Taboo is a dark tale of love and death, treachery and revenge with supernatural undertones, set in pre-Victorian London, starring Tom Hardy as James Keziah Delaney. Long believed dead, Delaney is a mysterious adventurer who returns to London from 12 years in Africa to inherit what is left of his father's shipping empire. His enemies, including his own family and the corrupt power-brokers of the East India Company, are all intent on disposing of the dangerous Delaney by any means necessary, and keeping his inheritance for themselves. Composer Max Richter was first attracted by the mood of the drama, which pulls no punches with its authentic evocation of a seedy London 200 years ago, filled with criminals, courtesans and corrupt officials.
Following his attractive performance of six of Vivaldi's cello sonatas, Christophe Coin has recorded six of the composer's 24 or so concertos for the instrument. Five of these, Michael Talbot tells us in an interesting accompanying note, probably belong to the 1720s while the sixth, the Concerto in G minor (RV416), is evidently a much earlier work. Coin has chosen, if I may use the expression somewhat out of its usual context, six of the best and plays them with virtuosity and an affecting awareness of their lyrical content. That quality, furthermore, is not confined to slow movements but occurs frequently in solo passages of faster ones, too. It would be difficult to single out any one work among the six for particular praise. My own favourite has long been the happily spirited Concerto in G major (RV413) with which Coin ends his programme. Strongly recommended. (Gramophone Magazine)
The complete - and previously unheard - early work of a later celebrated jazz guitarist recorded in first-class audio quality and produced by SWF-Landesstudio Rheinland-Pfalz in Mainz, as it was then known. It is fascinating to discover the sources from which Volker Kriegel - just 19 years old at the time of the first session - derived inspiration for some of the best known jazz standards: John Lewis' Django, a relaxed Thelonious Monk (Rythm-A-Ning), Autumn Leaves, Norwegian Wood, and other down-tempo numbers of the bop and beat era before discovering his personal laid-back style.