity.

Officium Novum's repertoire is the quintet's most intriguing yet, finding a nexus point where Garbarek and Vardapet can coexist with Estonian composer Arvo Pärt, whose "Most Holy Mother of God" represents the album's spiritual high point, and 13th century composer Pérotin, whose "Alleluia, Nativitas" represents Garbarek and The Hilliard Ensemble at its most buoyant. If music is meant to be a transporting experience, then Officium Novum is Jan Garbarek and The Hilliard Ensemble at its transcendent best. ---John Kelman, allaboutjazz.com

Pomysł połączenia brzmienia saksofonu sopranowego Jana Garbarka z wielogłosową muzyką wokalną rodem ze średniowiecza i renesansu w wykonaniu The Hilliard Ensemble okazał się, komercyjnie i artystycznie, niezwykle trafiony. Pierwszy wspólny album – wydany w 1993 roku „Officium” - zebrał entuzjastyczne recenzje i znalazł ponad milion nabywców. Brytyjski Evening Standard napisał, że płytę wypełnia „najpiękniejsza muzyka, jaka kiedykolwiek została nagrana”. Herald Tribune nazwał ją „niezwykle kojącą, unoszącą ducha pod niebiosa”, New York Observer pisał o „zniesieniu wszelkich podziałów między jazzem a klasyką, sferą sacrum a profanum, muzyką dawną a współczesną”, a The Guardian zachwycał się, że „całość brzmi tak, jak gdyby te utwory czekały na uzupełnienie ich partiami Jana Garbarka”. „Officium” wypełnił repertuar średniowieczny i renesansowy (Perotin, Dufay, de la Rue). Podwójny album „Mnemosyne” (1998), był rozwinięciem pierwotnego pomysłu, a obok muzyki średniowiecza znalazł się na nim również repertuar współczesny. „Officium novum” to trzecia wspólna płyta Garbarka i Hilliard Ensemble. Została nagrana na przełomie czerwca i lipca ubiegłego roku w austriackim klasztorze St. Gerold, pod czujnym okiem producenta Manfreda Eichera. Tym razem większość wydawnictwa wypełnia tradycyjna muzyka Armenii. Pomysł na kształt albumu zrodził się w trakcie podróży muzyków The Hilliard Ensemble w rejon Kaukazu, gdzie natknęli się na opracowania tradycyjnych pieśni świeckich i sakralnych autorstwa etnomuzykologa i kompozytora Komitasa Vardapeta (1869-1935).

„Hays hark nviranats ukhti" i „Surb, surb" zostały zaczerpnięte z Liturgii mszy świętej. „Hays hark nviranats ukhti" to hymn śpiewany tradycyjnie na początku nabożeństwa, w trakcie okadzania wiernych kadzidłem. „Surb, surb” („Święty, Świety”) to odpowiednik Sanctus w mszy obrządku rzymsko-katolickiego. „Ov zarmanali" - hymn na święto Chrztu Jezusa (przypadające na pierwszą niedzielę po Święcie Trzech Króli), wykonywany jest przy obrzędzie święcenia wody. „Sirt im sasani” towarzyszy ceremonii umywania nóg podczas liturgii Wielkiego Czwartku. Program płyty wypełniła nie tylko muzyka Kaukazu. Na „Officium novum” znalazły się dwa utwory Garbarka: „Allting finns” napisany do wiersza szwedzkiego poety Pära Lagerkvista (1891-1974) oraz „We Are The Stars” (pochodzący z płyty saksofonisty „Rites”) wykorzystujący poezję jednego z indiańskich plemion (Psamaquoddy). Kompozycję „Most Holy Mother Of God” Arvo Pärt napisał dla Hilliard Ensemble w 2003 roku. Na „Officium novum” wykonana jest a capella. Najdłuższy utwór na płycie to trzynastominutowa „Litania”, który łączy ze sobą tradycyjne „Otche nash” i fragment litanii autorstwa Mikołaja Kiedrowa. Kiedrow (1871-1940), student Rymskiego-Korsakowa, był twórcą licznych kompozycji, które weszły do repertuaru chórów muzyki cerkiewnej. Bizantyjskie „Swete tihij” (radosne światło) pochodzi z trzeciego wieku, śpiewane było na początku nabożeństwa, w trakcie wejścia duchowieństwa do świątyni. Szesnastowieczna hiszpańska pieśń dworska „Tres morillas”, to opowieść o utraconej miłości. Zaś „Alleluia. Nativitas” Perotina jest nowym wykonaniem utworu, który muzycy wykonali na płycie „Mnemosyne”. Kolejność utworów na „Officium novum”, nie jest przypadkowa – mimo że pochodzą z różnorodnych źródeł, zostały ułożone w spójną, pełną dramaturgii suitę. „Officium novum” jest dowodem tego, jak bardzo rozwinęli się w trakcie siedemnastu lat współpracy. Saksofon sopranowy Garbarka tworzy piąty, kontrapunktujący względem partii czterech śpiewaków, głos. Jego gra, oparta na harmonice i skalach używanych w muzyce ormiańskiej, jest pełna pasji i inwencji improwizatorskiej. Interpretacje są pełne swobody, a Hilliardzi, podobnie jak saksofonista śmiało improwizują na bazie gotowych kompozycji.

