Éric Legnini is a Belgian jazz pianist and leader of the Éric Legnini Trio. He started to play piano in the Stefano Di Battista Quartet. In the 1990s, he worked with Flavio Boltro (trumpet) and Stefano Di Battista (saxophone) forming the jazz ensemble Éric Legnini Trio that caught attention in the 1990s. He has played with fellow artists like Aldo Romano, Belmondo Quintet, John Ruocco, Félix Simtaine, Michel Hatzi, Dré Palemaerts, Emanuel Cisi, Toninho Horta, Philippe Catherine, Serge Reggiani, Hein van de Geyn, Marcia Maria, Jacques Pelzer, André Ceciarelli, Éric Le Lann, Paco Sery and others.
Swing XXL, obsessive groove, demonic virtuosity, Eric Legnini shapes a jazz in perpetual movement really impressive. From hard bop to pure funk, the Belgian pianist has established himself as a reference of his instrument. A student of Richie Beirach, a disciple of Phineas Newborn and Herbie Hancock, Legnini is above all the nuclear weapon of the swing. And when the groove of the soul sets fire to his hands, he approaches a Les McCann and his technique is engulfed in powerful rhythmic meanders. With Waxx Up, he signs a new high of pure groove, to celebrate once again his passion for the soul and the funk of the seventies. "The wax is my source! My culture is the vinyl, the sample, the 70s, "assures this patented digger, which never misses an opportunity to rummage an LP crate. An enraged groove in which he embarked Yael Naim, Hugh Coltman, Charles X, Mathieu Boogaerts, Anaëlle Potdevin, Ibrahim Maalouf and, for four titles, Michelle Willis.
Trippin', the third album from the Paris-based Eric Legnini Trio, is a stylish collection of tunes named in honor of The Meters' third album, Struttin' (Josie, 1970). When Legnini takes to the Fender Rhodes, on "Trippin'" or "Doo Goo" for example, the influence of The Meters' organ-driven sound is clear—both tunes are uplifting, dance-oriented numbers with "Doo Goo" featuring some irresistible and funky rhythms. But this album is much more than a tribute album to New Orleans rhythm and blues—the trio is certainly capable of funky, danceable tunes but it can also deliver on ballads, hard bop, and straight-ahead material.
When it came to classification, Mr. Big always posed a bit of a problem. On the one hand, the band had a big-league virtuoso lead guitarist (Paul Gilbert) who just loved to shred and a hotshot bass player (Billy Sheehan) who regularly topped guitar magazine polls. On the other, all of Mr. Big's hits were sappy (if tuneful) AC-lite through and through, thanks in large part to the mainstream pop sensibilities of lead vocalist Eric Martin…
The term "blues-rock" brings with it a connotation of a blues artist "selling out" in order to make more money or a rock band blaring heavy riffs with a thinly veiled strain of blues. A worse offense is that many of these rock artists have little or no knowledge of the blues in its historical context or its mythological roots. That is certainly not true in the case of Eric Sardinas. At six, his first love was Delta blues, as it "was the thrill of hearing one person playing the guitar and generating the energy of five - I loved the sheer strength and heart of a single player."
For this new record, Stéphane Huchard travels from Paris to Big Apple and meet the best jazz musicians in New York. Pianist Jim Beard, saxophonist Chris Cheek, bassist Matt Penman and guitarist Nir Felder gathered at Brooklyn Recording Studio to play and record original compositions of drummer and leader Stéphane Huchard. With their subtle and elegant playing, the presence of the most Parisian of Argentinian percussionists Minino Garay and the artistic direction of wonderful French pianist Eric Legnini (who brought his sense of groove and melody), 'Panamerican' looks like a major album in Stéphane Huchard’s career.