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)

Dizzy Gillespie, 1917-1993, Trumpeter/Composer

Dizzy Gillespie in Turkey, 1956

Source: "Caz'ın İçinden - Cüneyt Sermet"

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

Articles» Art Tatum, by Cüneyt Sermet

In the jazz history, and probably in the whole music history; the most technical pianist ever Art Tatum (1909-1956) was blind since birth. In truth, his one eye was completely blind, and the other was hardly able to see the beautiful girls only. Only "phenomenon" can be said for Art Tatum; because there isn't anybody to become speechless over against his technique. Just as Leopold Godowsky was flabbergasted when he heard him; and (Vladimir) Horowitz who often listened to Art Tatum's performances, once said that: "I could sacrifice lots of things just for being able to play as the half of him."

Articles» The "Swing" concept in Jazz

The "Swing" concept in Jazz

"Jazz" has a qualification called "Swing"; but trying to explain this concept is such too difficult that, even the jazz musicians don't attempt to this. The meaning of "Swing" in jazz is: Both the listener and the performer(s) must feel to swing rhythmically, move slightly, and feel to dance; with the song currently being played. If the listener does not feel like this, then it means there's a fault in the performer(s); and this music can be described as plain/rectilinear.

Source: "Caz'ın İçinden - Cüneyt Sermet"

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

Translated by Johnny Cage