Kenny Garrett, Beyond the Wall - 1h 16m 56s

Tracks & Durations

1. Calling	9:37
2. Beyond the Wall	7:33
3. Qing Wen	9:46
4. Realization (Marching Towards the Light)	6:10
5. Trunami Song	4:47
6. Kiss the Skies	9:40
7. Now	11:48
8. Gwoka	9:14
9. May Peace Be Upon Them	8:14

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Review

A trip to China may well have provided inspiration for Beyond the Wall, Kenny Garrett's first album for ever-expanding Nonesuch. But as has frequently been the case with the gifted alto saxophonist, the South Asian explorations of John Coltrane exert the strongest influence. With the still-formidable Coltrane disciple Pharoah Sanders featured on tenor saxophone and pianist Mulgrew Miller renewing his debt to Trane's superpowered foil, McCoy Tyner (to whom the CD is dedicated), the repeating modal patterns popularized by Coltrane are put to stirring use. Serving the master's spirituality in compellingly different ways--Garrett with his slashing attack, Sanders with his powerfully rooted sound--the saxophonists play off each other to sometimes thrilling effect. The album is nothing if not derivative: Its employment of wordless vocals recalls Donald Byrd's choir-enriched classics and, with the great Bobby Hutcherson featured on vibes, Return to Forever. But the music never flags, even on cuts running to 10 and 12 minutes, boosted by the limber, propulsive drumming of Brian Blade--who in his own way is a throwback to Coltrane's other legendary collaborator, Elvin Jones. --Lloyd SachsFor his debut, Beyond The Wall, Garrett is joined by vibraphone great Bobby Hutcherson and tenor saxophonist legend Pharoah Sanders, whith whom Garrett has been performing over the last year before rapt audiences. Along with bassist Robert Hurst III, pianist Mulgrew Miller, drummer Brian Blade, and percussionist Ruggerio Boccato, they deliver a hypnotic set, recorded in Manhattan and inspired by Garrett's 3-week visit to China in December 2005. Without words, Garrett powerfully recounts a spiritual as well as geographical journey; its contemplative moments are counterbalanced by outbursts of instrumental fire, especially on the climactic "May Peace Be Upon Them", which comes across as both a fervent wish and an anguished cry.

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