McCann strips back to essentials here, letting the band breathe without the soul-jazz arrangements that defined his earlier work.
By 1970, Les McCann had already made his mark—the soul-jazz organist with hits and a following—but Comment feels like a deliberate reset. This is McCann working smaller, leaner, more interested in conversation than showmanship. The organ is still there, but it shares space with piano voices from Richard Tee, Junior Mance, and Stanley Cowell, each bringing different textures. Billy Cobham on drums gives the sessions a crisp, modern pocket that pushes against any retro softness.
What makes this record distinct is its restraint. McCann isn't reaching for the orchestral sweep or the congregation-rousing soul of his earlier sides. Instead, there's a real sense of musicians listening to each other. Joe Wilder, Jimmy Owens, and Richard Williams on trumpets, Dick Griffin and Benny Powell on trombones—they're not decorating; they're part of a genuine ensemble conversation. Dickie Landry's baritone sax adds a contemplative edge. Roberta Flack on piano appears here too, her touch elegant and unhurried. Ron Carter's bass grounds everything with quiet authority.
This isn't a commercial breakthrough or a reinvention that changed jazz. It's a solid, professional session that catches McCann in a reflective mood, willing to let good musicians do their work without heroic gestures. For listeners already familiar with his soul-jazz catalog, it shows a different side—one worth hearing. It sits comfortably in his middle years, when he had nothing left to prove and could afford to simply play.