In my previous post, I had mentioned “popular” music which was arguably better than some classical music.  I want to offer as an example the Stan Getz and Bill Evans live recording of the “The Peacocks,” a song written by Jimmy Rowles – who, among other things, mentored the young Diana Krall in the early 1980’s.

In particular, listen to the bridge of the song.  The three sustained dissonant notes are the peaks of that section [between 35:40- 36:20 (played by piano), 38:35-39:25 (played by tenor sax)].  These notes function almost like suspensions without preparations.  Entering very dissonant right off the bat and then, holding firm, they “resolve” only because the chords underneath change.  This is not only striking, but a very intelligently musical thing to do.

In my opinion, this approaches the sublime and lifts this piece out of the realm of being simply “popular” music.  (In fact, this intelligent strain in jazz is what guaranteed it would never fully be popular – even if it is not technically “classical” either.)  So, here, we are indeed dealing with terminological issues.