Some have said KOB appeals to people with only a casual interest in jazz. Completely true, hence its huge numbers. Much of its brilliance, though, is that it equally rewards just about every level of sophistication. It's brilliant technically, compositionally, as an ensemble (or ensembles), individual performances, harmonically, its atmosphere, etc.
Some days it's Waltz for Debbie, or Night Dreamer, or Love Supreme, or Moanin, or Tomorrow is the Question, or (lately) Holland's Conference of the Birds. But if I happen to hear any piece of KOB anywhere I am (usually Pandora-ing somewhere) I have to stop still and listen. It's a magical record.
Some days it's Waltz for Debbie, or Night Dreamer, or Love Supreme, or Moanin, or Tomorrow is the Question, or (lately) Holland's Conference of the Birds. But if I happen to hear any piece of KOB anywhere I am (usually Pandora-ing somewhere) I have to stop still and listen. It's a magical record.