Music review By Andrew Poretz ….
Quintin Harris returned to Birdland Jazz in September for several concerts in the new 5:30 slot. This reviewer last reviewed Harris with his quintet back in April (click HERE). I’ve reviewed him multiple times since first discovering his talents in the (now defunct) modern vaudeville show Mr. Harris and Mr. Edwards.
Harris’s hard work in college (studying with the likes of Bill Charlap at William Paterson) and on the bandstand continues to pay off, with terrific arrangements and playing, and greatly improved singing. Harris brought his usual trio mates of bassist Sam AuBuchon and drummer Marlen Suero-Amparo, and added tenor saxophonist Bailey Giles and trumpeter Dakarai Barclay to form a quintet. Notably, and refreshingly, this was a sharp-looking band of young musicians – all under 25 – with the men attired in suits and ties. It evoked an earlier era of jazz cats.
Harris opened with a swinging vocal on “I Thought About You” (Jimmy Van Heusen/Johnny Mercer). The bass-centric arrangement was excellent, and Harris’s phrasing was outstanding.
Giles and Barclay appeared, front and center, for the second tune, “Celia” (Bud Powell). The pair traded licks and joined forces for unison and harmony playing to entirely elevate the music exponentially. While both are fine musicians, Barclay was occasionally sloppy at times, though his overall approach is excellent. His playing got cleaner as the set progressed.
Harris fooled the American Songbook cognoscenti with a piano intro suggesting the next tune would be “The Gal That Got Away.” Instead, he cleverly morphed this into “God Bless the Child” (Billie Holiday, Arthur Herzog Jr.), something out of the Tedd Firth playbook. Giles provided obligato sax to Harris’s sensitive vocal interpretation. His bottom notes are just a skosh under his natural range, but Harris utilizes a growl in such sections that proved to be quite effective. The sax work was exquisite, and Giles and Barclay seemed almost competitive with one another, which paid off for the audience. The song’s outro called back to the faux “Gal” intro. This number was a major highlight of the set.
The rhythmically complex instrumental “Star Eyes” (Gene de Paul) has many interesting twists and turns. Harris made some great choices in his solo. The number was meant to highlight drummer Suero-Amparo. She is a competent, if undistinguished drummer, who keeps excellent time.
The quintet reached its zenith on the great standard “Little White Lies” (Walter Donaldson). Harris displayed impeccable diction when singing. His playing in this number evoked the great Errol Garner. Giles created a cool “cry” effect that seemed to answer the lyric quite appropriately.
The one song the recently departed guitarist Russell Malone (may his memory be a blessing) would ever sing was “Nevertheless” (Ruby Kalmar/Harry Ruby). Harris sang it in Malone’s honor, with Barclay providing a beautiful obligato trumpet a la Bobby Hackett to Harris’s Sinatra.
The closing number, “If I Should Lose You” (Ralph Rainger/Leo Robin), was a playful one that saw a couple of musical quotes by Quintin (such as “Night in Tunisia”), and an outstanding call and response between Barclay and AuBuchon that felt like a chase scene. Aubuchon is a top-notch bassist who keeps things moving and can solo with the best of them.
The Quintin Harris Quintet is, a tablemate declared, “what Birdland is supposed to be.” The 5:30 slot is one of those new reality things that draws substantial business to Birdland. While it’s always a bit strange to hear great jazz, only to walk out the door with some sunlight left in the day, it leaves more time to do something else – or just stick around for the next act and still get home at a reasonable hour.
The Quintin Harris Quintet played on September 8 at Birdland Jazz, 315 West 44th Street, between Eighth and Ninth Avenues (www.birdlandjazz.com).
Featured photo: All photos by Renée Guerrero or as indicated