Grace Kelly, At The Movies Review

by Icrom Bigrad

Grace Kelly’s latest project, At The Movies, is a set of music where jazz and cinematic music intertwine. Released under La Reserve Records, this album marks an important chapter in Kelly’s already impressive career, drawing on her multifaceted talents as a singer, saxophonist, songwriter, and composer. Through carefully crafted arrangements and performances, Kelly takes listeners through a set where classic films’ elegance and familiarity meet contemporary jazz’s vivacity.

At The Movies is a concept of personal significance it holds for Kelly. Inspired by the seminal work Charlie Parker with Strings, Kelly embarks on a journey that pays tribute to her first alto sax hero, Charlie Parker, while exploring her love for the cinema. This album reflects Kelly’s lifelong enchantment with jazz and film, realized through her dynamic interpretation of movie themes ranging from timeless classics to contemporary hits.

The album’s opener, a bold arrangement of the James Bond Theme intertwined with Billie Eilish’s “No Time To Die,” sets the stage for an album that refuses to be confined by genre. Kelly’s arrangement captures the essence of both pieces, showcasing her ability to merge the iconic with the modern in a seamless fashion that highlights her saxophone and vocal fluidity.

“The Way You Look Tonight,” arranged by Grammy Award-winner Steven Feifke, is a high point on the album. Its intricate arrangement draws a direct lineage to Parker’s “Just Friends,” with Kelly’s saxophone lines paying homage to her idol’s virtuosity. Magical harp glissandos and a dramatic string accelerando introduce a piece that encapsulates the elegance and lyricism of Parker’s era.

A notable feature of At The Movies is the caliber of collaborators who join Kelly in this venture. The album boasts contributions from luminaries such as jazz trumpeter Sean Jones, and guitarist Cory Wong, each adding their unique flair to the project. Jones’ electrifying performance on “Soul Bossa Nova” and Wong’s rhythmic mastery on “The Power of Love” are just two examples of the dynamic collaborations that enrich the album.

Kelly’s exploration of film music extends beyond the surface-level renditions. Her “He’s a Pirate” and “Mission Impossible” arrangements show her baritone saxophone’s full and powerful tone, adding a fresh perspective to these well-known themes. Meanwhile, her rendition of “True Love,” the only song Grace Kelly (the actress) sang on screen, is a poignant nod to her namesake and a testament to Kelly’s ability to navigate diverse musical landscapes.

The album closes with a tribute to Disney, a medley that encapsulates the influence of Disney’s music on jazz and vice versa. This section, filled with childhood favorites set in a beautiful orchestral arrangement, underscores Kelly’s ability to invoke nostalgia while pushing the boundaries of jazz.

At The Movies is a vivid tapestry of Grace Kelly’s musical journey, marked by her virtuosity, innovation, and deep reverence for her influences. Kelly not only champions the accessibility of jazz but does so without sacrificing the style and substance that has defined her career. With this project, she reaffirms her position as a leading figure in the fusion of jazz and popular culture, a testament to her role as both a virtuoso musician and a cultural phenomenon.

In essence, Grace Kelly’s At The Movies is an album that offers listeners a journey through the rich landscapes of jazz and cinema. It is a project born out of passion, executed with precision, and delivered with the depth of emotion that only a true artist can convey. As Kelly continues redefining jazz’s contours, her latest album continues her artistic evolution and excellence.