nublues Joel Ross

• 1early03:56
• 2equinox08:37
• 3mellowdee11:12
• 4chant02:38
• 5what am i waiting for?02:46
• 6bach (God the Father in Eternity)08:40
• 7nublues08:12
• 8ya know?09:37
• 9evidence08:02
• 10central park west04:28
• Total Runtime01:08:08

Info for nublues

Acclaimed vibraphonist Joel Ross returns with his remarkable fourth Blue Note release nublues, an album of blues and ballads as refracted through the prism of one of the most creative modern jazz groups of our time. Communication is a key element of the album; both the communication between the musicians and the listener with an emphasis on singable melodies, as well as the profound and intuitive musical conversation that occurs within this tight-knit band featuring Immanuel Wilkins on alto saxophone, Jeremy Corren on piano, Kanoa Mendenhall on bass, Jeremy Dutton on drums, and special guest Gabrielle Garo on flute. The 10 tracks here include 7 new Ross originals as well as pieces by John Coltrane (“equinox” & “central park west”) and Thelonious Monk (“evidence”) many of which are performed as spontaneous suites with the band moving seamlessly across the blues-imbued musical terrain.

The genesis of nublues dates back to 2020 when, during the Covid pandemic as live performances were shut down, Ross went back to the New School to finish his degree. One of his classes was taught by the alto saxophonist Darius Jones, who nudged students to dig into the history of the blues. That led Ross down a rabbit hole of what the blues can be; it isn’t just a 12-bar form. He realized it was a feeling. “Sort of a spirit or an energy,” Ross says. “It’s emotion, it’s expression. But I also want to stay true to the rhythmic ideations that we’ve already been developing.”

“I enjoyed the journey of diving into learning about the blues and understanding the history of the blues, really focusing on developing this band’s sound and band structure,” he says. “For me, it was just about the journey that came from getting into all of the information and figuring out what it was going to be. It’s a constant continuing. It's a snapshot into how we've continued to do the same thing we've been doing and how it's been shifting.” (Joel Ross)

Joel Ross, vibraphone
Immanuel Wilkins, alto saxophone
Jeremy Corren, piano
Kanoa Mendenhall, bass
Jeremy Dutton, drums
Special guest:
Gabrielle Garo, flute

Joel Ross
Chicago native Joel Ross has performed with historic and seasoned artists - Herbie Hancock, Louis Hayes, Christian McBride, and Stefon Harris - as well as with cutting-edge contemporaries like Ambrose Akinmusire, Gerald Clayton, Jon Batiste and many more. Twice selected as a Thelonious Monk Institute National All-Star and a 2013 YoungArts Jazz Finalist - he's also had the opportunity to perform at the Brubeck, Monterey, Seattle, and Chicago Jazz Festivals -and- at internationally-celebrated venues like Dizzy’s Club Coca-Cola in New York, SF Jazz in San Francisco, and Club Vibrato in Los Angeles.

Playing the drum kit as early as three years of age, Ross learned other percussion instruments & approaches beginning in grade five, in his tenth year. When starting his work on Vibes, he engaged both classical and jazz works, and did so throughout high school. In his last year there, Ross also began playing the piano in a more serious way.

Ross recently completed a two year fellowship with the Brubeck Institute Jazz Quintet in California. Winning first place at the 2016 BIAMP PDX Jazz Festival 'Jazz Forward' Competition, he was also a winner of the Keep an Eye International Jazz Award, in Amsterdam. A fitting addition to trumpeter Marquis Hill's wonderful group - before their 2016 European tour - He performs with his newly minted Joel Ross’ Good Vibes ensemble, among other ensembles he leads.

“...Ross’ precocious creativity, facility, and confidence were downright shocking. His style is so unique and developed that it changed my image of the vibraphone itself. Though his musicality [shone] through brightly, I was most impressed by the revolutionary way in which he approached the physicality of the instrument, reworking classic limitations as creative allowances. In contrast to the metallic sustain of players like Gary Burton, Ross’ tone was brittle, percussive and woody; instead of letting his notes ring out and wash over each other indefinitely he exploited the relatively sharp decay of each hit. This allowed him to throw down precise flurries while sounding neither muddy nor blunted.” — Asher Wolf, All About Jazz

“Ross swings effortlessly on the vibraphone, sometimes opting for a brittle sound reminiscent of Lionel Hampton, other times creating smooth and expressive lines in the vein of Milt Jackson. Yet while Ross’s sound is grounded in tradition, his rhythmic approach is very contemporary—intensely syncopated and excitingly abstract.” — Kevin Laskey, The Jazz Gallery

“[Ross is a] bright young vibraphonist on his own rocket-like trajectory,...he’s somebody I’ll keep my eye on in the coming months.” — Nate Chinen, The New York Times

This album contains no booklet.