I’ve probably watched more television drama this year than in the past decade or more. But then again, I’ve been spoilt by what’s been on. First there was The Killing, the best thing, apart from folk music, to come out of Denmark, with some superb acting and writing. Then there was the discovery of Nurse Jackie. Billed as comedy, perhaps, but so much more. Then Spiral, the very tough French crime drama.
And now my new love is Treme. Set in post-Katrina New Orleans, it’s a beautifully crafted, very human show. And, of course, there’s plenty of that irresistible New Orleans music and cooking to spice it all up. Thanks to Lovefilm I’m catching up with season one, and enjoying every second. As a drama it does several unconventional things. The focus is on people rather than plot, a very refreshing change. And it’s people who are generally out on the margins rather than those with power. It’s also very rare inasmuch as most of the main characters are black and presented in a very three-dimensional way, not cheaply stereotyped.
The show’s evidently been panned (at least in the first season) for its lack of plot, but that’s part of its power. For most people there’s no straight line plot to life, and that makes it far more true to life. We’re usually made up of small incidents, and in this case, the big one, the hurricane, is always there as the backdrop, affecting the lives of everyone.
It also stands out as a superbly political show, sometimes explicitly, as in John Goodman’s character, and more often implicitly, as in the actions of the police, or the reportage of prison inmates left on the bridge without water, or finding another body. The show brings an awareness of the way the rich and the politicians have been trying to sell out the poor of New Orleans, sometimes quite literally, and the way the Bush administration failed so abysmally in its duties (no real surprise there). It’s a beautiful, unique city, unlike anywhere else in America. To see it portrayed with such honesty, as well as with such compassion, is a joy. It’s also some of the very best television around, and that’s something we need.
Monday 20 June 2011
Tuesday 7 June 2011
Duo Jonsson Coudroy
Duo Jonsson Coudroy
Vind
Bemol Productions BEMO 045
Take a Swedish fiddler and a French melodeon player and you not only have an interesting combination of musical cultures, but a pair of very talented players and composers. There are some traditional pieces here, such as “Gavotte,” and they’re performed with real delicacy and imagination. But the true joy lies in the originals, which exhibit such wonderful sympathy and communication between the pair that it’s almost mystical. Far from seeming empty, they fill each others spaces and do some very interesting things with the music, as on the closer “Sjön,” which uses chordal drones in a highly unusual fashion to create a remarkable atmosphere. That, however, just typifies the approach of this pair, who impress by their willingness not only to play beautifully but also think outside the box. This is a disc that rewards frequent listenings and bodes well for the future.
Vind
Bemol Productions BEMO 045
Take a Swedish fiddler and a French melodeon player and you not only have an interesting combination of musical cultures, but a pair of very talented players and composers. There are some traditional pieces here, such as “Gavotte,” and they’re performed with real delicacy and imagination. But the true joy lies in the originals, which exhibit such wonderful sympathy and communication between the pair that it’s almost mystical. Far from seeming empty, they fill each others spaces and do some very interesting things with the music, as on the closer “Sjön,” which uses chordal drones in a highly unusual fashion to create a remarkable atmosphere. That, however, just typifies the approach of this pair, who impress by their willingness not only to play beautifully but also think outside the box. This is a disc that rewards frequent listenings and bodes well for the future.
Monday 6 June 2011
Mama Rosin with Hipbone Slim and the Kneetremblers
Mama Rosin with Hipbone Slim & the Kneetremblers
Louisiana Sun
In an ideal world people would hear this on an AM radio or through tinny speakers where there’s hardly any bass. It’s a real throwback to the raw 1950s days of rockabilly, swamp pop and outrageous Cajun music. Mix together a Swiss Cajun-punk band and some London rockabillies, don’t give them long to think about anything, and this is the result. It’s a glorious, fevered workout that time travels through the Southern states of America. There’s some early rock’n’roll – The Cat Never Sleeps and Paint The Town Red – plenty of swamp pop and Zydeco (even a rocked-out two-step), and even one track that could have come straight from the pen of Fats Domino. Add to that the title cut, which is a wild variant on California Sun (in French, naturellement) and you have one of the subversive delights of the year. When people talk about roots rock, this is what they really mean, as it doesn’t get any closer to the roots than this. You’ll need a cold beer or two just to listen to it.
