The Book of Job (; Hebrew: ×?ִיוֹב‎ ''ʾ iyobh''), commonly referred to simply as Job, is one of the books of the Hebrew Bible. It relates the story of Job, his trials at the hands of Satan, his discussions with friends on the origins and nature of his suffering, his challenge to God, and finally a response from God. The book is a didactic poem set in a prose frame. The over-riding and oft-asked question asked in the book of Job is, "Why do the righteous suffer?".

The book of Job has been included in lists of the greatest books in world literature.

Contents

Summary

The book of Job tells the story of an extremely righteous man named Job, who was very prosperous and had seven sons and three daughters. Constantly fearing that his sons may have sinned and "cursed God in their hearts", he habitually offered burnt offerings as a pardon for their sins. The "sons of God" and Satan (literally "the Adversary") present themselves to God, and God asks Satan his opinion on Job. Satan answers that Job is pious only because God has put a "wall around" him and "blessed" His favourite servant with prosperity, but if God were to stretch out his hand and strike everything that Job had, then he would surely curse God. God gives Satan permission to test Job's righteousness.

All of Job's possessions are destroyed; the 500 yoke of oxen and 500 donkeys carried off by Sabeans, the 7000 sheep were burned up by 'The fire of God which fell from the sky,' the 3000 camels were stolen by the Chaldeans and the house of the firstborn collapsed, due to a mighty wind, killing all of Job's offspring, but Job does not curse God but instead shaves his head, tears his clothes and says, "Naked I came out of my mother's womb, and naked shall I return: Lord has given, and Lord has taken away; blessed be the name of Lord."

As Job endures these calamities without reproaching God, Satan solicits permission to afflict his person as well, and God says, "Behold, he is in your hand, but don't touch his life." Satan, therefore, smites him with dreadful boils, and Job, seated in ashes, scrapes his skin with broken pottery. His wife prompts him to "curse God, and die" but Job answers, "You speak as one of the foolish speaks. Moreover, shall we receive good from God and shall not receive evil?"

Three friends of Job, Eliphaz the Temanite, Bildad the Shuhite, and Zophar the Naamathite, come to console him. (A fourth, Elihu the Buzite (Heb: Alieua ben Barakal the Buzite), begins talking in Chapter 32 and plays a significant role in the dialogue, but his arrival is not described). The friends spend seven days sitting on the ground with Job, without saying anything to him because they see that he is suffering and in much pain. Job at last breaks his silence and "curses the day he was born."

God responds saying that there are so many things Job does not know about how this world was formed or how nature works, that Job should consider God as being greater than the thunderstorm and strong enough to pull in the leviathan with a fishhook. God then rebukes the three friends and says, "I am angry with you....you have not spoken of me what is right."

The story ends with Job restored to health, with a new family and twice as much livestock.

Structure

The book of Job has a fairly simple structure. Job 1 and 2 are the prologue, written in prose. Job 3:1-42:6 is poetry that consists of a cycle of speeches between Job, Eliphaz, Bildad, Zophar and later Elihu, and then the dialogue between Yahweh and Job. Job 42:7-14 is the epilogue, which is written in prose.

Speech cycles

The dialogues of chapters 3-31 are, in general, a cycle of speeches between Job, Eliphaz, Bildad, and Zophar that are structured as follows:

Cycle 1 Job ''Chapters'' 3 Eliphaz 4-5 Job 6-7 Bildad 8 Job 9-10 Zophar 11

Cycle 2 Job ''Chapters'' 12-14 Eliphaz 15 Job 16-17 Bildad 18 Job 19 Zophar 20

Cycle 3 Job ''Chapters'' 21 Eliphaz 22 Job 23-24 Bildad 25:1-5 Job 26; 27-28; 29-31

The third cycle, it should be noted, does not follow the pattern of the first two cycles. Zophar does not give a speech and Bildad's speech is significantly shorter than his previous speeches. His speech maintains that Job, while righteous, is not perfect. Job does not disagree with this and God does not rebuke Elihu as he does Bildad, Zophar, and Eliphaz. After Elihu's speech ends with the last verse of Chapter 37, God appears and in the second verse of Chapter 38, God says, speaking of Job: “Who is this that darkeneth counsel by words without knowledge?"

