Kenny Garrett
Beyond The Wall

    "Discovered" and plagiarized by Miles Davis, after participating in numerous diverse musical projects and collaborating with many of the most important living musicians (not only in the jazz field); Kenny Garrett has found his own path: he is ready to continue the spiritual and musical journey initiated and prematurely interrupted by John Coltrane.

   By now his artistic maturity is fully achieved; his alto saxophone tone is the most original and recognizable in the world, his compositions reveal a remarkable freshness of ideas, and he now has a resolute and profound artistic purpose.

To create the album, dedicated to McCoy Tyner, the alto saxophonist was able to enjoy the contribution of a stellar ensemble, to say the least.
It's impossible not to start by noting the authoritative figure of Pharoah Sanders, who is to be considered the primary heir of Coltrane's legacy. The list continues with another living legend: Bobby Hutcherson; the most innovative of vibraphonists, who has participated in historic and memorable albums. Then there's Brian Blade, the best practitioner of the lessons of giants like Elvin Jones and Tony Williams, a permanent member of Shorter's equally stellar quartet. Finally, we have two fraternal friends of the leader, besides being among the best instrumentalists currently active, respectively on piano and bass, Mulgrew Miller and Robert Hurts.

    China and, in general, the entire East are present in every composition, all of rare beauty and originality, all reminiscent of the incandescent music of Coltrane and Tyner.
Garrett draws from his experience derived from various collaborations to create very interesting harmonies, sounds, and atmospheres.
The highest moments can be found in the visceral solos of the leader, in the thoughtful notes of the legends Sanders and Hutcherson, in the encounters between the two saxophones. In the title track, characterized by a sustained speed, after a great solo by Mulgrew Miller, Garrett demonstrates his great imagination, as well as absolute mastery of the instrument, then Sanders takes the floor, whose tone and ideas remind us that he remains one of the best living saxophonists. In Qing Wen, one can also notice the affinity of the sound of the two saxophonists, as well as Hutcherson's first solo, accompanied by the saxophones and the voice of Nedelka Echols.

The greatest sonic surprise, however, comes when the singers' voices come into play; whether they are dark and ominous, as in Realization, or clear and sweet, as in Kiss To The Skies and Gwoka, when accompanied by the soloists, they create exceptional sounds.
Another pleasant surprise is in the very sweet Tsunami Song, where the strings, harp, and erhu coexist in perfect harmony, accompanied by Garrett, who, for the occasion, sits at the piano.

   The track that closes the album is May Peace Be Upon Them, this time in a quartet, Garrett bids the listener farewell with a beautiful, moving, intense piece, the best closure for a work of exquisite craftsmanship, which gives hope for the future of the artist and jazz in general, which needs such strong personalities to continue to live and move people.