A Charming Respite in the City of Lights

It seems somewhat odd that a Nashville cat like Eric Brace, an artist so entrenched in Americana, would choose to do an entire album inspired by French musical tradition.  And yet Brace doesn’t mug or vamp, and happily, he doesn’t make any attempt to satirize these songs or to exaggerate his performances to fit a broader format. Instead, he offers reverential readings of romantic standards from the 1920s to the modern era, with echoes of Yves Montand, Charles Aznavour, Charles Boyer, and other continental crooners synonymous with Old World romance.

The result, Cartes Postales, is a fanciful musical tribute, punctuated by whimsical reflection and a giddy cinematic essence. Brace says the album was inspired by his father, Paul Brace, a Parisian by birth who arrived in the U.S. shortly after World War II with few worldly possessions other than his harmonica. Indeed, the 11 songs contained herein convey authenticity in both their tone and trappings, conveyed through a series of rich arrangements that capture that capture that continental oeuvre. Gypsy guitar, clarinet, accordion, piano, saxophone, banjo, and harmonica add an air of authenticity. Rory Hoffman deserves credit for playing the bulk of the instrumentation. Although he’s blind, he remains one of Nashville’s most in-demand musicians, and here he serves the purpose well.

While these songs are standards, most will be known only to those with a more expansive knowledge of continental culture. Still, there’s plenty here to appreciate and admire, a snapshot and collage that offers up images of charming sidewalk cafes, a stroll down Parisian boulevards, a gaze at the Seine, and red wine, cheese, and bread served on checkered tablecloths as another evening comes to a blissful end. Jaunty and charming, sent with love and affection, this Parisian postcard is stamped with admiration and affection.