JOEL ROSS: WHY JAZZ IS STILL COOL
Story by JD Cohen
Photography by JD Cohen and Joshua Touster
The question of whether jazz is dead resurfaces regularly, sparking debate among musicians, critics, and fans alike. In 2016, Jon Blake of CNN posed the provocative question in his article When Jazz Stopped Being Cool: “If jazz did indeed die, what was the cause and when did it pass away?” Similarly, Grammy-winning trumpeter Nicholas Payton declared in his 2011 essay On Why Jazz Isn't Cool Anymore that jazz died in 1959. He argued, "There may be cool individuals who say they play jazz, but ain't shit cool about jazz as a whole."
It's easy to understand why some believe the genre hasn't progressed much. The most recognizable and best-selling jazz album today is still Miles Davis' Kind of Blue, recorded in 1959. Cultural trends may also shape this perception. The current wave of nostalgia, with the resurgence of retro fashion, movie reboots, and vintage-inspired art, can give the impression that new ideas are scarce. However, this trend can also be viewed as a form of cultural dialogue with the past. And while some might argue that jazz has stagnated, there are countless young artists innovating and cross-pollinating within the jazz community, breathing new life into the genre.
Among these emerging talents is Joel Ross, a 29-year-old vibraphonist who has quickly established himself as one of the most exciting and forward-thinking musicians in modern jazz. His blistering technique and soulful compositions have captivated audiences and critics alike. Born in 1995 on Chicago’s South Side, Ross grew up surrounded by music. His mother was a gospel singer, and the spiritual influence of church music can be heard in his work. Though he initially played drums and piano, he discovered the vibraphone at age 12, an instrument that became his primary mode of expression.
Ross immersed himself in the jazz tradition, studying recordings of legendary vibraphonists like Milt Jackson, Bobby Hutcherson, and Lionel Hampton. While his playing reflects deep respect for these masters, Ross is also carving out his own voice, embracing the complexities of modern jazz. During his teenage years, he attended the Chicago High School for the Arts, where he honed his skills in both classical and jazz music. His participation in Chicago’s local jazz scene allowed him to play alongside a wide range of musicians, further refining his artistry.
In 2016, Ross had a breakthrough when trumpeter Marquis Hill invited him to join his ensemble, the Blacktet. This opportunity showcased Ross’s exceptional ability to contribute to the group while standing out as a soloist, solidifying his reputation as a rising star in jazz.
Ross’s debut album as a bandleader, KingMaker, was released in 2019 on Blue Note Records to widespread critical acclaim. The album blends tradition with modern sensibilities, featuring a dynamic quintet that includes saxophonist Immanuel Wilkins, pianist Jeremy Corren, bassist Kanoa Mendenhall, and drummer Jeremy Dutton. The compositions, most of which Ross wrote, are rich in intricate harmonies and compelling rhythms. KingMaker explores personal and familial themes, drawing on Ross’s experiences growing up in Chicago and his relationships with his family. The title track is a tribute to his mother, while songs like "Yana" delve into more introspective and spiritual territory. The album is a testament to Ross’s ability to balance technical brilliance with heartfelt storytelling.
On October 10th, Joel Ross brought his current ensemble to the Regattabar in Cambridge for two electrifying shows. Joined by Corren, Mendenhall, Dutton, and saxophonist Maria Grand, Ross delivered a performance that was both meditative and explosive. Dressed in all black and with minimal stage banter, Ross and his band let the music speak for itself, moving seamlessly between soulful ballads and blistering solos. Ross's mastery of tempo kept the energy shifting, ensuring the set never felt static. His generosity as a bandleader was evident as he often stepped aside to let his bandmates shine, dancing to the music and smiling with approval during their solos.
The performance leaned heavily on material from Ross’s latest Blue Note release, NuBlues, with the highlight being an extended version of his original composition “Bach (God the Father in Eternity).” The piece begins as a slow, spiritual meditation and gradually builds in intensity before releasing into a gentle, reflective conclusion. The entire performance was both exhilarating and deeply moving.
As Ross continues to evolve as a musician, it is clear that his influence on the jazz world will only grow. His ability to fuse technical mastery with emotional depth, combined with his commitment to pushing jazz forward, ensures that he will be a central figure in the genre’s future. Far from being dead, jazz is alive and well, thanks to artists like Joel Ross who continue to make it exciting and relevant for new generations.
