Quartets - Berkshire

Jazz quartets in Berkshire can be found on our national database of music and musicians, covering weddings, parties, corporate functions and concert clubs.

Find available Jazz Quartets in Berkshire on our national database.

 

  
  
  

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Berkshire musicians

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Berkshire, where our Jazz Quartet 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 Berkshire, has been said:-

"  West Berkshire, famous for the open expanse of the high chalk Berkshire Downs, provides invigorating walking with freedom, space and wide vistas. The Ridgeway National Trail, an ancient path dating back to iron age times, provides a good route from which to explore the Downs and their fascinating history. Notable sites include the Iron Age hill fort at Segsbury Camp, remains of the mysterious Grim's Ditch and the burial mound of Scutchamer Knob as well as bronze age barrows and Roman field systems. Lambourn, home to some of England's finest thoroughbred horses, is a good base from which to visit many of these pre-historic sites, including The Seven Barrows just to the north. You can follow the Ridgeway east across North Berkshire via East Ilsley, Compton, Aldworth and Streatley, following in the footsteps of Neolithic ramblers. "

'James Carter might erupt in screams even on a ballad or a medium-tempo groove tune, his rhythm section suspending the beat as it pummels its instruments into cacophony. This lends an element of unpredictability to Carter's solos, but the problem is that his solos are always unpredictable in exactly the same way. I suspect that even those listeners who shun what used to be called free jazz for fear of just such episodes willingly go along with Carter because they know his paroxysms will be short-lived. Minus the thematic development that is possible in free improvisation, his farrago-like solos reduce thirty years of sonic exploration to a handy vocabulary of stock effects not much different from the honks and screams of the average rhythm-and-blues saxophonist of the 1950s.'

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