Music review by Andrew Poretz . . . .
Quintin Harris is one talented fellow. The young pianist and singer has become a favorite of this reviewer since his days as the crooner/”straight man” in the musical comedy duo Mr. Harris and Mr. Edwards”. This is my third review of this rising star’s jazz career (read HERE and HERE). At his latest show, at Birdland, he filled the large room upstairs on two consecutive Saturdays at the early (5:30) show, an impressive feat.
Mr. Harris has the great fortune of studying under Bill Charlap, one of the finest jazz pianists in the business. His continued growth as a pianist is evident whenever I’ve seen him. His arrangements, particularly his choices in chord voicings, are a testament to such tutelage and mentorship.
The trio consists of Mr. Harris and his longtime collaborators and friends, bassist Sam AuBuchon and drummer Marlen Suero-Amparo.
The set kicked off with Mr. Harris playing a solo instrumental of “Like Someone In Love” (Jimmy Van Heusen/Jimmy Burke) with gorgeous voicings. His playing is clean and precise. With the trio, it morphed into a swinging medley with “The Sound of Music” (Richard Rodgers/Oscar Hammerstein II).
On “September In The Rain,” Mr. Harris sang against the bass. The bassist, Sam AuBuchon, played a deceptively simple accompaniment before taking it to a more explosive place that showed off his considerable interpretive skills. Mr. AuBuchon, who grew up in St. Louis farmland, wears a signature red beret that gives him the appearance of a French artist. He is most certainly a bass artist.
An excellent “What Is This Thing Called Love” (Cole Porter) had a very swingy arrangement by Mr. Harris. The joint really started jumping when guest tenor saxophonist Bailey Giles joined for the instrumental jazz standard, “Stablemates” (Benny Golson).
Mr. Harris hit his vocal stride with a stunning “What Are You Doing The Rest Of Your Life” (Michel Legrand/Alan and Marilyn Bergman). The trio followed with what Bill Charlap describes as “the greatest song ever written” (as does Jonathan Schwartzl, “All The Things You Are” (Jerome Kern/Oscar Hammerstein II). Mr. Harris utilized some octave/doubling here reminiscent of George Shearing, a technique he employed in several songs in the set. The arrangement had “late night jazz” vibe, with a pulsating bass and insistent, light cymbal work. The trio traded fours, and featured Mr. AuBuchon’s aggressive bass solo work.
“A Sinner Kissed An Angel” (Mack David and Ray Evans) is a song not often covered by vocalists today. Mr. Harris described it as “the first tune that plays in my head sometimes.” It was quite good, with very smooth vocal lines, with Mr. Aubuchon once again grabbing the tasty solo.
For an encore, Mr. Harris chose Eddie Jefferson’s bluesy vocalese masterpiece, “Billie’s Bounce,” a challenging piece to sing, and more so while playing piano. He nailed it.
Mr. Harris is a gifted jazz pianist whose playing has evolved tremendously and a very good singer who is willing to take vocal chances. When it works, he approaches greatness. At other times, he doesn’t quite succeed, even if his attempts are laudable. In such instances, it comes down to the difference between simply sounding interesting, or moving the listener emotionally. This is bound to change as Mr. Harris gains more experience and develops greater confidence. He has surrounded himself with good musicians, particularly the exceptional Mr. Aubuchon, and he has improved at every listen.
Mr. Harris’ sweet, shy demeanor isn’t an act. Still, he does not yet perform entirely like someone fully aware of what he has. When he shakes off that tentativeness and commits to his vocal choices the same way he does with his piano playing, he will be well on his way to bigger things.
The Quintin Harris Trio performed on April 6 and 13 at Birdland, 315 West 44th Street between Eighth and Ninth Avenues (www.birdlandjazz.com).
Photos: Hoyeon Choi
