It amazes me that so many jazz mallet players started their studies on classical marimba, but then set aside the benefits of those years of training when performing jazz. One need only look to guitarists to see how effectively classical techniques and textures can be incorporated in an improvised context. Even though they may hold four sticks when playing, many vibraphonists improvise single-line solos almost exclusively, utilizing only two of the four mallets. Most classical performers, however, will play single lines which require the use of sequential sticking patterns. Just as different stickings may be used to achieve variety in rolling, a softer stick can be used to create a smoother sound, by minimizing the contact sound of each stroke.
Percussionists spend endless hours trying to get a consistent sound while alternating hands.
In jazz, however, more of a vocal element is needed, incorporating greater variety within a given phrase. It simply requires a change in one's concept of sound production to take the skills necessary to play with a consistent timbre, and use those skills to intentionally vary the timbre. With a little bit of work and thought, all those months and years of classical marimba practice can be used as source material for jazz performance. Having more tools to work with can only be beneficial to a player, in any style of music.