Nonesuch: 
http://www.nonesuch.com/albums/beyond-the-wall

Musicians
~~~~~~~~
* Kenny Garrett, alto saxophone (1-4, 6-9), piano (5)
* Pharaoh Sanders, tenor saxophone (1-4, 6-8)
* Mulgrew Miller, piano (1-4, 6-9)
* Robert Hurst III, bass (1-9)
* Brian Blade, drums (1-9)
* Ruggerio Boccato, percussion (1, 3-8)
* Bobby Hutcherson, vibes (3, 4, 8)
* Guowei Wang, erhu (5)
* Jonathan Gandelsman, violin (5)
* Neil Humphrey, cello (5)
* Susan Jolles, harp (5)

Vocals:
~~~~~~
* Nedelka Echols, vocals (3, 4, 6, 8)
* Genea Martin
* Kevin Wheatley
* Arlene Lewis
* Geovanti Steward
* Dawn Caveness (6, 8)


Review
~~~~~~ 
http://www.allaboutjazz.com/php/article.php?id=22849
By John Kelman

Sometimes homages can be too reverential. Alto saxophonist Kenny Garrett, with a
spiritual energy mirroring a significant influence, John Coltrane, intended to
use Beyond the Wall as an opportunity to record with pianist McCoy Tyner, with
whom he's shared the bandstand on occasion. Though a scheduling conflict
prevented Tyner from participating, his spirit—and that of his late
employer—looms large over the project. The result echoes the scope of
larger-scale Tyner projects like Asante (Blue Note
, 1970) and the fierce
modality of middle-period Coltrane.

With Tyner unavailable, Garrett's choice of Mulgrew Miller was inevitable. With
so many pianists citing Bill Evans as a primary influence, Miller has defined
his career by looking to Tyner for his primary inspiration. Garrett had already
tailored his writing on Beyond the Wall to Tyner's distinctive language, so
Miller gets to pay tribute but, with a more muscular sound, still speak with his
own voice. And direct links are forged on most of the disc, to both Tyner and
Coltrane, with the appearances of tenor saxophonist Pharoah Sanders and
vibraphonist Bobby Hutcherson.

Beyond the Wall came about because of a 2005 visit to mainland China, inspired
by Garrett's longstanding interest in the nation's culture and
spirituality. He's always been a deeply passionate player who can speak volumes
with a single note, and the relentless intensity of the majority of this record
makes it the most purely cathartic album he's ever recorded.

Whether it's the out-of-time opening to "Calling," which resolves into a slow
6/8 vamp where Sanders and Garrett solo in tandem, or the up-tempo burn of the
title track, everyone is firing on all cylinders. And while the route through
Tyner must inherently lead back to Coltrane, Garrett's heads—more fully-realized
than Coltrane's relatively short themes—echo Tyner's more compositional approach
to setting context for improvisation.

There is some respite, specifically "Realization: Marching Towards the Light),"
where a sampled chorus is the pulse that drives the song, and the chamber-like
"Tsunami Song," featuring Garrett on piano and a haunting melody played by
Guowei Wang on the bowed, two-stringed erhu.

From there it's a gradual buildup from the light funk of "Kiss to the Skies" to
the finale, "May Peace Be Upon Them." "Kiss" is one of four songs to feature
wordless vocals and, while they're interesting the first few times around, they
ultimately feel superfluous. "May Peace" is curiously ambiguous, beginning in a
gentle space but leading to an out-of-time whirlpool of sound featuring Garrett
at his most visceral.

It's hard to find fault with the deeply emotional ride of Beyond the Wall
except, perhaps, in its unrelenting seriousness. Still, with a cast of players
this strong, one can forgive its earnestness and revel in performances
that
bring Tyner's and Coltrane's innovations into the 21st Century.

En castellano: