That is not to say that Garbarek ignored American music.

On the contrary, his initial inspiration, like so many of his generation, was John Coltrane, and his apprenticeship was served playing with the great composer George Russell during the latter's sojourn in Scandanavia in the late '60s and early '70s. But Garbarek also opened his ears to the folk music of his native Scandinavia, adopting and adapting the simple forms and melodies, and drawing some inspiration from the flutes and pipes found throughout northern European folk music. Indeed, many have identified his plaintive, mournful sound with the frozen wastes of the north, fancying they can hear the sound of glaciers and forests, but in fact his tone relates as readily to north African and Indian singing. What is certainly beyond question is that Garbarek's sound is deeply personal and instantly recognisable and that is a state to which all jazz musicians aspire.

Garbarek rose to international prominence in the '70s, thanks largely to his membership of Keith Jarrett's European quartet.

With the pianist, he recorded two of the finest albums ever to issue from producer Manfred Eicher's renowned label, Belonging (1974) and My Song (1977), and he also played as a side man on numerous other ECM recordings, notably Kenny Wheeler's classic Deer Wan (1977). Those only familiar with Garbarek's later work and who may find the saxophonist cold or uninvolving, should listen to the fire and energy of Garbarek's soloing with Jarrett and Wheeler.

He plays the Helix in Dublin next Sunday night with a group of similarly illustrious Europeans including Germans Rainer Brunninghaus on keyboards and Eberhard Weber on bass and French drummer Manu Katche. Brunninghaus and Weber who have been his long standing collaborators, share with Garbarek some credit for developing the socalled ECM sound, the two Germans bringing the sensibilities of contemporary European classical music to jazz.

Manu Katche's day job is as a celebrated rock and pop drummer, who has played with everyone from Sting and Peter Gabriel to Youssou N'Dour and the AfroCelt Sound System. His deep, African-inflected grooves should be all the encouragement Garbarek needs to turn on the fire and energy.

Meanwhile, Polish trumpeter Tomasz Stanko's recent concert in Vicar Street was so well attended was thanks in no small part to the Polish contingent who turned out to see one of their most famous sons. The same is likely to happen all over the country when the Bester Klezmer Quartet embark on a tour. Formerly the Cracow Klezmer Band, they are one of Poland's most celebrated exponents of the Yiddish folk music that has emerged from obscurity in the last decade and conquered the world.

Being a Music Network tour this music will now reach the parts that few international touring musicians ever reach, visiting Ballina (11 October) Carrick on Shannon (12), Navan (13), Moate (14), Edenderry (15), Dublin (16), Limerick (17), Ennis (18), Baile Mhuirne (19), Bray (20), Portlaoise (21), New Ross (22) and Belfast (23).