Jazz for someone who doesn't like jazz.


I've toyed with the idea of looking into jazz. Not sure why. Not sure what I'm looking for. Maybe just something to sound good on my system. I realize jazz is a broad category but much of what I hear I have not been attracted to. Don't ask me what I've heard.
What I'd like is a recommendation of two or three albums to start with. (I know that's insane)

And since I've given next to nothing to go on I'll point out a few things that I do like that might help narrow it down some maybe.

Jazz-like stuff I do like: Steely Dan. Almost all of their stuff. Van Morrison's jazz influenced stuff like Astral Weeks.
I like blues. Delta and hill country hard core blues.

I like a wide variety of rock from heavy metal, to prog rock to classic R&B.
Does any of that help? I know this is a crazy request but if I could get some recommendations I'll at least have somewhere to start. Not looking for specific recordings yet. Just content. When I find what I like I'll research the best recordings.
Thanks for any possible advice.
George




n80
Harry Connick Jr. Trio - Lofty’s Roach Soufflé is a good, easily palatable album too
Shirley Horn with Friends - great singing/piano and plays with many jazz greats, mostly mellow stuff
Paul Desmond - his solo recordings - very approachable
John Coletrane - Ballads album
Art Pepper - Meets the Rhythm Section
So, Miles Davis. I like Kind of Blue and like Porgy and Bess. Most definitely do not like Big Fun or Bitches Brew. Those two seem very abstract to me, discordant, uncomfortable. I know that’s heresy but that is not the direction for me. Not yet anyway.

Watched the first episode of Burn’s Jazz. I liked it. My wife was not all that interested but episode two is about Louis Armstrong and that generation which is what she likes so she is looking forward to it.

Liked David Sanborn’s Another Hand.

Listening to Coltrane’s Beautiful Star In Town and liking it so far.
@oregonpapa   I thought Pat Metheny's assessment of Kenny G was classic:

He had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues- lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble.