Articles » "Considering the jazz musicians within their own periods", by Cüneyt Sermet

...In conclusion, we have to see the (jazz) musicians as the children of their own period, and we have to approach their musics in this way. Of course, sometimes there were some musicians who went beyond his/her period -like Coleman Hawkins-, or there were genius musicians like Charlie Parker who is again on the climax even today, with his works; but deliberating the musicians in their own periods, is the best way.

Isn't it true for all branches of arts? As how when we look to one of the paintings of Rembrandt, we're considering it within it's own structure and value; and we're not feeling to compare it with Monet or Van Gogh; we must treat the jazz music within the same way. Therefore, when we listen to Johnny Hodges or Benny Carter, we have to observate what they meaned, what they wanted to tell, or what beauties they found; in the perspective of their own periods and conceptions; not comparing with Charlie Parker.

Because the beauties that Hodges found in his own period is as effective as the beauties that Parker found in his own period. The art is being permanent already, if it rises a certain standard.

As a consequence, to say: "..But Miles Davis did this.." when listening to Roy Eldridge is as meaningless and funny as to say: "..But Schönberg did this.." when listening to Beethoven.

─Cüneyt Sermet (translated by Johnny Cage)

Source: "Caz'ın İçinden - Cüneyt Sermet"

Pan Publishing, 1990 (ISBN: 975-7652-08-3)