Robert Maxon Harrington, artistically known as Bob Harrington, was born on January 30, 1912, in Marshfield, Wisconsin, where he lived until finishing high school. His first job as a musician was as a drummer, performing with Dixieland bands led by Red Nichols, Bud Freeman, and Muggsy Spanier. Later, he switched to piano and spent several years playing with territory bands in the Midwest before settling in Chicago, where he worked with female trumpeter Billie Rogers’ orchestra.

In January 1946, he moved to Los Angeles and began working as a pianist with bandleader and trumpeter Freddie Carr. He later played in various dance bands and also performed as a soloist. In December 1949, he became the pianist for saxophonist Vido Musso’s new orchestra, which debuted at the York Club and performed at other Los Angeles venues such as the Orchid Room.

In August 1951, he made his first recording as the pianist for clarinetist Bob Keene’s studio big band, resulting in the album 'Dancing on the Ceiling,' released on Gene Norman’s Whippet label.

In March 1952, Harrington played briefly in harmonica player Les Thompson’s quartet alongside bassist Red Callender and drummer Bill Douglass, accompanying singer June Christy. Under Thompson’s leadership, Harrington appeared on the RCA Victor album 'Just Jazz,' taped at one of Gene Norman’s Pasadena jazz concerts, which featured renowned musicians such as Wardell Gray, Dexter Gordon, Conte Candoli, Chico Hamilton, Bobby Tucker, Don Bagley, and Red Callender.

In the summer of 1952, he joined Charlie Barnet’s new sextet, featuring Barnet on tenor sax, Vern “Geechie” Smith on trumpet, Ziggy Elmer on trombone, Paul Saramento on bass, and John Markham on drums. Shortly after, Herbie Harper (trombone), Basie Harris (bass), and Chico Hamilton (drums) replaced Elmer, Saramento, and Markham, respectively. Harrington’s collaboration with Barnet continued for the next four years.

In the fall of 1954, he played in the revamped Charlie Barnet orchestra, which featured arrangements by Billy May and Paul Villepigue, and soloists such as Milt Bernhart, Georgie Auld, Willie Smith, and Maynard Ferguson. That same year, he also collaborated with Buddy Childers, Jack Millman, and Steve White, recording albums with their groups for Liberty Records.

In January 1957, in the relaxed setting of his backyard in Mount Washington, Los Angeles, he recorded 'Vibraphone Fantasy in Jazz,' his first album as a leader, heading his own quartet, and making his professional debut on the vibraphone. His performances showcase his modern, relaxed vibraphone style, which was influenced by Red Norvo. Harrington’s playing is melodic and demonstrates a keen awareness of the instrument’s full capabilities. Teamed up with four local musicians: Jimmy Wyble on guitar, Bob Carter on bass, and Lloyd Morales on drums, the quartet performed a selection of modern jazz originals by Harrington, such as Gone Nuclear Fishin', Ticklish Situation, Let's Have Some Ribs, and Indecision, along with two compositions by bassist Bob Carter, Mountain Dew and Three-Fourths, and the Bleyer-Mercer standard How Long Has This Been Going On? Harrington brings vitality to up-tempo tunes and yet is equally adept at pausing for a meaningful ballad. The entire session was recorded by John Neal using portable equipment. 'Vibraphone Fantasy in Jazz' was produced by Lew Chudd and released on his Imperial record label.

Later in 1957, Harrington joined cellist Harry Babasin’s Jazzpickers, playing both drums and vibraphone. The group also included Buddy Collette on flute, Don Overberg on guitar, and Bill Douglass on drums. Harrington contributed two originals, the gently rhythmic R.H. Factor and the beautifully plaintive composition When You Love Someone, which featured a notable flute solo by Buddy Collette. As a pianist, he joined Stan Kenton's band in 1960 and appeared on the band’s recording backing Ann Richards on her album 'Too Much.'

In 1961, Harrington returned to the piano for his second album, 'Jazz à la Carte.' On this new challenge, he brought a refreshing conception and skill, playing a collection of tunes with varied tempos, most likely composed by him, although the omission of composer credits (a common practice with labels like Crown Records) leaves this unclear. 'Jazz à la Carte' presents another quartet session with Jimmy Wyble on guitar, along with Red Wooten on bass and either John Markham or Lloyd Morales on drums. Despite the inconsistent sound quality typical of Crown's releases, 'Jazz à la Carte' offers an interesting glimpse into Harrington's broad musical range and his rapport with the musicians of the time.

In the fall of 1962, he became a pianist and vocal coach at the D'Aleo Studio of Musical Arts in Gardena, founded by Ted D'Aleo, professionally known in radio, TV, and supper clubs as “Ted Dale's Trio.” During this period, he coached renowned vocalists such as Peggy Lee, Ann Richards, and June Christy.

From the mid to late 1960s, he worked on big band arrangements, collaborating with Harry James' orchestra and several studio bands. He also continued performing solo piano appearances and cabaret acts as a member of the group The Mutineers, alongside Joe Spang (tenor sax and clarinet), Jim Timlin (baritone sax and flute), Red Wooten (bass), and Freddy Manton (drums).

In May 1967, he joined vibraphonist Red Norvo's quartet, performing with Red Wooten (bass) and Tom Albering (drums) at the Hong Kong Bar in Los Angeles.

In 1970, he reunited with his old friend Harry Babasin for the album 'Dirty Old Men,' released on the Jazz Chronicles label, a division of Los Angeles Theaseum, a nonprofit corporation founded by Babasin, Dan Morehouse, and Roy Harte. The album featured a sextet composed of all members of the corporation: Harrington on piano, Babasin on bass, Jackie Kelso on tenor sax, Bill Hood on baritone sax, Jimmy Wyble on guitar, and Roy Harte on drums. This would be Harrington's final recording.

Around 1975, he moved to Santa Fe, New Mexico, where he continued performing in trios or as a solo artist at local venues such as The Plaza, Meiley's, and El Gancho. His repertoire included a mix of “oldies, modern pieces, and a little bit of jazz.” Starting in the Jimmy Wyble early 1980s, he also spent part of the year in Kailua, Hawaii, where he used to appear at the Little Italy restaurant in Hilo, with his own quartet and trio, alongside his old friend Roy Harte on drums and Steve Vasconcellos on bass.

Bob Harrington passed away at the age of 71 on August 20, 1983, in Kailua, Hawaii.

—Jordi Pujol (From the inside liner notes of FSRCD 1082)