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1 	Raga I		8:40
2 	Saga	5:25
3 	Raga II		13:05
4 	Raga III	11:53
5 	Raga IV		12:56

Tracks: 1, 3,4,5 Composed by Ustad Fateh Ali Khan
Track 2 Composed by Jan Garbarek

Jan Garbarek - Soprano Saxophone, Tenor Saxophone, Producer
Ustad Fateh Ali Khan - Voice, Tabla
Ustad Nazim Ali Khan - Sarangi
Ustad Shaukat Hussain - Tabla
Deepika Thathaal - Voice
+
Manu Katché - Drums (track 2)

The saxophone is not an instrument usually associated with Pakistani music. And Pakistanis are not especially famous for collaborating with Norwegians. But that is what listeners have on this incredible recording. The music is predominantly Pakistani in sound, tonality, and structure; voice, sarangi, and tabla improvise along with Garbarek's saxophone on every track. For aficionados of Indian or Pakistani music, this is a great recording; Garbarek's lines are right in step with the traditional styles of improvisation. Listeners unacquainted with these traditions will find this recording a mesmerizingly exotic disc. Those familiar with Garbarek's work will be very surprised. This is a completely unique recording for him; one can only hope that he makes further explorations in this vein. ---Mark Allender, AllMusic Review

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1	Twelve Moons 	(7:37)
1.1 	Part One: Winter-Summer 	
1.2 	Part Two: Summer-Winter 	
2 	Psalm 	6:34
3 	Brother Wind March 	10:18
4 	There Were Swallows ... 	8:40
5 	The Tall Tear Trees 	5:48
6 	Arietta 	6:27
7 	Gautes-Margjit 	11:56
8 	Darvánan 	4:59
9 	Huhai 	7:31
10 	Witchi-Tai-To 	5:46

Jan Garbarek - soprano and tenor saxophones, keyboards
Rainer Brüninghaus - keyboards
Eberhard Weber - bass
Manu Katché - drums
Marilyn Mazur - percussion
Agnes Buen Garnås - vocal
Mari Boine - vocal

Recorded in 1992, this album emphasizes production value and slick performances. Largely a feature for Jan Garbarek's soprano sax (he only plays tenor on three tracks), each song is dreamy and quite mystical. Compositionally, TWELVE MOONS is a curious blend of light jazz and Norwegian folk melodies. This is especially apparent on "Psalm" and "Darvanan," both of which feature female vocalists, while "Huhai" borrows from a traditional folk tune.

Fans of Garbarek's penetrating, English horn-like soprano sax sound are treated to some inspired playing throughout, and drummer Manu Katche, best known for his work with Peter Gabriel and Sting, shines on every track. Additionally, there is nice interplay between Garbarek and the band on "Witchi-Tai-To," a remake of a tune first recorded by the saxophonist on a '74 album of the same name. ---AllMusic Review

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CD 1
01 Paper Nut
02 The Tall Tear Trees
03 Heitor
04 Twelve Moons
05 Rondo Amoroso
06 Tao
07 Milagre Dos Peixes

CD 2
01 There Were Swallows
02 The Reluctant Saxophonist
03 Transformations
04 Once I Dreamt A Tree Upside Down
05 Fugl
06 Maracuja
07 Grooving Out!
08 Nu Bein’
09 Voy Cantando

Jan Garbarek (soprano and tenor saxophones, silje flute),
Rainer Brüninghaus (piano, keyboards),
Yuri Daniel (bass),
Manu Katché (drums)

It's hard to believe that after recording as a leader for 40 years, Dresden: In Concert is Jan Garbarek's first-ever live album. He has recorded sparely in 21st century thus far, but he has toured regularly. For those who think that Garbarek abandoned jazz some time ago, this will be a shock. Dresden is an engaged, kinetic, double-disc, two-hour performance of his quartet playing in the modern jazz idiom and using all of its tenets -- from complex harmonics and rhythmic invention to extended lyric improvisation -- to create a tour de force that honors all the music he holds dear.

