In 1999 I was visiting family in Norway, and was lucky enough to be taken (via 3 ferries) deep into fjord country to a mountain cave where Garbarek performed with the Hilliard Ensemble soon after the release of Mnemosyne. The musicians slowly circled the small audience in near-darkness, creating a swirling sonic landscape. It was the most surreal concert experience of my life.
When I read a line like “what Coltrane hears in heaven” I am reminded that AI will never be able to replace the human observer of art. Who was the listener who said that?
Garbarek's Witch Tai To (Ecm 1041) remains one of my most favorite records ever. While most of my vinyl is on shelves, this record (which I bought 51 years ago) is, at this very moment, one of the 20 or so records that sits right next to the stereo because I play it so often!
It was George Russell who brought Gabarek and Rypdal to attention of Bob “Impulse!/ Flying Dutchman” Thiele for release of The Esoteric Circle Gabarek and Jon Christensen both studied under Russell, who was living in Oslo. And Don Cherry had normalized international improvisation earlier in the ‘60s, working with Gato Barbieri, Karl Berger, JF Jenny Clarke, Aldo Romano and Bo Steif at Cafe Montmarte ( in Copenhagen). I think Eicher deserves more credit ( or blame) for the Euro-jazz or Nordic sound than Gabarek. What that sound mostly turns away from musically speaking is jazz bedrock such as the American songbook, gospel roots and the blues. Image-wise, it replaced jazz as the late night music of urban Americans relaxing after work with the notion that the music floated among the mists of nature, apart from struggles that might refer to race, gender, politics. Intensity was, as Ted identifies, seeking transcendence, with the Hilliard Ensemble, for example, offering liturgical basis from pre-modern Christian traditions.
Howard, thank you for peeling Ted's proverbial onion further. I have this fantasy that the downside of this moment in world history will bear artful fruit—somehow give birth to whatever a contemporary version of music that's diverse and interesting enough to produce an integrated deep dive like this. Any paragraph that includes George Russell, Don Cherry, Karl Berger, seeking transcendence, and the liturgical basis from pre-modern Christian traditions is one I want to read. Now to see and hear the 2026 version of this broad of influence and imagination. Peace to you.
Well shit, thats not fair. Now i feel like i *have* to ask, why? Funny thing is i wouldnt have given it a second thought if you hadnt said that:/
Also, this *feels* like a reflection or reaction to current events. And im not saying that critically(ofc we're affected by the crazy ass world around us), just noticing the vibe shift. Or maybe its just coincidence. Still, feels like our world is getting smaller by the day
Edit: it just occurred to me that perhaps you meant "dont ask why" in that "go figure" kinda way, as in dont ask why bc no one has a clue, dude just likes crazy names.
It was through Garbarek that I feel in love with jazz in my teens. I was lucky to see him play multiple times, including in a deeply mystical, dimly lit Church in the South of France. Thank you for this deeply moving article. As a European living in the US, I appreciated it even more!
Not disagreeing with you per se, but when I would travel in Europe in the 90's you never knew for sure what you were going to get when you went to a club that advertised jazz: something really good, a third rate dixieland band, or an American slumming it and assuming that it was easy to vocalize as well as play their instrument -- and demonstrating that it wasn't.
This piece makes me reflect on my listening to Garbarek over many years, starting in high school in the 1970s. Thank you for this overview of his work and the context in which it emerged Garbarek certainly developed a sound unlike anyone else.
This is fascinating, thank you. It's interesting to hear an American perspective on European jazz. In these internationally fraught times, it's nice to read something diplomatic.
What a wonderful essay. I very much enjoyed the audio video clips. I'm now cautioned against claiming to be a Keith Jarrett fan. It is obvious I know absolutely nothing about the man.
Ted, you really took me back in time with this post. Thank you. I loved your opening salvo with the "First they love me, then they don't" phenomenon. I was especially moved to be reminded of the Art Lande and Jan Garbarek duet. I had that record and loved it. In fact, I was a bit of an Art disciple for a moment there (taking a break from Keith, Bill, and Herbie). I saw Jan at the Great American Music Hall as part of an ECM day and night gig. He was fantastic—everyone was, from Dejohnette to Ralph Towner. Heard Art and the Rubisa Patrol at Keystone Korner and later recorded with Mark Isham and the drummer Kurt Wortman. Anyhow, thank you. Sorry, Jan ruined your ascent to fame! You're doing okay though. Appreciate every post!
In 1999 I was visiting family in Norway, and was lucky enough to be taken (via 3 ferries) deep into fjord country to a mountain cave where Garbarek performed with the Hilliard Ensemble soon after the release of Mnemosyne. The musicians slowly circled the small audience in near-darkness, creating a swirling sonic landscape. It was the most surreal concert experience of my life.
I am deeply envious.
When I read a line like “what Coltrane hears in heaven” I am reminded that AI will never be able to replace the human observer of art. Who was the listener who said that?
Garbarek's Witch Tai To (Ecm 1041) remains one of my most favorite records ever. While most of my vinyl is on shelves, this record (which I bought 51 years ago) is, at this very moment, one of the 20 or so records that sits right next to the stereo because I play it so often!
love Garb/Bobo's take on the Jim Pepper klazzick!
It was George Russell who brought Gabarek and Rypdal to attention of Bob “Impulse!/ Flying Dutchman” Thiele for release of The Esoteric Circle Gabarek and Jon Christensen both studied under Russell, who was living in Oslo. And Don Cherry had normalized international improvisation earlier in the ‘60s, working with Gato Barbieri, Karl Berger, JF Jenny Clarke, Aldo Romano and Bo Steif at Cafe Montmarte ( in Copenhagen). I think Eicher deserves more credit ( or blame) for the Euro-jazz or Nordic sound than Gabarek. What that sound mostly turns away from musically speaking is jazz bedrock such as the American songbook, gospel roots and the blues. Image-wise, it replaced jazz as the late night music of urban Americans relaxing after work with the notion that the music floated among the mists of nature, apart from struggles that might refer to race, gender, politics. Intensity was, as Ted identifies, seeking transcendence, with the Hilliard Ensemble, for example, offering liturgical basis from pre-modern Christian traditions.
Howard, thank you for peeling Ted's proverbial onion further. I have this fantasy that the downside of this moment in world history will bear artful fruit—somehow give birth to whatever a contemporary version of music that's diverse and interesting enough to produce an integrated deep dive like this. Any paragraph that includes George Russell, Don Cherry, Karl Berger, seeking transcendence, and the liturgical basis from pre-modern Christian traditions is one I want to read. Now to see and hear the 2026 version of this broad of influence and imagination. Peace to you.
Thank you, Ted, on behalf of those of us for whom Music is a Universal Force.
called Afric Pepperbird—don’t ask why
Well shit, thats not fair. Now i feel like i *have* to ask, why? Funny thing is i wouldnt have given it a second thought if you hadnt said that:/
Also, this *feels* like a reflection or reaction to current events. And im not saying that critically(ofc we're affected by the crazy ass world around us), just noticing the vibe shift. Or maybe its just coincidence. Still, feels like our world is getting smaller by the day
Edit: it just occurred to me that perhaps you meant "dont ask why" in that "go figure" kinda way, as in dont ask why bc no one has a clue, dude just likes crazy names.
It was through Garbarek that I feel in love with jazz in my teens. I was lucky to see him play multiple times, including in a deeply mystical, dimly lit Church in the South of France. Thank you for this deeply moving article. As a European living in the US, I appreciated it even more!
Never heard of this guy before today. Clearly my loss. Right now I'm listening to his 2025 album, "Substantial." Wonderful stuff.
Once again, Thanks, Ted, for bringing us this kind of wonderment.
Not disagreeing with you per se, but when I would travel in Europe in the 90's you never knew for sure what you were going to get when you went to a club that advertised jazz: something really good, a third rate dixieland band, or an American slumming it and assuming that it was easy to vocalize as well as play their instrument -- and demonstrating that it wasn't.
This piece makes me reflect on my listening to Garbarek over many years, starting in high school in the 1970s. Thank you for this overview of his work and the context in which it emerged Garbarek certainly developed a sound unlike anyone else.
Officium is sublime.
I saw this project live in Brussels. Stunning.
I bet. I envy you! I never tire of it. Always fresh.
This is fascinating, thank you. It's interesting to hear an American perspective on European jazz. In these internationally fraught times, it's nice to read something diplomatic.
What a wonderful essay. I very much enjoyed the audio video clips. I'm now cautioned against claiming to be a Keith Jarrett fan. It is obvious I know absolutely nothing about the man.
Ted, you really took me back in time with this post. Thank you. I loved your opening salvo with the "First they love me, then they don't" phenomenon. I was especially moved to be reminded of the Art Lande and Jan Garbarek duet. I had that record and loved it. In fact, I was a bit of an Art disciple for a moment there (taking a break from Keith, Bill, and Herbie). I saw Jan at the Great American Music Hall as part of an ECM day and night gig. He was fantastic—everyone was, from Dejohnette to Ralph Towner. Heard Art and the Rubisa Patrol at Keystone Korner and later recorded with Mark Isham and the drummer Kurt Wortman. Anyhow, thank you. Sorry, Jan ruined your ascent to fame! You're doing okay though. Appreciate every post!
Thanks for showing me my next deep dive! Excited to listen!
Especially cool that Garbarek & Hilliard decided to include (my homeland) Armenian music in their repertoire…!