Over the immanent, limpid voices Garbarek improvises equally immaculate counter-melodies. His contributions tend to be somewhat predictable, more decoration than improvisation in the fullest sense, but his tone is so pleasing...and the melodies so calming to the spirit that he can be forgiven.

the Hilliard's vocals seemingly emerg[e] from the misty darkness to engulf you in waves of pure human sound. Garbarek's sax weaves within, soars over and ducks below them, like some benign but authoritative, other-worldly presence. His own We Are The Stars is nothing less than spellbinding.

The frisson created by the Hilliards' chaste vocalising and the raw wailing of Garbarek's saxophone manifests as sacred versus profane, like a chilled jazzer idling against a church wall...It's a pretty seductive formula that still creates a fair measure of magic.

On Officium Novum, these ageless musicians look to the Orthodox music of Armenia, Russia and Byzantium, although there’s more besides, including Nativitas, by the 12th-century Gallic composer Pérotin, and Arvo Pärt’s touching prayer Most Holy Mother of God. Immensely moving.

The most successful piece is the 13-minute "Litany", where both elements contribute without crowding. Elsewhere, the two blend best when Garbarek's sax most closely resembles the dry warmth of the duduk flute, as on "Ov zarmanali".

Garbarek’s not one for idle doodling. Neither does he get stuck in a rut. Each piece summons a different response...So please welcome Officium Novum. Neither classical nor jazz, neither new nor old, this music simply exists, for everyone’s wonder and nourishment.