God's response

After several rounds of debate between Job and his friends, in a divine voice, described as coming from a "cloud" or "whirlwind", God describes, in evocative and lyrical language, what the experience of being the creator of the world is like, and rhetorically asks if Job has ever had the experiences or the authority that God has had. God's answer underscores that Job shares the world with numerous powerful and remarkable creatures. (Also compare with which was possibly in response to ).

God's speech also emphasizes his sovereignty in creating and maintaining the world. The thrust is not merely that God has experiences that Job does not, but that God is king over the world and is not necessarily subject to questions from his creatures, including men. The point of these speeches is to proclaim the absolute freedom of God over His creation. God is not in need of the approval of his creation. It is only the reader of the book who learns of God's conversations with Satan; Job himself remains unaware of the reason or source of his sufferings. The traditional interpretation is that, humbled by God's chastising, Job turns speechless, giving up and repenting his previous requests of justice. However, another interpretation is that Job's silence is defiant, and that what he gives up is not his belief that justice be done, but his confidence that God will behave justly.

In the epilogue, God condemns Job's friends for their ignorance and lack of understanding while commending Job for his righteous words, commands them to prepare burnt offerings and reassures them that Job will pray for their forgiveness. Job is restored to health, gaining double the riches he possessed before and having new children, 7 sons and 3 daughters (his wife did not die in this ordeal). His new daughters (Jemima, Keziah and Keren-Happuch) were the most beautiful in the land, and were given inheritance along with their brothers. Job is blessed once again and lives on another 140 years after the ordeal, living to see his children to the fourth generation and dying peacefully of old age.

Satan

"The Satan", meaning literally "the adversary", appears in the prose prologue of Job: it has been argued that he is not the devil, as he becomes in later Judeo-Christian works, but one of the celestial beings who stand before God in the heavenly court. As a member of a divine council "the adversary" observes human activity with the purpose of searching out men's sins and acting as their accuser. "The adversary" occurs in the framing story alone—he is never clearly alluded to in the central poem. However, Abaddon and Sheol are mentioned throughout the central poem. Job does speak of an adversary on several occasions within the central poem, but it is doubtful that he is referring to "the Adversary" of the prose prologue.

Job's wife

Job's wife is introduced in Job 2:9 when she suggests that Job curse God and die. She is not directly mentioned at any other place in the book. Throughout the ordeal, she survives and lives on with Job. There is uncertainty about her intentions when she tells Job to curse God but it is clear that Job honors her by the way he talks about her in Chapter 31. As he says in verse one, "I have made a covenant with my eyes. Why should I think on another woman?" He has remained true to his marriage vows, even in his heart, and has not lusted after someone else.

The later tradition preserved in the Greek Testament of Job (chap. 21-25; 39) names Job's first wife (cf. Job 2:9) as Sitidos (Sitis) and his later wife (expanded from Job 42:13 in T.Job 1:6) as Dinah.

Composition

Origin and textual history

Most scholars date Job between the 6th and 4th century BCE. While "there is an intentional editorial unity with a cohesive purpose and message in the canonical form of the book," Job contains many separate elements, some of which may have had an independent existence prior to being incorporated into the present text. Scholars agree that the introductory and concluding sections of the book, the framing devices, were composed to set the central poem into a prose "folk-book", as the compilers of the ''Jewish Encyclopedia'' expressed it. The central poem is from another source. Among the Dead Sea Scrolls is the Targum of Job 11Q10. Another example of text from the last chapter or epilogue of Job can be found in the book ''The Dead Sea Scrolls: A New Translation'', showing examples of how fragments of The Book of Job found among the scrolls differ from the text as now known.

