Demon Music will release three Tabu box sets in autumn 2013 as part of their Tabu Reborn For 2013 reissue campaign. So welcome to the Tabu Record Box Set. This is a musical odyssey throughout the whole era of Tabu Records from its inception in 1977 through to 1993. All tracks have been impeccably selected covering pretty much all of the key tracks in Tabu's arsenal, including some for the first time ever on CD and all extensively re-mastered. In addition to this, we also have a 60 page booklet by Ralph Tee featuring all key biographical information, original photos and record scans plus an extensive Tabu Records discography courtesy of Paul "Soul-guru" Clifford.
Throughout the fifteenth and sixteenth centuries, as the new, centralized power of the absolute state was established in most European nations, royal courts all over Europe became the very heart of cultural and artistic life in their respective countries. They assembled an elite of aristocratic courtiers who were expected to master the principles of poetry, dance and vocal and instrumental music, as much as they were supposed to follow a strict and complex etiquette in all aspects of daily social interaction, adopt a luxurious and ever-changing fashion code, or sustain a refined conversation with a lady.
Ostinato is an anthology which brings together the most representative works of the art of improvisation and of a musical form based on a unique concept of the basso, which is repeated sequentially throughout the compositions.
Dietrich Buxtehude: Vocal Music, Vol. 1, was the start of an intended series on the Dacapo label of Denmark begun in 1996 and this was the only volume issued. It features Emma Kirkby with John Holloway and Manfred Kraemer on violins, Jaap ter Linden on viola da gamba, and Lars Ulrik Mortensen on organ. Although Buxtehude's Membra Jesu Nostri is rightly considered one of the great choral masterworks of the Baroque era, his other vocal output – numbering more than 120 works – seems to have a problem gaining the same kind of traction in the repertoire that his organ music has long enjoyed, even though plenty of it has been recorded.
The years from 1670 to 1673 mark one of those crossroads at which history in general, and the history of art in particular, sometimes judiciously brings together just the right combination of people, events and even instruments. In fact, the events of those years were to have major consequences, not only for the future of French music, but also, to a certain extent, for Western music as a whole.