Joel Ross with John Toomey Trio at the Attucks Jazz Club

Joel Ross is a man of few words. Actually, he was a man of no words until the end of the first set when he told the sold-out audience that the group would be back after a break. Then no more words until the end of the second set when he thanked everyone for coming and asked us to drive home safely. Ross lets his mallets do the talking and talk they did at a mile a minute.

Ross is one of the most exciting vibraphonists to emerge in contemporary jazz over the past decade. Born in Chicago, Ross quickly made his mark on the New York jazz scene with a sound that's both steeped in the post-bop lineage and distinctly modern in its rhythmic and harmonic sensibility.

Drawing inspiration from masters like Bobby Hutcherson and his mentor Stefon Harris, Ross is the connection from yesterday to today. His touch on the vibraphone is light, his phrasing fluid and conversational. Ideas unfold organically, his playing a response to what he hears from the other musicians.

Since his debut as a leader on Blue Note Records withKingMaker (2019), Ross has continued to refine his artistic voice on albums like Who Are You? (2020), The Parable of the Poet (2022), and Nublues (2024). Each project pushes his ensemble, Good Vibes, into deeper creative territory—balancing intricate composition with a strong improvisation. His years of playing in church can be heard through his gospel harmony.

Beyond his own projects, Ross is a sought-after sideman, collaborating with artists such as Marquis Hill, Makaya McCraven, Immanuel Wilkins, and Walter Smith III. He has become part of the creative core of a new generation of jazz artists who are redefining the sound of the music—rooted in tradition but deeply connected to the present.

In short, Joel Ross represents the vanguard of modern jazz vibraphone: lyrical, daring, and deeply attuned to the ensemble's collective voice.

Appearing with John Toomey on piano, Jimmy Masters on bass and guest drummer Scott McLemore (McLemore lives with his wife, jazz pianist Sunna Gunnlaugs in Iceland. He was here visiting family). The quartet had a 45 minute rehearsal earlier in the day but played a mostly improvised set as if they had been playing together for years. After a prolonged standing ovation, the music was over but certainly not the memory.