"From Nowhere to Now Here" beings the opus, and presumably tells the story of his relocation to the west coast. A beautiful and well-produced song, with stirring strings and Saisse’s emotive keyboards, it grabs the listener’s attention. The introduction is classically inspired, and the song itself has the sweeping lushness of a soundtrack recording, with burnished touches of a three-piece jazz unit with strings attached.
"The Rover" comes next, and contains a very accessible melody with undeniable head nodding grooves. Longtime Saisse drummer Scooter Warner and ace guitarist Jeff Golub provide the accompaniment as Saisse supplies keyboard artistry and a pleasingly potent hook for this ultra-contemporary tune.
Some outstanding stinging guitar licks from Golub are featured in "Billy’s Blues," along with sassy muted trumpet and flugelhorn from Jason Golley, and the emphatic biting bass guitar of Ron Jenkins. All these elements perfectly compliment Saisse’s insistent blues tinged keyboards. This jazz/blues song is a fine example of Saisse’s mastery of different styles.
The title track, "At World’s Edge," makes the first of its two appearances as an instrumental. Played slowly at first by Saisse with evident heart-felt sentiment on the solo piano, the tune turns slightly more upbeat when the bass (Pino Palladino) and drums (Simon Phillips) join in, yet it retains a yearning atmosphere. The mood is in contrast to the surrounding songs, but the sparkling keyboards of Saisse bond everything together seamlessly, as the song ends beautifully.
"Monday Afternoon" contains yet another memorable melody that showcases Saisse’s compositional skills. Jeff Golub’s guitar provides just the right amount of fire, and again the deft rhythm team of Simon Phillips and Pino Palladino provide impeccable support to Philippe’s keyboard runs. This song would fit in perfectly on a smooth jazz format radio station; as cool as the other side of the pillow.
The world music infused "Assante Sana" contains a slice of Latin additive and prominently features the unique and noteworthy vocals of Angelique Kidjo from Benin, Africa. Kidjo, like Philippe Saisse himself, is known for mining diverse musical influences, and for possessing a keen creative sense. Put the two of them together and the result is sure to be pure genius. They don’t disappoint here.
"Roppongi Blues" is a rollicking good time, evoking images of carnival time in Rio de Janeiro. The beat is bouncy, and thanks in part to the zestful horn section (trumpeter Rick Braun, saxophonist Kirk Whalum, and trombonist Michael Davis) the tune is a true winner. The frisky percussion of Lenny Castro, and hard driven rhythms courtesy of drummer Scooter Warner and bassist David Finck add to this flavor-filled mixture. It all becomes fully dressed by Diane Hsu on flute and Saisse’s playful keyboards.
An introspective piano ballad "Through Tainted Glass" follows, and would fit very nicely in a movie score, with its prevalent melancholy mood. Strings float serenely on clouds of sound complimenting Saisse’s tender piano tones.
"Topanga Moon Dance" is a lovely song that begins slowly and gradually gains momentum. Imagine two lovers dancing closely beneath a full moon with a starlit evening sky and you’ll have the desired effect. Keyboards and horns intertwine with the Spanish flavored guitar of virtuoso Marc Antoine, blending deliciously to form the background for a romantic rendezvous.
A reflective solo piano ballad entitled "Junto" is intimate and almost hypnotic. Saisse’s expressive keyboards could very well be telling a story of lost love that has slipped through his fingers.
In its vocal version "At World’s Edge" gains more power, and sounds like the sort of power pop ballad that Peter Cetera used to hit the charts with. Vocalist David Rice is convincingly sincere in his poignant pleadings to his lover. Rice reassures his lady that if they hold on, and believe in each other, they’ll put the pieces of their lives together to salvage a love worth saving. Simon Phillips on drums and Pino Palladino on bass are understated, leaving ample space for Philippe’s keyboards and Rice’s vocals to carry the weight of the tune.
The musicianship throughout At World’s Edge is top notch, as is the eclectic touching of many of the sub-genres of contemporary jazz. The sound is superb, as are the compositions themselves. Only a true accomplished master such as Philippe Saisse could nimbly pull this expression of contemporary jazz together so marvelously.