Garbarek plays tenor, soprano, and the selje flute; he is accompanied by his regular group that includes drummer Manu Katche, pianist/keyboadist Rainer Brüninghaus, and electric bassist Yuri Daniel. There are 16 compositions that include tracks from his own albums -- some of them radically but exquisitely revamped for this quartet and performance. There are also tunes by his bandmates, and an extended, stellar reading of Milton Nascimento's gorgeous "Milagro Dos Piexes," that features some of the most inventive and dynamic dialogue between Garbarek and Brüninghaus on record.

The forcefulness of Garbarek's own playing will surprise casual listeners while making veteran's reference his earliest recordings for ECM. His solo on the opening cut, "Paper Nut" (a tune he composed for L. Shankar's Song for Everyone album), is immediately recognizable, yet is startling for its forcefulness and physicality. Likewise, Katche's double-timed yet groove-laden syncopation provides a backdrop for the saxophonist to move his harmonically extended meditation to the margins. And he does so in the middle, recalling the fireworks of his earliest recordings. His knotty arpeggios go head to head with his drummer, who simply cannot be shaken. When the ensemble comes together in the middle of the tune, they swing hard, and are added to by a gorgeous solo from Brüninghaus. Katche's in an amazing foil for Garbarek, because he understands not only the intricate shapeshifting and intensities in jazz, but has street grooves and rhythm & blues shuffles down cold -- in both vintage and modern contexts -- as well. Garbarek radically reworks "Once I Wished a Tree Upside Down," a piece he wrote for Trilok Gurtu's Living Magic album. Whereas the former was comprised mainly of hand drums and synthesizers, this version, introduced by Brüninghaus playing a South African township cadence on the piano and Katche's breakbeats, is both streetwise and folk-rooted while being utterly redolent of 21st millennium jazz. The ballad "There Were Swallows" (one of the tunes from 1992's Twelve Moons album) loses none of its graceful restraint here, fueled by Brüninghaus' piano and sung poetically by Garbarek's soprano. The final track on the set, "Voy Cantando" from 1988's Legend of the Seven Dreams, clocks in at over 11 minutes and is arguably the toughest thing here; it's funky but with a long modal excursion in the middle and a very complex, tenor solo from Garbarek. "Maracuja" carries within it an easy sense of swing, a reggae backbeat, and contains killer basswork by Daniel, all within a folk song. The same goes for "Heitor," which commences with a folkish melody and extends itself into the hinterlands of creative ensemble playing while losing none of its ability to swing.

In sum, Dresden is an event, not only in Garbarek's career, but in ECM's as we'll -- after all, it's their 40th anniversary this year, too -- in the same way that the Keith Jarrett's Köln Concert or the Out-of-Towners' trio date was. It's a live concert recording capturing nearly all the energy, creativity, and presences of sound and dynamics on compact disc that audiences in the seats encountered. ---Thom Jurek, Rovi

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01 Heather
02 The creek
03 Yr
04 Praise
05 Stolt oli - Tao (including bass solo) - Nrkvineliet
06 FM eleven - Quwwali - Transformations
07 Bengasi

Jan Garbarek - saxes, flute
Rainer Brüninghaus - piano, keyboards
Yuri Daniel - bass
Trilok Gurtu - drums, percussion, voice

Recorded at Cinema Teatro, Chiasso – 26 november 2013

Norwegian saxophonist Jan Garbarek's icy tone and liberal use of space and long tones has long been perfect for the ECM sound and, as a result, he is on many recordings for the label. He had won a competition for amateur jazz players back in 1962, leading to his first gigs. Garbarek worked steadily in Norway throughout the remainder of the 1960s, usually as a leader but also for four years with George Russell (who was in Scandinavia for a long stretch.)

Garbarek began recording for ECM in the early '70s and, although he had opportunities to play with Chick Corea and Don Cherry, his association with Keith Jarrett's European quartet in the mid-'70s made him famous, resulting in the classic recordings My Song and Belonging.

In the 1980s, Garbarek's groups included bassist Eberhard Weber and at various times guitarists Bill Frisell and David Torn. Garbarek, whose sound is virtually unchanged since the 1970s, collaborated with the Hilliard Ensemble in 1993 (a vocal quartet singing Renaissance music) and the result was a surprisingly popular recording. Visible World followed in 1995, and four years later he resurfaced with Rites.

