Things are looking up for Marc Cary. Just last week, he met with people from the Universal Music Group to discuss the possibility of his first major-label record deal. This comes as welcome but somewhat surprising news; the bold and outspoken 33-year-old pianist isn’t your typical major-label material. Not that he doesn’t have the pedigree. Since moving to New York from Washington, D.C., in 1988, he’s worked with the late drummer-bandleader Art Taylor, the dearly departed vocalist Betty Carter, young trumpet phenom Roy Hargrove and, most recently, singer Abbey Lincoln.

But when left to his own devices, Cary’s eclectic tastes defy any marketable niche. "I’m inspired by so many things," he says. "I’m inspired by my American Indian roots, by my African roots. I’m inspired by hip-hop, R&B — the list goes on." All of these elements (among others) find their way into Indigenous People, the energetic ensemble that the pianist describes as "Marc Cary in his full bloom." Consisting of Cary and four percussionists, Indigenous People deals not only with ethnic material but also funk, go-go music and world beat.

Cary also cuts dance records ("they go straight to the clubs, the underground circuit"), and simultaneously released two different jazz CDs on the Jazzateria label this year. The first of these, Rhodes Ahead, explores the funky possibilities of the Fender Rhodes. Trillium, an acoustic trio disc, hews closer to notions of a traditional jazz album; there’s even a bebop tune (Miles Davis’ "Little Willie Leaps") delivered with the appropriate Bud Powell touch.

Will the real Marc Cary please stand up? As it turns out, there’s only one. He explains: "The Indigenous band is also the Marc Cary Trio which is also Rhodes Ahead." So although he’s coming to town in trio format (with bassist Tarus Mateen and drummer Camille Gainer), expect the total package. It may confuse the industry folk, but it’s here, and it’s real.

Marc Cary, Sun., July 30, 7 & 9 p.m., Zanzibar Blue, Broad & Walnut Sts., 215-732-4500.

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