The "Job Motif" in earlier literature

In 1954, the Assyriologist and Sumerologist Samuel Noah Kramer presented a Sumerian text treating the "Job motif" of the righteous sufferer. The Sumerian text is known as "A man and his god", after the incipit ''lu₂-ulu₃ nam-mah dingir-ra-na''. Ludlul bÄ“l nÄ“meqi is a Babylonian text, also known as the "Babylonian Job", which concerns itself with the unjust suffering of an afflicted man, named Shubshi-meshre-Shakkan."The Protestation of Guiltlessness," from the Egyptian Book of the Dead, is a collection of assertions of innocence which were included in ancient Egyptian burial rites, and is often compared to Job, especially chapter 31.

While these and other ancient Near Eastern texts consider comparable issues, scholars have not found their direct antecedent. However, the similarity between the central concerns of Job and those of certain ancient Babylonian and Egyptian texts reveals a shared interest in the question of why the innocent suffer. These texts also share an interest in challenging traditional views of the nature of divine justice. J.B. Curtis in his 1979 paper "On Job's Response to Yahweh", argues that Job's final responses to Yahweh are a total rejection of Yahweh rather than an expression of repentance, and translates Job 42:6 as "Therefore I feel loathing contempt and revulsion (toward you, O God); and I am sorry for frail man."

Talmudic tradition

The Talmudic Tractate Bava Batra 15a-b maintains that Job was written by Moses, although nowhere does it name its author. Other opinions in the Talmud ascribe it to the period of before the First Temple, the time of the patriarch Jacob, or King Ahaserus.The medieval exegete Abraham ibn Ezra believed that Job was translated from another language and it is therefore unclear "like all translated books" (Ibn Ezra Job 2:11). It is set in the land of Edom, which has been retained as the background, and in the prologue and epilogue, the name of God is YHWH, a name that even the Edomites used. Job is prominent in haggadic legends. The later Greek ''Testament of Job'' figures among the apocrypha.

Dissenting/Speculative Wisdom

Michael Coogan writes in regards to both Ecclesiastes and Job that “Both take positions opposed to the mainstream of the wisdom tradition in the Bible, as exemplified in the book of Proverbs…� Job, along with Ecclesiastes is part of the dissenting or speculative group of wisdom literature within the Old Testament. In the narrative there are conversations that occur between Job and family, Job and friends, and Job and God. Conventional wisdom may be applied to the questions and advice given by Job’s friends or family, yet it is Job’s responses that make this book part of the dissenting wisdom or “anti-wisdom wisdom�

In Judaism

Some of the laws and customs of mourning in Judaism are derived from the Book of Job's depiction of Job's mourning and the behavior of his companions. For example, the behavior of Job's comforters, who kept silence until he spoke to them, is the source for a norm applicable to contemporary traditional Jewish practice, that visitors to a house of mourning should not speak to the mourner until they are spoken to.

In most traditions of Jewish liturgy, the Book of Job is not read publicly in the manner of the Pentateuch, Prophets, or megillot. However, there are some Jews, particularly the Spanish and Portuguese Jews, who do hold public readings of the Book of Job on the Tisha B'Av fast (a day of mourning over the destruction of the First and Second Temples and other tragedies). The cantillation signs for the large poetic section in the middle of the Book of Job differ from those of most of the biblical books, using a system shared with it only by Psalms and Proverbs. A sample of how the cantillations are chanted is found below. Many quotes from the Book of Job are used throughout Jewish liturgy, especially at funerals and times of mourning.

Maimonides, a twelfth century rabbi, discusses Job in his work The Guide for the Perplexed. According to Maimonides (III 22–23), each of Job's friends represents famous, distinct schools of thought concerning God and divine providence. According to Maimonides, the correct view of providence lies with Elihu, who teaches Job that one must examine his religion (). This view corresponds with the notion that "the only worthy religion in the world is an examined religion." A habit religion, such as that originally practiced by Job, is never enough. One has to look deep into the meaning of religion in order to fully appreciate it and make it a genuine part of one's life. Elihu believed in the concepts of divine providence, rewards to individuals, as well as punishments. He believed, according to Maimonides, that one has to practice religion in a rational way. The more one investigates religion, the more he will be rewarded or find it rewarding. In the beginning, Job was an unexamining, pious man, not a philosopher, and he did not have providence. He was unwise, simply grateful for what he had. God, according to Elihu, did not single out Job for punishment, but rather abandoned him and let him be dealt with by natural, unfriendly forces.

