When a new genre of music is created, the world takes notice. And in Eric Lewis’ case, the music industry took more than notice; with the creation of his own style of rockjazz, he’s set the scene on fire in a controversial, stormy way that suits the man and the brand that he is. Merging rock guitar techniques with pop and ragtime, and putting it all on the piano, Lewis – known onstage as ELEW – has outraged the jazz world, while awing the pop/rock world – especially when he plucks and beats the heck out of the piano’s insides and shield. Outfitted with armor on his wrists, a suit, and a vivacity that defies merely sitting on a piano bench, but standing and rocking the entire time he plays, ELEW’s renditions of pop/rock anthems and original songs on his latest record introduce a sound we’ve never heard before. As ELEW prepares for his Friday, Nov. 9th show at Le Poisson Rouge, he shared what gets him high, his favorite distraction, and when he played for a legendary celeb.
You’ve said you’re a huge fan of comic books, and that you feel superhuman and supercharged when you get on stage. What are some pre-show rituals you’ve adopted that you’ll use for Friday’s show?
My workout. I call it "the ninja run.” I run through the forests of Riverdale with my hand in front of myself, like a karate chop or shark fin. I take on the ninja mindset. Like characters in Mortal Combat who intersect physical performance with the supernatural, I try to make my mind as much a weapon as my body. Before I play, I focus on combining my passion with precision, and vice versa.
In a day, how do you balance working out with practicing and performing?
If I’m not exercising, I’m practicing, and if I’m not doing that, I’m playing chess. Or watching Dexter. I used to practice the piano all the time, but now the game has shifted to a perceptual challenge of the mind, and sometimes it’s very exhausting and painful. The improvisation I learn from chess is similar to what I use in music. But in chess, I’m going against someone. In music, it’s subjective to the audience, and it’s ultimately a battle with myself. But there’s such an ecstasy to it.
Is there anything else in your life that gives you that kind of ecstasy?
Women. I’m a hopeless romantic. Being an entrepreneur, too. I have so many ideas for what I want to do next, so the power of creating those ideas is euphoric.
You crawl into the piano, plucking the strings like a guitar and beating the wooden case like a drum. Do you actually play these instruments?
I do know how to play the drums, and I played the violin for a year as a kid, but when I noticed horn players putting different objects in horns to make different sounds. I started experimenting. The things I do aren’t new exactly, but how I do it is. My way of branding it is. Alexander Graham Bell didn’t invent the telephone, but he invented the way he branded it. With my music, you want to dance to what’s going on. Playing without a piano bench and wearing armor – no one’s ever done that. I love to move, and I really want to rock.
You toured with and opened for Josh Groban for most of last year. What’s the #1 lesson you learned from him?
To be elegant. Touring with him made me re-record my latest record. Hearing the elegance of his presentation, delivery, and repoire made me want to re-record my music with that kind of professionalism. He’s so in touch with his brand, style, what it is he’s adding to the music scene, and he knows how to nurture it and present it elegantly.
What’s your ideal vision of the future for ELEW?
I want to be legendary. Yanni, Herbie Hancock, and Elton John, all wrapped into one. Hard-hitting. I want to collaborate with Lil Wayne and dubstep artists, and be like John Carpenter was to Halloween – write the story and the music for my own horror film. I want to create a comic book movie, a music festival. And I’d like to improve my chess game.
You’ve cultivated a fanbase of celebrities like Hugh Jackman, Obama, and Leonardo DiCaprio. Tell me your favorite celebrity story.
Al Pacino asked me to perform at a party he was having at his house. I started playing a crazy rhythm people could dance to, and suddenly Al jumped on one side of the piano next to me and started to play. I put his fingers on some of the notes as if we were playing "Heart and Soul," and we started playing and rocking together.