Notoriety in Bloomington, MN

It's easy to classify a
jazz
performer as a journeyman when he/she isn't well-known, doesn't have a slew of CDs, awards, or other accouterments of fame. Perhaps that's OK now and then, but not in the case of
Marius Nordal
. Working out of the
-rich Northwest U.S., he has carved himself a niche by working gigs, doing
big band
arrangements, teaching, and, in all cases, being a consummate master of the keys. On his initial album for the
Origin
label,
Nordal
wheels out all his stylistic cannons.
"Billy Boy"
is a rip-roaring, high-speed dazzler where the entire keyboard gets swept over in the process. Contrast that to a melodic and sometimes slightly off center, but serenading,
"But Beautiful,"
with its striking coda, and one finds that
is comfortable no matter what the pace or intricacy of the arrangement.
"Smiles"
is not only the vehicle for more lyrical pianism and twisting
improvisation
, but for
Doug Miller
's billowing basslines undulating underneath, as well as in, solo mode.
contributed three of his originals to the program, including the title tune
"Notoriety."
Originally written and charted for
, in trio format it gives each member of the team an opportunity to stretch out, allowing for some personal
, as well as a well-aimed drum break by
John Bishop
. This is the first track on the CD, and if it was put there to encourage listeners to stay aboard, it worked. The approach to
"Cherokee"
is an unusual one. The main track is preceded by a three-plus minute intro where
's interpretation shows both
Thelonious Monk
and
Art Tatum
influence. Every cut on this is top-flight piano playing by a skilled and imaginative practitioner. Recommended. ~ Dave Nathan