Conversely, in more recent times, Russian existentialist philosopher Lev Shestov viewed Job as the embodiment of the battle between reason (which offers general and seemingly comforting explanations for complex events) and faith in a personal god, and one man's desperate cry for him. In fact, Shestov used the story of Job as a central signifier for his core philosophy (the vast critique of the history of Western philosophy, which he saw broadly as a monumental battle between Reason and Faith, Athens and Jerusalem, secular and religious outlook):

"The whole book is one uninterrupted contest between the 'cries' of the much-afflicted Job and the 'reflections' of his rational friends. The friends, as true thinkers, look not at Job but at the 'general.' Job, however, does not wish to hear about the 'general'; he knows that the general is deaf and dumb - and that it is impossible to speak with it. 'But I would speak to the Almighty, and I desire to argue my case with God' (13:3). The friends are horrified at Job's words: they are convinced that it is not possible to speak with God and that the Almighty is concerned about the firmness of his power and the unchangeability of his laws but not about the fate of the people created by him. Perhaps they are convinced that in general God does not know any concerns but that he only rules. That is why they answer, 'You who tear yourself in your anger, shall the earth be forsaken for you or the rock be removed from its place?' (18:4). And, indeed, shall rocks really be removed from their place for the sake of Job? And shall necessity renounce its sacred rights? This would truly be the summit of human audacity, this would truly be a 'mutiny,' a 'revolt' of the single human personality against the eternal laws of the all-unity of being!"— Speculation and Apocalypse

In Christianity

Messianic anticipation in the book

In Chapter nine, Job recognizes the chasm that exists between him and God: “For he is not a man, as I am, that I might answer him, that we should come to trial together.� Job’s regret is that he has no arbiter to act as a go-between; that Job cannot reconcile himself with God anticipates the need for the Messiah to become incarnate. In verse 33, Job wishes that there was an “umpire� (Heb. mokiah) to decide between him and God. One scholar says, “This person would have to be superior in authority to either party, �; thus the arbiter for whom Job hopes would himself have to be divine, or else he would no more be qualified to “lay his hand upon� God than is Job.

This idea of a divine arbiter is returned to at Job 16:19. Job again expresses his desire for a witness, and then declares, “my eyes pour out tears to God, that he would maintain the right of a man with God�. Job addresses God, desiring that God will advocate on Job’s behalf with himself. Job knows that no man such as himself, conceived in sin, can appeal to God on his behalf; so God must do it himself. The language used earlier is that of a judicial judgement, in which God is both judge of and lawyer for Job. Job “draws a distinction in God�, and this distinction anticipates the multiplicity of God’s persons.

Job’s faith in this arbiter is again brought up in chapter 19. It is commonly accepted that the “Redeemer� of 19:25 is the same person as the witness of 16:19. This verse in particular is often seen as an anticipation of Christianity. Telgren notes that it has been suggested that verses 25 and 26 have a poetic structure of ABBA. If this is true it would support the notion that God is himself the Redeemer, by associating him with the living Redeemer in the parallel structure. The RSV’s “Redeemer� is a translation of the Hebrew go’el. That this go’el could refer to God is explicitly demonstrated in the Psalms and Proverbs, and elsewhere.

This translation of go'el in Job 19:25-26 as "Redeemer" has been made famous by its use in Handel's ''Messiah'', the Air ''I know that my Redeemer liveth'', and in the lectionary during the Easter season. The go'el was a kinsman redeemer whose role included avenging bloodshed, redeeming land sold to others outside the family, and redeeming family members sold into slavery. The Christ, as both God and Man, is seen in Christian theology as fulfilling this role in the redemption of man and of the earth and in the final judgment against evil.

