QUINTESSENTIAL QUINTIN

Essential jazz, effortless swing, and a trio’s genuine chemistry

Jazz fans bid farewell to January with a smile at Birdland Jazz Club by settling into a sublimely satisfying set by pianist and vocalist Quintin Harris and his terrific trio-mates, bassist Griffin Fink and drummer Max Marsillo. “We’ve become like brothers,” the calm leader remarked — a sentiment borne out in the way they complement one another’s skills, effortlessly shifting between ebullient highs and subtle, reflective moods.

That rapport was on display from the very first number, an instrumental whose title not-so-coincidentally characterized their connection, chemistry, and camaraderie: “A Beautiful Friendship.” This old song (from 1956) suited these “old souls” who are members of a younger generation absorbing the traditions of their musical forefathers, just as this opening number’s creators were following in their biological fathers’ footsteps; it was written by Stanley Styne and Donald Kahn, sons of prolific songwriters Jule Styne and Gus Kahn.

Original  compositions were mixed in with some standards of yore, with nods to pianists from the past who are idols and inspiration, jazz piano greats such as Oscar Peterson and Cedar Walton. One Harris / Fink original tips its hat to Walton with a playful bit of wordplay — borrowing his first name (also a type of pine tree) for a tune very much in the groove, “In the Grove of a Cedar.”

It’s refreshing to hear a bassist given room to carry melodic lines rather than serving solely as rhythmic anchor, and Fink takes full advantage of that freedom. Likewise, Marsillo’s dynamic drumming goes well beyond timekeeping and the occasional flourish, adding texture, color, and momentum. Each musician enjoys solo space, but the real pleasure comes when all three are playing together — true ensemble work, not just a series of turns in the spotlight.

A charmingly cheery choice is the aptly named Neal Hefti composition, “Cute,” performed as an instrumental, so we didn’t get to hear the equally cute lyric written by the aforementioned Stanley Styne. But when Mr. Harris does sing, his especially tender crooning and thoughtful phrasing of classic ballads also reveal his romantic heart. He dedicates one to his girlfriend, choosing “You Stepped Out of a Dream,” an ode to an idealized partner released on Valentine’s Day in 1941, and written by another aforementioned writer — Gus Kahn (collaborating with Nacio Herb Brown).

Things get even dreamier with the uber-sweet lovestruck encounter described in “Polka Dots and Moonbeams” (a 1940 bit of bliss introduced by Frank Sinatra), and our troubadour’s interpretation is endearing and sincere, rather than overly sentimental. On friskier fare without singing, his keyboarding is impressively fleet and dazzling. But the energy is invigorating, not exhausting or showy. These talents have been on ample display in previous bookings at Birdland — and elsewhere with these or other players — offering the finesse and chops of a seasoned veteran, despite being only in his mid-20s. His graceful comments, unabashedly emotional, express genuine gratitude, including a detailed remarkable encounter concerning an audience member’s post-show revelation that clearly struck a chord.

Whether navigating torrid tempos or lingering over a lyric with laser focus, Quintin Harris is a compelling performer with star-quality presence. He definitely qualifies to be called “charismatic,” but his presence is too distinctive for that. So let’s hail him, instead, as “Harrismatic.”

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Quintin Harris Trio
Griffin Fink, bass; Max Marsillo. drums
LIVE at Birdland Jazz Club, 315 West 44th St
Saturday, January 31, 2026 at 5:30
for more info and future dates, visit Quintin Harris

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