Thursday Jazz at the Fitz: SU Quartet Blends Jazz and Video Game Nostalgia

On March 27th, SU’s Mason Manteau and his quartet — Grant Harding, Henry Powers, and Ben Gross — brought an evening of classy jazz and nostalgic video game music to the 1920s speakeasy of the Fitz. 

Words by Emma Dulin / Photography by Emma Dulin / Graphic by Lily Greco

Away from the high energy of house shows and weekend strobe lights, the Fitz sits in the cellar of downtown Syracuse restaurant Oh My Darling, accessible through an unmarked door that we luckily noticed after following the well-dressed group entering ahead of us. 

A neon sign reading “The Fitz” glowed above the staircase leading down to red-felt walls and a space decorated with antique gothic furniture. In the first room, groups of people sat sparsely in the lounge seating. Just beyond, in the second room, Manteau and his quartet were on stage in the corner, preparing for their set. The evening’s setlist was planned to move from classic jazz standards to a video game tribute reimagined through jazz.

The intimate crowd came dressed in leather jackets, dresses, and blazers for the classiness of the occasion, while Manteau and his quartet donned suits. Echoes of low conversation carried through the dimly lit rock walls as the music began. 

At 9 p.m., Manteau started on the saxophone, followed by Henry Powers on bass, Ben Gross on drums, and Grant Harding on keys. As they eased into their first song, the sound bounced across the cellar walls, each new layer drawing the audience in even more. With every improvisation, another rich layer was added that felt both nostalgic and entirely new. From red leather booths and candlelit corners, the crowd listened, feeling the freedom of each player leading a new sound into the constantly shifting and building conversation between them.

As applause rolled in, Manteau plugged in the mic. “For now that was ‘Ladybird,’” he said, introducing the jazz standard they had just played — which has been interpreted over the years by musicians such as Dexter Gordon, Miles Davis, and Charles Mingus.

Each piece brought its own energy, with new tempos and solos from every member. Gross, Powers, Harding, and Manteau communicated instinctively — a slight glance or head nod being enough. The night went on with music like Kenny Garrett’s “When the Days Were Different” and Cole Porter’s “Love for Sale,” as flourishing saxophone, piano, drum, and bass solos drew the crowd deeper into the dynamics of the performance. 

“Alright, we’ve got one more for you guys,” Manteau said into the mic before Powers started on bass with a tension-filled solo. The crowd clapped and threw in the occasional holler while Powers held onto each note, finishing the first half of the show with high energy.

Excitement grew as the video game music portion of their set began. The quartet returned with another solo from Harding on the keys, prompting the crowd to nod along to the nostalgic familiarity of Nintendo sounds being transformed into rich and dynamic jazz. As the unmistakable hook of the “Super Mario Bros. Theme” rang out, the crowd lit up — cheering and clapping as waves of childhood nostalgia kicked in. 

“If any of you guys had a Wii Console growing up, you’ll probably know the next song,” Manteau said as the quartet launched into “DK Summit,” the background track of the snowy-mountain half-pipe in Mario Kart. The video game set continued with tracks like “Super Bell Hill” from Super Mario 3D and “Rosalina’s Observatory” from Super Mario Galaxy, and a few lesser-known tunes selected by Harding, who composes music for video games. 

The quartet’s performance was undoubtedly a success — an evening where jazz moved between past and present without needing words. In the candlelit cellar, the group blended video game nostalgia into eccentric, colorful jazz. As the night ended, the crowd lingered, reluctant to leave behind the velvet chairs, low light, and the energetic stillness behind the tucked-away door at The Fitz.