The pianist Eric Legnini was born in Belgium in 1970 but moved to New York at the age of eighteen before eventually returning to Europe and settling in Paris. He cites a wide range of pianistic influences among them Erroll Garner, Keith Jarrett, Bill Evans and Chick Corea. From Herbie Hancock and Kenny Kirkland he absorbed funk and soul elements and since basing himself in Paris he has performed with a wide range of artists across a variety of genres and appeared on some fifty plus albums.

Legnini’s playing has often been compared to that of Ramsey Lewis and the material on “Trippin’” sees him varying his performances between acoustic piano and Fender Rhodes. The fifteen short selections mix arrangements of jazz and popular standards with Legnini originals. Joining the pianist are drummer Franck Agulhon who has played with an impressive array of jazz names among them Dave Liebman, Nguyen Le, Enrico Rava and Archie Shepp and bassist Thomas Bramerie,currently based in New York. Bramerie recently appeared on the album “Quartet Saigon” (reviewed elsewhere on this site) by saxophonist Julien Lourau one of Legnini’s colleagues from the group Trash Corporation.

The album opens with the title track, a Legnini composed funk work out with the leader’s trilling Fender Rhodes riding Agulhon’s busy backbeat and Bramerie’s tight bass groove. Legnini then switches to acoustic piano for his own “Casa Bamako” a lively piece full of Latin and African influences and framing an impressive solo from the composer.

“Bleak Beauty”, the third piece in an opening salvo of originals finds the pianist stretching out further with a tumbling solo that recalls the work of McCoy Tyner.  Agulhon whips up a storm behind him, indeed the energetic but well channelled drumming is one of the album’s most successful elements. 

Legnini remains at the acoustic piano for the trio’s reading of Dizzy Gillespie’s “Con Alma” the first “outside” piece on the album. Legnini explores the melody languidly with Agulhorn’s subtle, quietly energetic drumming adding interest and colour throughout.

Legnini’s original “Rock The Days” sees the return of fuzzed up Fender Rhodes and is an infectious funk work out powered by Bramerie’s deep bass grooves. Legnini has stated that “Trippin’” tips the nod to the “Struttin’” album by New Orleans funkmeisters The Meters. Certainly Legnini’s funk leanings are given full rein here on this high powered funk fest. By way of a total contrast Stevie Wonder’s “The Secret Life Of Plants” is delivered as an engaging acoustic solo piano performance , spacious yet with a soulful undertow.

“Amarone” begins quietly but following Bramerie’s bass bridge expands into something far more gospelly and funky with the leader’s acoustic piano probing against the backdrop of Agulhon’s quietly busy drumming.

“Introspection #1” is a brief piece for solo piano that moves quickly from moody block chords to something more gospel flavoured. It acts as a bridge into a joyous rendition of the standard “Them That Got” characterised by it’s infectious grooves and Legnini’s exuberant piano playing. Bramerie shows up particularly strongly and features as a soloist. 

Harold Arlen’s “A Sleeping Bee” is performed as a beautiful solo acoustic piano piece before Legnini lets his funky Fender loose again on his own “Doo-Goo” which sounds pretty much as you’d expect it to. 

Jimmy Van Heusen’s “Darn That Dream” is given the standard piano trio ballad treatment with Agulhon showing his sensitive side with some delicate brush and stick work. Legnini is lyrical and fluent, it’s a complete contrast to his funk persona and illustrates his versatility as a player. Bramerie too is taste personified in his eloquent bass solo.  This is a lovely trio performance.

The original “Bullitt Mustang Ford” is a turbo charged acoustic piano workout with busy drums and churning bass. Legnini’s sheer exuberance and inventiveness makes this a hugely enjoyable performance and the excellent Agulhon is given a brief feature. 

The brief “Jade” is an impressionistic acoustic piano solo (a hint of Keith Jarrett here) and the album closes with the trio’s atmospheric and grandly romantic take on Johnny Mandel’s “The Shadow Of Your Smile”.

“Trippin’” contains much to enjoy and the playing is consistently bright and inventive particularly from Legnini and Agulhon. However for me it doesn’t really cohere as an album. The record never really establishes a mood, constantly veering as it does between fairly straight ahead acoustic piano jazz and Rhodes led funk excursions. It all feels rather too “bitty”. I’ll admit that the funk stuff doesn’t do a great deal for me, it’s a style I left behind in the 70’s and 80’s but this aspect of Legnini’s playing may come over better in the context of his forthcoming live gigs at the Pizza Express. I often find I enjoy funk and fusion bands in a live setting where the over production that so often blunts the impact of the music on record is less in evidence. This is not an album I’d discount, there are far too many good things about it for that, but it’s not one that’s destined to be a regular on my turntable.

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