Louisiana Sun
In an ideal world people would hear this on an AM radio or through tinny speakers where there’s hardly any bass. It’s a real throwback to the raw 1950s days of rockabilly, swamp pop and outrageous Cajun music. Mix together a Swiss Cajun-punk band and some London rockabillies, don’t give them long to think about anything, and this is the result. It’s a glorious, fevered workout that time travels through the Southern states of America. There’s some early rock’n’roll – The Cat Never Sleeps and Paint The Town Red – plenty of swamp pop and Zydeco (even a rocked-out two-step), and even one track that could have come straight from the pen of Fats Domino. Add to that the title cut, which is a wild variant on California Sun (in French, naturellement) and you have one of the subversive delights of the year. When people talk about roots rock, this is what they really mean, as it doesn’t get any closer to the roots than this. You’ll need a cold beer or two just to listen to it.
Saturday 4 June 2011
On Gary Heffern And His New Music
It’s been my privilege to know Gary Heffern for quite a few years now. We met in Seattle, neither of us natives to the place, but it was where we called home. Gary is a superbly talented singer and songwriter with not only an ear for a good line, but also a way of putting it across, a gift of writing songs that truly resonate, that can catch a deep kernel of truth in a few words.
In the new Millennium Gary moved to Finland, the country of his birth, although I didn’t know that until I watched a very moving documentary about the circumstances of his leaving, and what happened to him in California (see http://www.youtube.com/watch?v=iPIAux15da0 and it’s highly recommended viewing). He lives deep in the country there, where temperatures are bitter in winter and the nights can seem almost endless. But the dislocation of geography and culture has been good for him as an artist. His new album, Gary Heffern & Beautiful People, stands as one of his best. It’s very much as band album, as his new associates contribute tracks, and yet it hangs together as a whole, although (for me at least) it’s Gary’s work that stands out particularly. “Hand Of The Devil” is an epic opener, almost gospel (you can see the video at http://www.youtube.com/watch?v=8jLAhIx7iic ) and true redemption, building and building, simple yet ambitious and a true barn burner. “Religions (They Really Worry Me)” riffs on – well, you can figure that out – over a chord sequence that’s reminiscent of REM’s “Losing My Religion,” although whether that’s deliberate or not is hard to tell. As a song it’s certainly in the same class as its better known sibling.
There are touches of Gary’s punk past on “Here Comes The Government,” while “Everything Is Slowing Down” is a meditation on life in part, and the entropy that can come with living and the depressions that can occur, while “It’s Gonna Be A Cold Cold Winter” finds the chill of the heart and soul as well as the temperature.
Gary’s words are everyday poetry, finding the beauty or the heartbreak in the mundane and shining a spotlight on it. With the Beautiful People he has a band that’s made up of some crack musicians who are very sympathetic to what he’s trying to achieve. Finland has been good for his artistic maturity – the material here reaches an entirely new level to his previous work. And this is just the start. Seattle might be far away for us both, in many senses, but moving on can be worthwhile, too.
In the new Millennium Gary moved to Finland, the country of his birth, although I didn’t know that until I watched a very moving documentary about the circumstances of his leaving, and what happened to him in California (see http://www.youtube.com/watch?v=iPIAux15da0 and it’s highly recommended viewing). He lives deep in the country there, where temperatures are bitter in winter and the nights can seem almost endless. But the dislocation of geography and culture has been good for him as an artist. His new album, Gary Heffern & Beautiful People, stands as one of his best. It’s very much as band album, as his new associates contribute tracks, and yet it hangs together as a whole, although (for me at least) it’s Gary’s work that stands out particularly. “Hand Of The Devil” is an epic opener, almost gospel (you can see the video at http://www.youtube.com/watch?v=8jLAhIx7iic ) and true redemption, building and building, simple yet ambitious and a true barn burner. “Religions (They Really Worry Me)” riffs on – well, you can figure that out – over a chord sequence that’s reminiscent of REM’s “Losing My Religion,” although whether that’s deliberate or not is hard to tell. As a song it’s certainly in the same class as its better known sibling.
There are touches of Gary’s punk past on “Here Comes The Government,” while “Everything Is Slowing Down” is a meditation on life in part, and the entropy that can come with living and the depressions that can occur, while “It’s Gonna Be A Cold Cold Winter” finds the chill of the heart and soul as well as the temperature.
Gary’s words are everyday poetry, finding the beauty or the heartbreak in the mundane and shining a spotlight on it. With the Beautiful People he has a band that’s made up of some crack musicians who are very sympathetic to what he’s trying to achieve. Finland has been good for his artistic maturity – the material here reaches an entirely new level to his previous work. And this is just the start. Seattle might be far away for us both, in many senses, but moving on can be worthwhile, too.
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