The spellbinding Officium album, with Garbarek’s saxophone as a free-ranging ‘fifth voice’ with the Ensemble, gave the first indications of their immense combined musical scope and emotional power. Mnemosyne (1999) expanded the repertoire beyond ‘early music’ to embrace works both ancient and modern. Now Officium Novum finds the collective at the crossroads of East and West.

A central focus is based on the adaptations of Komitas Vardapet, drawing upon both medieval sacred music and the bardic tradition of the Caucasus. The Hilliards studied these pieces during visits to Armenia, and the music’s modes encourage some of Garbarek’s most impassioned playing. Also included are Arvo Pärt’s “Most Holy Mother of God” in an a cappella reading, Byzantine chant, two pieces by Jan Garbarek, including a new version of “We are the stars”, plus Perotin’s “Alleluia, Nativitas”. ---amazon.com

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01 Molde Canticle Part I
02 Molde Canticle Part II
03 Buena Hora, Buenos Vientos
04 Molde Canticle Part IV
05 Unknown title
06 Bass Solo
07 Gula Gula
08 Unknown title
09 Unknown title
10 Improvisation
11 Piano Solo
12 Unknown title
13 All those born with wings, 5th piece
14 Percussion Solo
15 Jan & Trilok
16 Unknown title
17 Encore

Jan Garbarek (Saxophon)
Rainer Brüninghaus (Piano)
Yuri Daniel (Bass)
Trilok Gurtu (Percussion)

Live at Royal Royal Festival Hall, London, 13 November 2016

Returning to London for the first time in four years, the inimitable Jan Garbarek Group took to the stage during the opening weekend of the 2016 EFG London Jazz Festival to play to a full house. On the face of it, the four musicians make an unlikely combo, spanning a diverse range of musical influences, genres and styles quite apart from their very different stage personae, and in the process show an extraordinary versatility.

Garbarek’s longstanding German pianist, Rainer Brüninghaus, is commandingly regal and rebelliously boogie-woogie in equal measure. The electric bass player, brazilian Yuri Daniel, is just as adept at slap bass as he is when meting out a lyrical melodic line that sounds like a deeply sonorous sitar - not surprising given his collaborator on percussion, Trilok Gurtu, tabla player supreme, who looks just at much at home on a conventional drum kit. And then there is Jan Garbarek himself, the consummate tenor and soprano saxophonist, treating both instruments to his precisely honed, fine-hued sound, that is limpid and graceful but somehow never cloying. Without ever speaking between numbers to announce a tune or to introduce themselves, the foursome nevertheless communicated on a very human level, weaving together spare but complex melodies with complex rhythmic textures, the forms loose and dynamic, the solos crafted and thoughtful.

Garbarek's tunes are characteristically spatial, and as performers they also gave each other a lot of space - both musically and literally - on many occasions three musicians would leave the stage to allow one player to take the spotlight. In fact, it struck me that they could each have done a solo gig and the audience would have been more than happy, especially when Gurtu turned to the array of percussion instruments behind him and began to implement one after another during an extended improvisation. This culminated with him playing a galvanised bucket full of water, tapping the handle while immersing a brass tray into the water and vocalising konnakkol, as he splashed both sound and water with abandon. Garbarek, spurred on by this unorthodox display, returned to the stage with a wooden flute to accompany Gurtu. Other memorable moments of pairings were Daniel and Brüninghaus trading micro phrases, teasing and chiding, before melding their sound into an epic intro for another tune.

A friend noted afterwards that when they came to take a bow after their encore number, there did not seem to be much sense of camaraderie between the band members, but to my mind there had been more than enough connection established in the music itself. Whilst at times the cool, nordic vibe prevailed, veering towards an expectedly plaintive tradition, referencing Garbarek’s extensive work with exponents of plainsong and Gregorian chants, the folk motifs and use of non-western scales made for a more ethnographically diverse repertoire than I had anticipated.

