Reception
The album received a Grammy Award nomination for Best Jazz Instrumental Album. [7] [8]
In a review for AllMusic, Thom Jurek wrote: "This is Garrett's strongest moment in an already enduring career; it's fully realized compositionally, and in terms of its arrangements and its playing, it's virtually flawless without sacrificing emotion or creative intent or aesthetic vision. Simply put, it's his masterpiece." [3]
The Washington Post's Geoffrey Himes called the recording "one of the year's best albums," and stated: "Garrett holds his own in... heady company, warbling his alto sax like an Islamic prayer horn one moment and shouting through it like an Alabama church choir the next." [9]
John Kelman of All About Jazz commented: "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." [2]
Writing for The Guardian , John L. Walters remarked: "The great wall of China cover might imply world/jazz fusion, but Beyond the Wall is very much a jazz suite... the project's core is pure, deep-rooted improvisation, with plenty of forthright tenor and alto from Garrett, plus A-list sidemen." [5]
In an article for PopMatters , Michael Kabran described the album as "easily one of the most enjoyable jazz releases of the last decade," and wrote: "Soulful, warm, and accessible... [it] deftly toed the magical tightrope between post-bop and the avant-garde... its top-notch performances, infectious melodies, and propulsive rhythms resulted in something truly special." [10]
Steve Greenlee of JazzTimes stated that the album "is no gimmick, and its pancontinental jazz never feels contrived," and noted that Garrett's experience climbing the Great Wall "unleashed a new source of creativity in him." [11]
The BBC's Lara Bellini commented: "Beyond The Wall embraces jazz in its original connotation, as a form so flexible and unrestricted that is both able to embrace the world and not be afraid to question its own foundations in the process." [12]
A reviewer for Audiophile Audition called the album "a dazzingly foray into the music, culture, and instruments of the Far East, reflected through the progressive jazz forms Garrett is famous for," and "a beautiful album, rich in melody, groove, and progressive notions of what jazz can be." [4]
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