An alternative translation of the passage reads as follows:

The capitalization of "Redeemer" (here translated as "vindicator") is a choice of the translator. The Hebrew language has no capital letters. The capitalization is used in preference to the idea that the passage references the Messiah. However the use of "go'el" here can also be taken to reference a human avenger-of-blood. According to this reading, Job is asserting that after he is dead, his go'el will take up his case. However, he would rather it happen before he dies. This interpretation is supported with the argument that there is nowhere else in the book where Job express a wish for bodily resurrection, only for someone to intervene as an "umpire", a "vindicator", a "go'el", on his behalf as an impartial judge between himself and God in the present.

Liturgical use

The Eastern Orthodox Church reads from Job during Holy Week.

The Roman Catholic Church traditionally reads from the Book of Job during Matins in the first two weeks of September, as well as in the Office of the Dead. In the revised Liturgy of the Hours, Job is read during the Eighth and Ninth Weeks in Ordinary Time.

See also

Book of Job in Byzantine illuminated manuscripts

Middle Eastern folk traditions on Job

In Palestinian folk tradition, Ayyub's place of trial is Al-Joura, a village outside the town of Al Majdal (Ashkelon). It was there, God rewarded him with a Fountain of Youth that removed whatever illnesses he had, and restored his youth. The town of Al-Joura was a place of annual festivities (4 days in all) when people of many faiths gathered and bathed in a natural spring. In Turkey, Job is known as ''Eyüp'', and he is supposed to have lived in Şanlıurfa. There is also a tomb of Job outside the city of Salalah in Oman.

References to Ayyub (Job) in the Qur'an

Job's prophecy: 4:163, 6:84* Trial and patience: 21:83-84, 38:41 In Islam, Job (ايوب) was a prophet renowned for his endurance (assumed to be of pain and suffering). One tradition holds that his tomb is located near Salalah, in the Sultanate of Oman, possibly indicating he made his wealth in the frankincense trade.

References

Bibliography

Commentaries on Job

Michael Wise, Martin Abegg, Jr, and Edward Cook, ''The Dead Sea Scrolls: A New Translation'', (1996), HarperSanFrancisco paperback 1999, ISBN 0-06-069201-4, (contains the non-biblical portion of the scrolls)

Stella Papadaki-Oekland,''"Byzantine Illuminated Manuscripts of the Book of Job"'',ISBN 2-503-53232-2,

Tracy Byrd in "Walking to Jeresalum"

General

Further reading

Books of Wisdom by Robert Alter

External links

The History and Life of Job: A man with great patience

''Sephardic Cantillations for the Book of Job'' by David M. Betesh and the Sephardic Pizmonim Project

Introduction to ''The Book of Job'' by Stephen Mitchell

''Excerpts from "Answer to Job" by Carl Jung''

''Jewish Encyclopedia'': Job; ''Book of Job''

Job at the Catholic Encyclopedia

The Paramount Lesson of Job: God's Glory Magnified by Faith Triumphant over Tribulation by J.T. Mueller

Job's Path to Enlightenment by Ethan Dor-Shav, Azure, Spring 2008

Translations of The Book of Job at BibleGateway.com

Hebrew and English Parallel and Complete Text of the Book of Job English Translation is the 1917 Old JPS

Putting God on Trial: The Biblical Book of Job- a literary, legal and philosophical commentary

Job at Chabad.org

Category:Ancient Middle Eastern wisdom literature Category:Job (religious figure) Category:Ketuvim Category:Ninth of Av Category:Texts which have been attributed to Moses Category:Book of Job

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name	Jan Garbarek
background	non_vocal_instrumentalist
birth date	March 04, 1947
Birth place	Mysen, Norway
origin	Oslo, Norway
instrument	soprano saxophone, tenor saxophone
occupation	saxophonist, composer, producer
years active	1966–present
label	ECM, Flying Dutchman
associated acts	George Russell, Terje Rypdal, Bobo Stenson, Keith Jarrett, Ralph Towner, Eberhard Weber, Bill Frisell, David Torn, Gary Peacock, Hilliard Ensemble
website	www.garbarek.com
notable instruments	bass saxophone, clarinet, flute }}

Jan Garbarek (born 4 March 1947) is a Norwegian tenor and soprano saxophonist, active in the jazz, classical, and world music genres. Garbarek was born in Mysen, Norway, the only child of a former Polish prisoner of war Czesław Garbarek and a Norwegian farmer's daughter. Effectively stateless until the age of seven (there was no automatic grant of citizenship in Norway at that time) Garbarek grew up in Oslo. At 21, he married Vigdis. His daughter Anja Garbarek is also a musician.

