Many appreciate the resonance of a piano to fulfill their mood for a melody. Cleveland native and Grammy Award-nominated artist Jim Brickman has gone a step further, elevating the sound into something romantic and deeply personal for his huge fan base.

Brickman’s pop-inspired instrumentals and star-filled collaborations have made him the most charted adult contemporary artist of the decade. His playing and songwriting prowess have earned him two Grammy nominations, six total Gold and Platinum albums and 28 charted hits.

His biggest selling songs include Valentine (recorded with Martina McBride), The Gift (with Susan Ashton and Collin Raye), Love of My Life (featuring Michael W. Smith) and Simple Things (with Rebecca Lynn Howard). He has also collaborated with Kenny Loggins, Olivia Newton-John, Michael Bolton, Carly Simon and many others.

He also runs Brickhouse Direct (in Cleveland), which helps artists market their work; performs for the PBS network and other charitable foundations; has written two books; and hosts a radio show.

Brickman will present his musical repertoire with the Columbus Symphony Orchestra at 8 p.m. April 24 at Veterans Memorial, 300 W. Broad St. He took time out of his tour to talk with CityScene about his collaborations, his hometown and Kermit the Frog.

CityScene: When and how did you get involved with the piano?
Jim Brickman: I started at age 5. I didn’t come from a musical family at all. There wasn’t music playing at our house, I didn’t go to concerts. But both of my parents are incredibly creative and artistic. So I think my influence found its way through that creativity and took shape in the piano and music in general. I just became drawn to it.

CS: When did you realize you might be exceptionally talented?
JB: I started showing signs early on about being a composer or songwriter. I found a mentor/teacher who understood what was going on when I was about 12, and that’s when my outlook changed. I started to write and a whole world opened up that I didn’t know was possible.

CS: Are you more comfortable writing or playing songs?
JB: I think I just have always had a writer’s instinct. I started learning through imitation. I would listen to these influences – the Beatles, Fleetwood Mac, Carole King – and play their songs but write different lyrics. It was sort of a paint-by-numbers way to learn, but it came natural to me.

CS: You started out writing commercial jingles, was that a career turning point?
JB: I liked writing commercial songs because I had a sense for pop melodies and could write quickly. I was constantly writing for everything – Wendy’s, banks, toilet cleaner, kitty litter. It was fun at the beginning – I was getting paid to write and my friends would sing along to my songs. But when it went national was the turning point. I moved to Los Angeles and it became too cutthroat and it wasn’t fun anymore.

CS: How do your collaborations fall into place?
JB: Part of it comes from a very purposeful songwriting approach. What always touched me growing up were these singers that brought songwriters’ work to life – that connected the song to the people. I’ve been lucky to have met many artists I admire and to have asked many of them to work with me. But the timing always has to be right. I believe in finding these collaborations organically because I can tell when they’re forced, or coming from some list, and it doesn’t work. It’s not natural.

CS: Do any of them stick out?
JB: All of them are special, but last year was my biggest highlight: I sang Rainbow Connection with Kermit the Frog.

CS: Have you ever been star struck?
JB: I have a couple of times. Olivia Newton-John and I were on tour together and when I met her, I told her I had her poster on my wall when I was growing up. She loved it. I get the opportunity to meet these idols of mine as peers and it is such an honor to me.

CS: Do you purposefully have a singing collaboration on each of your albums?
JB: It’s not calculated. But these songs that feature great singing allow exposure to the rest of the album, which is solo piano music, that they may not have been exposed to before. As much as people love solo piano music, it’s just not a big enough mainstream category, so people don’t get to hear it or know it that much. If I can get a great singer, like Martina (McBride), to bring a song to life and that song is consistent with the rest of my album, I think it will bring people to appreciate solo piano music more. So it’s with intention, but it’s honest.

CS: Your music has been defined as jazz, adult contemporary and more. How do you personally define it?
JB: I sometimes describe it as ‘moments.’ There are songs that are about moments and they’re very personal and intimate. When people tell me they had my music playing during the birth of their child or an anniversary dinner – you can’t get more personal than that. This isn’t about a hit song on the radio; it’s more about something that connects emotionally. It is hopeful and inspirational.

CS: Do you ever get home to Cleveland?
JB: I purposefully play in Cleveland at least once a year. I’m still an Ohio boy and very much think of myself as being at home there.

CS: What can people expect from your symphony show?
JB: I’m a pianist who is soloing with the symphony, who has guests who are along to sing the hits. It’s a nice flow of one big instrumental experience. It’s emotional and beautiful – with the soaring strings and the intimate audience. I consider my music to be all about life’s moments and journeys and I think that comes out when it’s played live.

Alicia Kelso is editor of CityScene.

If you go …
Jim Brickman joins Conductor Albert-George Schram and the Columbus Symphony Orchestra at 8 p.m. April 24 at Veterans Memorial Auditorium, 300 W. Broad St. Visit www.columbussymphony.com for more information and tickets.