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| The Black Crowes Keyboardist Erik Deutsch Deep Dives into Cinematic, Psychedelic, Groovy Jazz on This Was Then This Was Then is the ninth full-length album by pianist/composer Erik Deutsch. His long-running NYC sextet has once again been enlisted to conjure their magic: Tony Mason on drums, Jeff Hill on bass, Avi Bortnick on drums, Mike McGinnis on Reeds, and Brian Drye on trombone; plus special guests Mauro Refosco on percussion and Victoria Reed on vocals. In between touring full time with The Black Crowes, piloting multiple projects, and recording with an incredible variety of artists, Deutsch has found the time to create an excellent new album of original material. Stylistically, This Was Then may be Deutsch's finest work yet, as the music cruises effortlessly thru genre, tempo, and mood. Sure, some of Deutsch's previous musical tendencies are present once again, but nothing feels like a redux-rather an updated vision or a glance towards a fresh path altogether. The production team of Erik and Jeff Hill has elevated their vision and skill (they've been working together editing, overdubbing, mixing, and producing Deutsch's records since the 2012 release Demonio Teclado). Once presented with what the duo has accomplished sonically, it's nearly impossible to deny the uniqueness present within the artistry of this record. Simply put, "jazz" artists these days don't typically offer this level of production to their records; and having said that, it's clear that Deutsch's vision of jazz music (evident in his catalog over for the past 20 years) has been thoughtful and clear, and that he has continued to not only stay the course but expand and elevate his concept along the way. So sit back, relax, and soak in this musical journey. You may ask yourself "is this record about the memorable compositions? Or the stellar musicianship and improvisation? Or the tones and sonic palettes? Or the production and aural brilliance of the recording?" The answer is whatever you choose it to be, whatever you want it be, and whatever you want from it in that very moment. It's a gift that will continue to give, to reveal more magic upon each listen, and hopefully bring joy and inspiration to your ears and heart. Is it jazz? Is it fusion? Is it cinematic? It's music- made by a musician who cares and a group of talented folks who get it. Let's dig into the tracks: "Saddest Day in Paradise" kicks off our musical journey with a palette of vintage keyboards and an outstanding acoustic bass solo by Jeff Hill. With a fiery beat from Tony Mason, dreamy horn lines, and tasty guitar fills throughout from Avi Bortnick, this psychedelic stylistic mash-up of R&B and jazz is a perfect introduction to the vibe that encompasses this record. When "This Was Then" begins to spin, we once again find ourselves exploring the worlds of dub and jazz (as Deutsch has done frequently on past recordings). Featuring the magic touch of Brazilian master percussionist Mauro Refosco and a little taste of the Beatles and Burt Bacharach, this composition is one of the moodiest and intriguing on the entire record. A song in two distinct parts, "Immortals" begins in the spiritual jazz world of 1970's McCoy Tyner, Pharaoh Sanders, and Alice Coltrane. When the dreamy interplay between Deutsch's piano, Mauro Refosco's percussion, and Mike McGinnis' alto flute concludes, we are drawn into another world completely: the funky psychedelia of Herbie Hancock and the Headhunters. Outstanding groove courtesy of Tony Mason and Avi Bortnick lays the foundation for a palette of synthesizers and an epic soprano saxophone solo from McGinnis. Two of Deutsch's historically favorite style are showcased here in truly beautiful, groovy, funky, and enjoyable suite. A staple of Deutsch's live show for years, "Memory" is a stunning original composition from vocalist/composer Victoria Reed. Tucked inside a smokey ballad is a nostalgic, thoughtful, soul-searching quest to understand the meaning of youth and it's connection to one's path as an adult. This truly unique blend of 90s heroin country and 60s psychedelic jazz features Mike McGinnis on alto flute and Bill Evans-like stylings from Erik on the piano. "Neon Blue" is a trip to Memphis with a layover in New Orleans. The influence of some of Erik's mentors (Charlie Hunter) and recent gigs (Al Green) can be heard flowing clearly through the speakers on this toe-tapper. Featuring a righteous trombone solo from Brian Drye and big boy drumming from Tony Mason, "Neon Blue" is just another stop on the stylistic journey of this wide-ranging album. A vibey, film-noir evoking waltz, "Snake Alley" is a tribute to the beautiful and moody cliffs of the Northern California coast near the Deutsch family home in Half Moon Bay. Inspired by a path to the beach inhabited by a variety of snakes aptly named by Erik's late brother, Jonathan, the song conjures the mysterious and hidden magic of this special place and the unique energy of Erik's brother. Featuring a thoughtful bass solo by Jeff Hill, the soulful whistle of Restoration Sound's Hammond organ, and a wonderful harmonic connection between the trombone and bass clarinet. "Pretty Pigeon" is a dreamy blues-tinged journey through the rolling hills of a vast countryside. Deutsch has somehow attempted to summon Nick Drake, the Grateful Dead, Pink Floyd, and the Lord of the Rings inside the jazzy walls of this feel-good original composition. Featuring the deft slide-guitar stylings of Avi Bortnick. A rootsy romp in the style of Keith Jarret and the folk-jazz of the 1970s, "Invisible Temples" was the final song written and the last song tracked for this record. The interesting rhythmic structure and whimsical hook of the opening section leads us to a dreamy, atmospheric group improvisation led by Brian Drye's trombone. After Erik's piano takes us for another journey, we find ourselves back where we started, and it's where "This Was Then" comes to a gentle conclusion. Erik Deutsch: keys Jeff Hill: bass Tony Mason: drums Avi Bortnick: guitars Mike McGinnis: reeds Brian Drye: trombone Mauro Refosco: percussion on 'This Was Then" and "Immortals" Victoria Reed: vocals on 'Memory' write your comments about the article :: © 2025 Jazz News :: home page |