Biography

Garbarek's sound is one of the hallmarks of the ECM Records label, which has released virtually all of his recordings. His style incorporates a sharp-edged tone, long, keening, sustained notes, and generous use of silence. He began his recording career in the late 1960s, notably featuring on recordings by the American jazz composer George Russell (such as ''Othello Ballet Suite'' and ''Electronic Sonata for Souls Loved by Nature''). If he had initially appeared as a devotee of Albert Ayler and Peter Brötzmann, by 1973 he had turned his back on the harsh dissonances of avant-garde jazz, retaining only his tone from his previous approach. Garbarek gained wider recognition through his work with pianist Keith Jarrett's European Quartet which released the albums ''Belonging'' (1974), ''My Song'' (1977) and the live recordings ''Personal Mountains'' (1979), and ''Nude Ants'' (1979). He was also a featured soloist on Jarrett's orchestral works ''Luminessence'' (1974) and ''Arbour Zena'' (1975)

As a composer, Garbarek tends to draw heavily from Scandinavian folk melodies, a legacy of his Ayler influence. He is also a pioneer of ambient jazz composition, most notably on his 1976 album ''Dis'' a collaboration with guitarist Ralph Towner that featured the distinctive sound of a wind harp on several tracks. This textural approach, which rejects traditional notions of thematic improvisation (best exemplified by Sonny Rollins) in favour of a style described by critics Richard Cook and Brian Morton as "sculptural in its impact", has been critically divisive. Garbarek's more meandering recordings are often labeled as New Age music, a style generally scorned by more orthodox jazz musicians and listeners, or spiritual ancestors thereof. Other experiments have included setting a collection of poems of Olav H. Hauge to music, with a single saxophone complementing a full mixed choir; this has led to notable performances with Grex Vocalis, but not yet to recordings. In the 1980s, Garbarek's music began to incorporate synthesizers and elements of world music. He has collaborated with Indian and Pakistani musicians such as Trilok Gurtu, Zakir Hussain, Hariprasad Chaurasia, and Ustad Fateh Ali Khan. Garbarek is credited for composing original music for the 2000 film ''Kippur''.

In 1994, during heightened popularity of Gregorian chant, his album ''Officium'', a collaboration with early music vocal performers the Hilliard Ensemble, became one of ECM's biggest-selling albums of all time, reaching the pop charts in several European countries and was followed by a sequel, ''Mnemosyne'', in 1999. In 2005, his album ''In Praise of Dreams'' was nominated for a Grammy. Garbarek's first live album ''Dresden'' was released in 2009.

Awards & honors

In 1999, Garbarek was appointed a Knight 1st Class of the Order of St. Olav and in 2004 he was awarded the Norwegian Arts Council award.

Discography

As leader

''Esoteric Circle'' (Flying Dutchman, 1969)

''Afric Pepperbird'' (ECM, 1970)

''Sart'' (ECM, 1971) with Terje Rypdal

''Triptykon'' (ECM, 1972)

''Witchi-Tai-To'' (ECM, 1973) with Bobo Stenson

''Dansere'' (ECM, 1975) with Bobo Stenson

''Dis'' (ECM, 1976) with Ralph Towner

''Places'' (ECM, 1977)

''Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof'' (ECM, 1978) with Bill Connors

''Aftenland'' (ECM, 1979) with Kjell Johnsen

''Eventyr'' (ECM, 1980) with John Abercrombie and Naná Vasconcelos

''Paths, Prints'' (ECM, 1981) with Bill Frisell

''Wayfarer'' (ECM, 1983) with Bill Frisell and Eberhard Weber

''It's OK to Listen to the Gray Voice'' (ECM, 1985) with David Torn

''All Those Born With Wings'' (ECM, 1987)

