Danielle Juhre

Mixing a Gothic vibe with experimental sounds and a remarkably versatile voice, Danielle Dax left a lasting mark on Classic Alternative music. Her expression was highly visual as well, as depicted on her record sleeves, music videos and in photographs. Musically, there were no boundaries. Her voice could waver up to beautiful highs or down to menacing lows as she strummed a guitar over a dark dance tune or plucked a banjo over a quirky country-tinged number. Her lyrics could tackle the hypocrisy of religion with the catchy dance beat of Big Hollow Man, or address a cheating partner with the bouncy toe-tapper Touch Piggy’s Eyes. She could conjure a Glam rocker on the single Cat-House, or show an Eastern influence on the experimental Sleep Has No Property. Originally released in 1988, this 30th anniversary edition of the compilation Dark Adapted Eye represents the always captivating Danielle Dax from 1985-1988. In additional to the original 12 album tracks, this newly remastered edition includes additional B sides and remixes, some making their debut CD appearance.

'Cry No More' takes Danielle Nicole into fresh new creative territory, delivering fourteen emotion-charged new songs whose rootsy musical edge is matched by their air of hard-won personal experience. Luther Dickenson, Sonny Landreth, Kenny Wayne Shepherd and Walter Trout guest on guitar. With seasoned veteran Tony Braunagel (Taj Mahal, Bonnie Raitt, Eric Burdon) producing, such heartfelt, groove-intensive new tunes as "Crawl," "How Come You Don't Call Me Anymore," the Bill Withers-penned "Hot Spell" and the heart-tugging title track, find Danielle cutting loose and focusing on the storytelling and character-development aspects of her songwriting.

'Cry No More' takes Danielle Nicole into fresh new creative territory, delivering fourteen emotion-charged new songs whose rootsy musical edge is matched by their air of hard-won personal experience. Luther Dickenson, Sonny Landreth, Kenny Wayne Shepherd and Walter Trout guest on guitar. With seasoned veteran Tony Braunagel (Taj Mahal, Bonnie Raitt, Eric Burdon) producing, such heartfelt, groove-intensive new tunes as "Crawl," "How Come You Don't Call Me Anymore," the Bill Withers-penned "Hot Spell" and the heart-tugging title track, find Danielle cutting loose and focusing on the storytelling and character-development aspects of her songwriting.

'Cry No More' takes Danielle Nicole into fresh new creative territory, delivering fourteen emotion-charged new songs whose rootsy musical edge is matched by their air of hard-won personal experience. Luther Dickenson, Sonny Landreth, Kenny Wayne Shepherd and Walter Trout guest on guitar. With seasoned veteran Tony Braunagel (Taj Mahal, Bonnie Raitt, Eric Burdon) producing, such heartfelt, groove-intensive new tunes as "Crawl," "How Come You Don't Call Me Anymore," the Bill Withers-penned "Hot Spell" and the heart-tugging title track, find Danielle cutting loose and focusing on the storytelling and character-development aspects of her songwriting.

The debut solo recording from Danielle de Niese, who became a star overnight after her stunning 'all singing, all dancing' performance as Cleopatra in Handel's Giulio Cesare at Glyndebourne in 2005. Danielle signs a selection of Handel arias from both famous and lesser-known works which showcase perfectly her extraordinary dramatic range and vocal abilities.

After her studies at the « Conservatoire National Supérieur de Musique », passing with a unanimous First Prize in Vlado Perlemuter’sclass, Danielle Laval fell under Arthur Rubinstein’s notice. He was dazzled by her virtuosity and her deep sensitivity.

It may be a cliché to write of the clarity of Gallic writing for the flute – the kind of elegance found in the music of composers like Debussy, Fauré, Gaubert, Jolivet, Messiaen and Taffanel – but French music for flute does indeed have a sound of its own. The flute works of Nicolas Bacri, born in Paris in 1961, uphold the proud tradition of his predecessors with textures of crystalline transparency and poised, almost weightless, melodic lines – and reserves of sardonic bite and freewheeling energy as required.

It may be a cliché to write of the clarity of Gallic writing for the flute – the kind of elegance found in the music of composers like Debussy, Fauré, Gaubert, Jolivet, Messiaen and Taffanel – but French music for flute does indeed have a sound of its own. The flute works of Nicolas Bacri, born in Paris in 1961, uphold the proud tradition of his predecessors with textures of crystalline transparency and poised, almost weightless, melodic lines – and reserves of sardonic bite and freewheeling energy as required.