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He is a musician, composer, and teacher devoted to exploring sound. He has founded numerous bands, among them the Anthony Curtis Band (2000-2003), Boom with Pippin Barnett (Curlew/Fred Frith/Nimal) and Greg LaBudde (Hoi Polloi/Hammersmith/Loibon) (1994-99), Ja’Lu (1990-93), Firehand (1992-93), and Sonic Mandala (1988-91).
His albums include One Hour Talisman (1997), Squint (1994), Everything is Relative (1991), Variations on the Theme of Being (1989), and The Deepest Seat (1987). He has taught extensively and helped to launch Qatar Music Academy. In addition to his musical pursuits, he has delved deeply into meditative and spiritual traditions including Platonism, Dzogchen, and Sufism.
Curtis went to Qatar in 2000 where he spent two and a half years absorbing the light and music of the Arab world. He played concerts with a variety of Indian percussionists and singers and partnered with Vittorio Uldorico from Eritrea.
Returning to his home in Richmond, Virginia in 2003, he began playing concerts with local funk, fusion, jazz, and rock players and planning his upcoming album with producer Ronan Chris Murphy. The inspiration for the project came from his experiences in the Middle East: the desert, the sea, living at the crossroads between east and west, and the beloved Egyptian singer Umm Kulthum.
Recording sessions for Book of the Key were held in Los Angeles in December of 2003 and January of 2004 and feature Tony Levin on bass and Chapman Stick, Lewis Pragasam from Malaysia on drums and percussion, Mike Keneally on Fender Rhodes, Jeff Gauthier on violin, and Ronan Chris Murphy on harmonium. A documentary film on the making of the album was shot by Elf Films as well as a guitar master class entitled “Yoga of Sound Seminar I.”
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"You can really hear Curtis' emotional side on the gut-wrenching "Hymn to Helios", a mellow piece that features plenty of passionate and tortured lead passages. "Balinus" leads in with some majestic violin work from Gauthier before Pragasam struts his stuff with some very technical percussion work underneath the searing leads of Curtis. The real highlight of the CD though is the epic 23-minute title track, a bubbling cauldron of hot, groovy playing from the whole cast. Featuring meaty guitar riffs, wild leads, searing violin, jazzy keyboards, and a frenzied rhythm section, this song is almost like the second coming of the Mahavishnu Orchestra." Pete Pardo Sea of Tranquility - March 2004
"If you are a fan of King Crimson, James "Blood" Ulmer, Robert Fripp, Speed Metal or, for that matter, good music, you should definitely check out this guitar wizard's music. Based out of Richmond, Anthony Curtis is an exceptional player of astounding range, as evidenced by this blazing composition [Gallabalba] from his soon to be released recording, Book of the Key. Renowned for his inventive fret-board mastery, Curtis plays like a wild banshee capable of making a guitar squeal, moan and emote in ways once thought unimaginable. He is in good company on this release, which features Tony Levin on bass and Chapman stick." Chris Bopst Richmond.com - March 2004
“Anthony’s virtuosity is tremendous, he is new music.” Pat Martino 1987
“One of the most advanced guitarists today.” W. Royal Stokes The Washington Post – November 1989
“The Antman’s vocabulary includes the snarls and tremolo free-for-alls that come from the best atonally oriented “rock” guitaroids like Andy Gill, Hendrix, and Thurston Moore.” Rob Thornton RTFM – September 1994
“An electric guitar that moans and burbles to his touch…like the long, winding improvisations of Southern field hollers and church moans.” Clarke Bustard Richmond Times-Dispatch – August 1989
“He can be instrumental in seeing some of the indigenous music of the Middle East have wider acceptance in the West.” Chitra Sugandam Gulf Times – December 2000
“Something out of the ordinary.” François Couture All Music Guide (RollingStone.com) – 2004
“Compared to the astral weeping of King Crimson, called a fiery Sonny Sharrock or Dave Fiuczynski’s evil twin, BOOM has honed its power trio onslaught to a dangerous edge.” CMJ Music Marathon – September 1996
“Deeply textural work.” Aaron Burgess The Penn – March 1995
“A stronger kick in the pants than a jumbo cup of java.” Les Carter Richmond Music Journal – December 1994
“Never have I heard such a shamanic journey inspired piece as Weather Vane. I truly experienced a shift in my world view.” Adam Knight Music Times: New York CD Review – 1998
“Intricate instrumentation, timely tempo changes and the ability to put it all together in a live performance.” John Ferrucci Commonwealth Times – November 1996
“Music to walk hot coals by.” Kevin Kravitz Throttle – February 1995
“A man, a guitar, and an amp turned up to ten.” Rob Thornton RTFM – September 1994
