"NYC someday will brag about its great legends of
country music. That's right we
said country, and among those names will be the engaging, hardworking, witty,
and schmoozin' and boozin' [Jack Grace}." –
To the uninitiated, New York City may not seem a likely hotbed for honky tonk or bluegrass, but drop by the Rodeo Bar any night of the week and check out just how hot it is. And just across the East River and south of Newtown Creek, against the backdrop of Manhattan’s famous skyline, a vibrant community of country music thrives in Brooklyn, and Jack Grace, NYC’s Martini Cowboy, is at the center of it all. He was even part of the inaugural class inducted into the Brooklyn Country Music Hall of Fame for “Unending Support of Country Music in New York City”.
Using old school sounds from the likes of Johnny, Willie and
Merle as his framework, Jack melds these and other influences from the world of
rock, hip hop and jazz to create a new take on an old form. One common theme
has emerged over the years, a staple of nearly any musical genre, and that’s
alcohol. While his last record,
the Martini Cowboy, explored his unique take on city life,
The Grace’s yearly pilgrimage to Tulum, Mexico may explain why South of the Border influences abound, particularly on the track “It Was A Really Bad Year” and the flagrant use of mariachi horns throughout the record. Right from the start, “Morning Margaritas” hits you right, replete with the aforementioned horns and rollicking piano. The many mood shifts on Drinking Songs for Lovers reflect different stages of intoxication, from playful (“If You’re Gonna Raise a Drunk”), to regret (“I Drank Too Much Again”), disapproval (“You Drank Yourself Into a Corner”) to elegiac (“I Can’t Believe You’re Gone”). “Drinkin’ and Gamblin’” is a match made in heaven, and “Drink a Little Hooch” only sanctifies that marriage so much more. Jack even tackles the open road in “The Worst Truck Driver in the Whole Wide World”.
Along for the ride on this musical journey are some of NYC’s finest. Bassist, vocalist and wife Daria lends her considerable talents to the chamber pop group Melomane and her own trio, the Pre-War ponies, which specializes in obscure ditties from the 20s and 30s. Toronto-born Russ Meissner has played drums with Jack since the early day and gets around town with a variety of jazz outfits as well. Having one drummer on the case isn't enough for the man who divides his time between Brooklyn and Bearsville, so Jack also enlisted the help of one Jason "J-Bird" Bowman, the man who brings "the ROCK" and also plays in the family affair The Five Points Band. Mike Neer took over first chair after the untimely death of founder Drew Glackin, and fills his spot admirably with some tasty licks from his lap steel. Bill Malchow plays organ, piano and accordion, cracks jokes and sings a bit too. Rounding out the group is Jack's original guitar and banjo teacher (and picker extraordinaire), Tom Hanway.
Jack has brought some old and new friends into the fold as well. Bruce Martin (original member of the Tom Tom Club and drummer for innumerable bands in the area) harmonizes with Daria on several tracks. Legendary Johnny Cash pianist Earl Poole Ball plays on “Loneliness Away” and Mrs. Grace’s lead vocal debut on “You Drank Yourself into a Corner,” which also features the Lovin’ Spoonful’s John Sebastian on guitar. The Grace’s befriended Sebastian after their move to the Bearsville/Woodstock area and enlisted him to play on “If You’re Gonna Raise A Drunk” as well. Doug Largent was on hand for some upright bass on “It Was A Really Bad Year”, and the mariachi horns are supplied by J. Walter Hawkes (also a familiar figure from his own group and the Pre-War Ponies) on trombone and Rob Henke on trumpet.
The album closes with “I Can’t Believe That You’re Gone,” a melancholy tribute to lap steel maestro Drew Glackin, whose sudden departure in early 2008 from an overactive thyroid condition was a shattering blow to the group and the tight-knit musical family that extended from coast to coast, and across the pond as well. The very end features a haunting snippet from a Martini Cowboy outtake to remind everyone of the magic of man that was lost.
After the tragedy, Jack immersed himself once again in his music, and the result was his most mature and personal recording yet. He keeps himself busy working with the NYC country community, taking the Jack Grace Band to greater heights and side ventures where Jack leaves his guitar at home and roams the stage freely as front-man for Van Hayride, the cross- pollination of classic David Lee Roth-era Van Halen tunes with an old-time country and western twang An upcoming collaboration with Christian Gibbs of Lucinda Black Bear is eagerly awaited too.
Jack Grace continues to carry the mantle of Martini Country far and wide. But remember, in spite of these new twists on the tried-and-true, even the New York Times admits "Make no mistake: Jack Grace is an old-fashioned country musician."
