Jazz for aficionados

Now, concerning this discussion comparing SE with KOB.

It’s one thing to talk about a given album’s rating after the release. I didn’t research SE’s Downbeat rating for example, or any others, but I can believe SE was very well received.

However it is a different matter to judge any recording as being considered a "classic". I think most might agree that requires the test of time.

With that thought there are two jazz albums which stand out above the others as having received both critical acclaim and broad popularity sufficient to be called classics -- KOB and Take Five. Note this is not saying they are the "best" jazz albums ever, but two which met both elements of classification. SE has maintained some popularity but comes up a little short in this respect.

On a personal level I will admit that the continued popularity for KOB does surprise me somewhat. I’ve loved it since buying my first copy in 1960. But it is out of the mainstream of what is generally considered to be popular jazz. It’s not funky, doesn’t include a driving beat or something make the listener want to get up and dance. But it really is like an onion; so many layers to be pealed away and invite deeper exploration.

Just my perspective.  Further discussion welcomed as always.

Nsp, All just wonderful!

Yes! John Park on “Street Of Dreams” is amazing. I can’t believe I had never heard that cut. Just great. What a fantastic player! Thanks for that.

pryso, excellent post. “like an onion”; I like that and very apt. Why KOB remains popular is, for me, twofold. Its importance in shaping the direction of jazz is one and that doesn’t need any more documenting since so much has been written about that and the reasons why it did. The second reason is, imo, that in spite of the fact that “It’s not funky, doesn’t include a driving beat or something make the listener want to get up and dance. ”, the music is actually quite accessible. The harmonic simplicity of the modal tunes actually make it very accessible to the listener; as do the likewise “simple” melodies. An interesting byproduct of a compositional approach (modal) intended to give the soloist much more creative freedom of expression. That is part of the brilliance of the record; it has made for an easy introduction to “serious” jazz for many. Melodies and harmonic changes don’t get much simpler than that of “So What”, for instance. I would add a possible third reason to the mix. The interest in audiophile quality reissues which began about forty years ago or so put that record in the limelight again. The instrumental playing is, of course, as good as it gets.

Hatch Chili Bratwurst,  corn on the cob, and baked beans for me.

Nice!