Marius Nordal

Notoriety

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MUSIC REVIEW BY Jason West, Earshot Jazz

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Oscar Peterson used to advise his students not to be afraid of the piano. Somehow, I don’t think it was piano they feared.

Listening to Marius Nordal’s "Notoriety" can be just as intimidating. Nordal’s technical mastery of the piano is immediately apparent, and his arrangements---he’s worked primarily as a composer---are highly original. To echo the words of Count Basie, Nordal plays "a whole lot of piano," and like all great music, the rewards are ultimately humbling, and greatly appreciated.

Amazingly, within nine songs Nordal brings to date virtually the entire history of jazz piano. Here is the stride of The Lion, the bebop of Bud, and the heavy groove of Miles--alongside numerous other influences in Nordal’s prolific musical vocabulary.

Three tunes are fine originals, yet Nordal is most notable when interpreting the standard jazz repertoire. In this arena, familiar melodies are a point of departure for the pianist’s organic inquiries, revealing fresh facets of tonal relationships, often overlooked by less accomplished musicians. This marriage of old and new exemplifies Nordal the composer, hip to the tradition, and respectful of its forms. Correspondingly, Nordal the player is unrestricted in his execution of musical ideas, be they bebop, swing, or stride. With intelligent fingers he unlatches windows of all euphonic shapes and sizes.

As a breathing exercise before the sprint begins, the intro to "Cherokee" is given its own cut on Notoriety. Played solo and up tempo, Nordal’s improvisational pyrotechnics set a firey pace. Joined by bass and drums, the tune officially begins with four infectious chords, evenly arpeggiated and balanced by eight bars of traditionally voiced changes. First-line Seattle musicians Doug Miller and John Bishop offer tasteful pizzicato lines and perfectly placed cymbal accents, respectively.

The engaging, rhythmic arrangements of Amhad Jamal naturally come to mind on Nordal’s version of "Billy Boy." An unconventional introduction and conclusion are taken in blistering 7/4. Sandwiched between this decidedly Latin meter, Nordal barrels ahead in four, clearing melodic hurdles with tenacious chops.

However, the pianist’s tour de force is an extraordinary rendering of "Over the Rainbow." In Nordal’s world, ruby slippers reharmonize into what seems like all twelve keys. Each modulation---gradual or fleeting---marks a stepping stone for melodic twists and twirls, at times reminiscent of Gershwin’s precocious variations on "Rhapsody in Blue." Momentarily, the melody is clearly stated, swelling with each variation, gathering force, until the uninitiated listener is apt to feel like a crewmember on Columbus’ first voyage. No worries however, with Nordal leading the way "Rainbow" guarantees a cathartic and comprehensive journey.

"Notoriety" is Nordal’s initial recording as a pianist. He received his masters in composition from North Texas State in the sixties, after which he returned home to teach at Cornish and Highline Community College. Another northwest hobbit, Marius is currently living in south Seattle. To go along with his first CD, Nordal is also a new proud, father. Amazing how life works that way.






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