Back in 1999, years before chill music was on its way to becoming a vast and influential subgenre of contemporary Jazz, saxophonist Andy Snitzer felt inspired one day and sat down at the piano at his parents’ house in his hometown of Philadelphia. Retreating to Some Quiet Place in his creative mind, the popular saxophonist—who had previously recorded two hit albums for Warner Bros., Ties That Bind (1994) and In The Eye Of The Storm (1996)—began creating an album that, it turns out, was way ahead of its time.
Nobody labeled songs like the title track, “A Few Wild Nights,” “Loving You,” “On Extended Wing, “Losing Summer,” “For Joel” or the edgy, fusion-trip hop flavored “Testimony” chill back then, but in 2006, they perfectly reflect the energy and vision of that side of today’s contemporary Jazz. Those who may have missed Some Quiet Place upon its original release in 1999 have another chance to discover this essential project.
The new release includes all of the original tracks, plus a bonus cut, the lush and soulful, brass tinged “Passion Play,” which features and was co-written by Snitzer’s longtime friend, guitarist Chuck Loeb. The trippy and hypnotic–not to mention supremely cool and funky–opening track “As I Was Before” features the powerful acoustic piano work of Snitzer mentor and contemporary Jazz keyboardist Bob James.
Phillippe Saisse, another longtime Snitzer confidant, created the pre-chill chill atmospheres, beats and trippy sonic textures throughout Some Quiet Place. Saisse also plays acoustic piano, Rhodes and clavinet. “On Extended Wing,” whose grounded, grooving sax melody is surrounded by dreamy, swirling synth textures, features a soaring trumpet solo by another artist who knows a thing or two about chill, Chris Botti.
“Like my other projects, Some Quiet Place reflects a full force approach that draws from all of the rhythmic and melodic possibilities that I like,” says Snitzer, whose latest release prior to the current re-issue is 2002’s Sugar. “I like rhythms that are substantial and complex, and sometimes aggressive. I like to marry these rhythms with harmonically introspective atmospheres and pads; the contrast in these two aspects is essential to my approach.”