return to review menuChrista Grix "Cheek to Chic"
format: album, released: 2001
review by Karl Mohr
Since my shallow trip into the music promoting world, I've had the pleasure of forming
in my mind an image of the "international jazz harp scene". This strange and marvellous
territory is loaded with magical music, transporting pieces, and stylish, sexy men and
women who entrance their publics with their gorgeous, ancient instruments. Yet the common
reaction among the general public to the term "jazz harp" is, in my experience, a look
of fear and capable of conjuring gestures suggesting severe discomfort with the taste of
one's own saliva. Yet, a transformation happens each and every time this same audience
is forced to sit down to a recording or concert of jazz harp music: the listeners are
overcome with awe, giddiness, love, missionary-style devotion and deep understanding of
the genre. One can't help but be seduced by the sounds of great music, played well, by a
seasoned harpist on a fine instrument.
What is even more ferocious than the common view of jazz harp music, is the jazz community's
view of commercial "lite" jazz. These musicians get justice served when they get the spots
in festivals and get their recordings played on radio. It is a true challenge for a harpist
to release a record of commercial jazz that will be universally accepted and approached with
respect. Unfortunately, people don't seem to be into "happy" as much anymore.
Christa Grix's latest release "Cheek to Chic" is a very poppy jazz CD, consisting of a standard
trio formation, featuring Kurt Krahnke (acoustic bass) and Pete Siers (drums/percussion).
She's done all the arrangements herself, as jazz harpists often do - there is such a close
connection between the harpist's own personal style of bodily contortions and what is written
on the page. Since jazz harp is a relatively new form for the evolution of the instrument,
practically the entire jazz repertoire is virgin soil for harpists. I believe her choice of
repertoire, arrangement, and even graphics/packaging is perfectly fitting for her aims - to
create an album to be summed up in one word "delightful".
If you've ever truly understood the essence of Cool Whip, if you've ever done a twirl for
no reason, if you've ever gone out to the lake at four to watch the dawn approach, if you've
ever risked your life for a damsel in distress - then this will be a good soundtrack for the
sunny days. (And if you do find yourself in the cosmetics department at Harrod's - for the
love of God, pick up something nice for your loved ones.) This music suggests the white angel
in platinum armour with fluffy wings that spears hardcore hip hop in the chest and liberates
little children to pick flowers for their mums. What the hell is wrong with nice music,
anyway? The martini-sipping condo crowd will also dig these sounds for somewhat different
reasons.
As well as her fabulously nimble solos, heart-stopping runs and tight comping on the standards,
she hits us with the biggest dare on the record - her take on "jazzical" music, as applied to
"Sonata in C Minor" by the early 18th Century composer Pescetti. She begins each movement with
a straight classical take - perfectly executed and proficient - and then moves into her swinging
mix as the drums and bass join in. If you feel your gag reflexes straining - I warned you!
This is a very light and commercial record, and the jazzical is certainly magical. Classical
snobs will hate it. Jazz snobs will hate it. But the treatment is sweet like morning flowers
and does carry a sense of legitimacy with it as well. The large ratio of the jazzical piece to
the length of the CD makes it slightly more ready for retail in esoteric and new age shops.
The recording quality is perfect and inviting, with a huge highlight on the harp which is also
very nicely recorded: broad stereo tracking of the instrument with a good amount of reverb, calls
to mind public spaces or green botanical galleries - perfectly suited to the light, inviting
program. Bass and drums are well played, with some exceptional solos; a strong rhythm section
that sits as a nice rhythmic reference for Grix, who sometimes swings a little off the highway,
but it's jazz, right? There isn't a sour note on this record.
Once past the campy cover, "Cheek to Chic" is solid musical pleasure, light and absolutely
effervescent music for pre-party preparations, party festivities and post-party drunken
dreaming. Warning: it might put you in a good mood.
Standout tracks: "La Desirade" is an incredible demonstration of Grix's command
of the instrument, a dark arty tonic to the sheer glee of the rest of the CD, and a nice
grounding after the novelty of the clever "Sonata In C Minor". As far as standard jazz
goes, "Sea Journey" is a very accomplished piece.