Now forty-odd years into his career, Garbarek is as close to perfection as it’s humanly possible to achieve, showing himself to be a master of silence as well as sound, of striking rhythmic figures as much as achingly beautiful phrases. ---Sarah Chaplin, londonjazznews.com

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01 Heather
02 The Creek
03 Yr
04 One goes there alone
05 Stolt oli
06 Tao (bass solo)
07 One version of events
08 Life without balcony
09 Red dust
10 Metamorphosen (piano solo)
11 Pageant
12 La Pasionara - Passage
13 Seven horses (percussion solo)
14 It's high time
15 Mission: To be where I am

Jan Garbarek - saxes, flute
Rainer Brüninghaus - piano, keyboards
Yuri Daniel - bass
Trilok Gurtu - drums, percussion, voice

Maijazz 2013, Stavanger Konserthus, Norway 2013-05-10

Maijazz is the oldest and greatest music festival in Stavanger. Since the first festival in 1989 MaiJazz has developed to be one of Norway's leading jazz festivals presenting international jazz stars and the best in national and local jazz every year. Approximately 200 volunteers are gathered to arrange about 40 concerts on 20 stages in and around Stavanger, that can accommodate from 80 to 1800 people.

Artists presented by MaiJazz in recent years have been: Pat Metheny Group, Jan Garbarek Group, Dave Holland, Snarky Puppy and Stavanger symphony orchestra, Ibrahim Electric, Jim Beard band, Gotan Project, Nils Petter Molvær, St Germain, Dee Dee Bridgewater, Youssou N`Dour, Joshua Redman, Chick Corea, Herbie Hancock, Bobby McFerrin and others. --- jazzfestivalsworldwide.com

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Disc 1

1 1st Piece  7:35.28
2 A.I.R. / Titel (Bass Solo)  11:15.32
3 The Last Stage Of A Long Journey  11:56.11
4 Tongue Of Secrets  4:26.33
5 Hasta Siempre  10:38.42
6 The Crossing Place  9:52.39

Disc 2

1 5th Piece  9:27.27
2 Gesture / Vozes (Percussion Solo)  9:58.39
3 Paper Nut  7:05.47

Jan Garbarek - Tenor and Soprano Sax, Flute
Lars Jansson - Keyboards
Eberhard Weber - Bass
Nana Vasconcelos – Percussion

Nightstage, Cambridge, MA
September 22, 1987

There were 2 shows this night. I'm not sure which show this one is, but it is the only one I have of this edition of the Jan Garbarek Group. I did not see this show. etree lists this as from Jonathan Swift's, but the source of it, the sound of it, and my memory of it all say this concert was at Nightstage. So the sound is really nice, this one doesn't have any problems in the recording. There's a lot of Jan Garbarek shows to be heard, he goes back to early 70's, but there were only 2 shows listed in etree for 1987 (this was one of them, but didn't have a setlisting.)

I have also made some simple artwork for this one from a commercial release around the same time period and have included it with this download. This is just an excellent capture of a Jan Garbarek Group show from this era. Just simply wonderful music played to near perfection by outstanding musicians.

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1 Molde Canticle Part 1
2 Molde Canticle Part 2
3 Molde Canticle Part 3
4 Molde Canticle Part 4
5 Molde Canticle Part 5
6 Grisilla
7 Tao
8 The Survivor
9 I Took Up the Runes
10 5th Piece
11 Recife
12 Had to Cry Today

Jan Garbarek - Saxophone
Rainer Brüninghaus - Piano
Yuri Daniel - Bass
Trilok Gurtu - Drums

Festival Onze + Losanna, 2018
Salla Paderewski, Lausanne, 7.11. 2018

As an improvising musician, Jan Garbarek has said that he seeks to make his playing “fit the tone, texture and temperament of the music. It’s about finding a common language.” The quest to explore that language has ranged widely across time and space, from the folk songs of his native Norway to improvisations around medieval polyphony and the music of the Indian subcontinent and Middle East, as well as jazz. In the course of these musical journeys, the intensely focused sounds of his tenor and soprano saxophones have become among the most instantly recognizable and haunting in contemporary music. ---ecmrecords.com

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01. Hear My Prayer, Oh Lord (Purcell) 2.31
02. The Path Places (Garbarek) 16.51
03. Ringing (Garbarek) 8.18
04. Last Stage Of A Long Journey (Garbarek/Weber) 0.27
05. Unknown Title (Purcell) 4.05
06. Chorus (Weber) 8.31
07. Considering The Snail (Garbarek) 6-36
08. Alta Trinita (Traditional) 5.10

Jan Garbarek - saxophone
David Torn - guitar
Eberhard Weber - bass
Michael Dipasqua - drums
Havestehuder Kammerchor conducted by Claus Bantzer

Recorded live at the Alta Trinita, 193. NDR Jazzkonzert, St. Johannis Kirche, Hamburg Harvestehude, November 25, 1984 (FM broadcast)

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