The Joel Ross “Good Vibes” Quartet put on a formula-breaking performance at Rogers Whitmore Recital Hall on April 18. Ross — an acclaimed vibraphonist — was hosted by the “We Always Swing” Jazz Series. Ross’ quartet featured Kanoa Mendenhall on bass, Lex Korten on piano and the phenomenal Jeremy Dutton on drums.

During the two-hour performance, the band only played seven songs. Miles Davis’ “So What” was one of the few standards played in the performance. Most of the songs were Ross’ own compositions. The seven songs were filled with many solos, and Ross and Korten often passed the spotlight back and forth. Dutton was also featured in nearly every song. His intricate drumming came to the forefront regardless of who was playing.

Listening to the quartet playing was like listening to a great conversation. The band would start off with a basic melody — or topic of conversation — and come out the other end of the often 20 minute long songs on a completely different topic. Like a lively conversation, the musicians input small phrases during each other’s solos. While Korten played a solo, Ross would walk up to the vibraphone, play a few notes, then walk away having put in his opinion.

This interplay was helped by each musician’s unique sound. Ross favored a fast, airy style of play while Dutton performed in a heavier, more technical style.

Ross — a Chicago native turned New York transplant — released his critically acclaimed debut album “KingMaker” in 2019. Additionally, Ross is one of the youngest musicians to earn a Residency Commission from The Jazz Gallery.

The Jazz Gallery uses its Residency Commission to foster growth in younger musicians and composers. They provide grants to selected musicians as well as a performance space for rehearsals and recording.

Meanwhile, Korten has begun distinguishing himself by performing for audiences at The Kennedy Center. Mendenhall started her professional career at the age of 13, studied at Julliard and has taught workshops at Stanford University. Dutton, who is also based out of New York, worked with both Ross and pianist James Francies on two albums each. All of these musicians have just begun their careers which audiences can expect to be even more fruitful moving forward.

Though drawn out at times, the performance presented an innovative set of voices. Introducing the audience to new musical motifs and a light tone absent in much of modern jazz. Too often live jazz boils down to each person taking their “turn” at the mic. Ross foregoes that for his long, drawn-out dialogues, which make for a more interesting listening experience.

Edited by Scout Hudson | shudson@themaneater.com
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