Pianist and composer Erik Deutsch has an impressive resume. He cut his teeth in the funk outfit Fat Mama and is currently holding down a decent gig as the keyboardist for The Black Crowes. Additionally, he's played with names like Norah Jones, Leftover Salmon, Nels Cline and Warren Haynes, among many more. 
This ninth album with his New Tork City sextet has Deutsch exploring many genres, moods and tempos via eight fusion friendly tracks.
“The Saddest Day In Paradise” starts the record, and is not quite as dismal as its title suggests, as Deutsch’s warm keys and Tony Mason’s quick drumming radiate soulfulness and stylish jazz nods. “This Was Then” follows, and uses percussion from Mauro Refosco alongside Avi Bortnick’s light guitar playing that suits the intimacy.
The lone track with vocals, “Memory,” arrives in the middle and allows for Victoria Reed’s breathy pipes to shine, and Deutsch’s elegant keys aren’t anything to spit at, either. “Neon Blue” then picks up the pace with thumping drums, Jeff Hill’s playful bass and the frisky keys adding some blues to the equation. “Snake Alley,” one of the album’s best, then pays close attention to atmosphere with a hint of mystery, where Mike McGinnis provides reeds.
The last two tracks, “Pretty Pidgeon” and “Invisible Temples,” make an impression, too. The former allows the meticulous keys to guide the slight psychedelia, and the latter is full of rich textures, winding melodies and well-timed trombone courtesy of Brian Dyre.
A listen that’s strong on production, songwriting, tonality and sonic appeal, This Was Then finds Deutsch and company managing to pull from R&B, dub, gospel, funk, country, pop, blues, prog-rock, folk and rock into a highly skilled version of jazz that ends entirely too soon.