Couldn't agree more - horses for courses (and cymbals for music.... thank you, thank you...try the veal)
I own a set of K Cons, a set of Keropes, a set of 602s and some one-off cymbalsmith creations. They are all great in their own right, and all very musical cymbals. I have spent countless hours listening, watching and searching for the magic dark smoky jazz ride (as have many others), but a lot of the music I play just doesn't call for it. Agree with those who have commented about the frequency considerations, rather than just the sound of the cymbal itself. Drummers (more than some other instruments) must consider this, since the available tonal range on your average drum kit spans from a very low HZ rumble through to high HZ white noise and everywhere in between.
I find that the 602s are, at worst, extremely usable for all shows, and at best absolutely perfect. My ear gravitates towards the darker sounds when they are isolated, but funnily enough, towards a brighter sound in context. Even with the K Cons - I heard a 22" Medium Thin High the other day that was absolutely special, and I swear by my MT Low...
To put it in context, have a listen to this:
https://www.youtube.com/watch?v=iduhQqLaP9g
It's by "The Jazz Drums!", and I found it very enlightening (also, this video may have been posted somewhere here before, but is again relevant in this particular context). See what you think...I was gobsmacked that my ear preferred the Mel Lewis Agop cymbal(s) to the darker tones of the others (including those that I own that were represented) I do acknowledge, however, that the particular Stan Getz bop/cool era jazz track used in the video probably lends itself more to rides that have that higher pitched fundamental tone...worth a look regardless