''Legend of the Seven Dreams'' (ECM, 1988) with Rainer Brüninghaus

''Rosensfole'' (1989) with Agnes Buen Garnås

''I Took Up the Runes'' (ECM, 1990)

''Ragas and Sagas'' (ECM, 1990 [1992]) with Fateh Ali Khan

''StAR'' (ECM, 1991) with Miroslav Vitous

''Atmos'' (ECM, 1992) with Miroslav Vitous

''Madar'' (ECM, 1992) with Anouar Brahem and Shaukat Hussain

''Twelve Moons'' (ECM, 1992)

''Officium'' (ECM, 1994) with the Hilliard Ensemble

''Visible World'' (ECM, 1995)

''Rites'' (ECM, 1998)

''Mnemosyne'' (ECM, 1999) with the Hilliard Ensemble

''In Praise of Dreams'' (ECM, 2003)

''Dresden'' (ECM, 2009) live album

''Officium Novum'' (ECM, 2010) with the Hilliard Ensemble

As sideman

With Bill Connors

''Of Mist and Melting'' (ECM, 1977)

With David Darling

''Cycles'' (ECM, 1981)

With Paul Giger

''Alpstein'' (ECM, 1991)

With Egberto Gismonti

''Sol Do Meio Dia'' (ECM, 1977)

''Magico'' (ECM, 1979) with Charlie Haden

''Folk Songs'' (ECM, 1979) with Charlie Haden

With Trilok Gurtu

''Living Magic'' (1990)

With Zakir Hussain

''Making Music'' (ECM, 1986) with John McLaughlin and Hariprasad Chaurasia

With Keith Jarrett

''Belonging'' (ECM, 1974)

''Luminessence'' (ECM, 1974)

''Arbour Zena'' (ECM, 1975)

''My Song'' (ECM, 1977)

''Personal Mountains'' (ECM, 1979)

''Nude Ants'' (ECM, 1979)

With Manu Katché

''Neighbourhood'' (ECM, 2006)

With Eleni Karaindrou

''Music For Films'' (1991)

With Kim Kashkashian

''Monodia'' (2002)

With Karin Krog

''Jazz Moments'' (1966)

''Til Vigdis'' (1967)

''Joy'' (1968)

With Art Lande

''Red Lanta'' (ECM, 1973)

With Marilyn Mazur

''Elixir'' (2007)

With Gary Peacock

''December Poems'' (ECM, 1977)

''Voice from the Past - Paradigm'' (ECM, 1981)

''Guamba'' (ECM, 1987)

With George Russell

''Electronic Sonata for Souls Loved by Nature'' (Flying Dutchman, 1969)

''Trip to Prillarguri'' (Soul Note, 1970)

''Listen to the Silence'' (Soul Note, 1971)

With Terje Rypdal

''Terje Rypdal'' (ECM, 1971)

''Hav'' (1971) with Jan Erik Vold

With L. Shankar

''Vision'' (1983)

''Song for Everyone'' (1985)

With the Stuttgart Chamber Orchestra

''Caris Mere'' (1995)

With Ralph Towner

''Solstice'' (ECM, 1975)

''Solstice/Sound and Shadows'' (ECM, 1977)

With Miroslav Vitous

''Universal Syncopations'' (ECM, 2003)

With Eberhard Weber

''Chorus'' (ECM, 1984)

''Stages of a Long Journey'' (2007)

With Kenny Wheeler

''Deer Wan'' (ECM, 1977)

References

External links

Jan Garbarek on ECM Records

Jan Garbarek Group

Jan Garbarek's daughter, singer Anja Garbarek

Jan Garbarek Group @ Theatre Lycabettus concert review, Greece

Category:1947 births Category:Living people Category:People from Eidsberg Category:Avant-garde jazz musicians Category:Knights First Class of the Order of St. Olav Category:Spellemannprisen winners Category:Norwegian people of Polish descent Category:Freedom Records artists Category:ECM artists Category:Norwegian jazz saxophonists Category:Norwegian jazz musicians

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