Pianists / Pianos - Halesowen

Jazz pianists / pianos in Halesowen can be found on our national database of music and musicians, covering weddings, parties, corporate functions and concert clubs.

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Halesowen, where our Jazz Pianist / Piano performs

Towns, cities and regions have an influence on the style of music, whether it is the 'English Countryside' feel of Vaughan Williams, the strength of Elgar's Victorian Malvern, or the skirl of Northumbrian Pipe tune.

Of Halesowen, has been said:-

"  The origins of Halesowen date back to Saxon times when a clan chief led his people through Midlands forests searching for a favourable settlement and found the area, surrounded by the River Stour, to be ideal. The first known record of the name Halesowen is in the Domesday Book when a Norman scribe, writing in Latin, referred to the settlement as Hala. Halesowen takes its name from a settlement named Hales, which added Owen when it was given to the then Prince of Wales, David ap Owen, by Henry II towards the end of the 12th century. The present charter of the Borough was granted in 1936. Halesowen sacrificed its own borough title again in 1974 when it came under the Dudley Metropolitan Borough wing following local government reorganisation. Until the end of the last century, the town’s staple trade was the manufacture of nails. It was a domestic industry as it was carried out in the backyard and usually involved the whole family. "

Ted Gioia ~ 'We tend to conceptualise composition in jazz as a process of putting black dots on pages. Many commentators make a further leap and assume that greatness in jazz composition will be achieved when we have lots of black dots on lots of pages ... Jazz composition is primarily about creating an invigorating framework and fresh mental space for creativity. The breakthrough in Kind of Blue was in creating a new state of mind ... I am suggesting that the success of a jazz composition can best be determined by what the players do at that point in the performance when there are no black dots to play. In essence one listens to the quality of the improvisations as a way of judging the merits of a composition. If a soloist is not inspired, all the black dots in the world won't compensate for this deficiency. And if the soloists is inspired, just a few black dots - or none at all - will suffice. Even the jazz composers who wrote thick scores - such as Ellington and Mingus - recognised this.'

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