Bridges, CurleyKeys to the Blues1998Electro-Fi RecordsElectro-Fi 3358

Bridges, Curley - Keys to the Blues - 1998 - Electro-Fi Records - Electro-Fi 3358

Written by Warren Dallin

Electro-Fi Records has been on a tear lately, putting out one great disc after another. They have an impressive roster of talented artists, many of whom were never formally discovered. They are then elevated to star status on newly released CDs. Curley Bridges is a prime example, on this, his first recording in 26 years.

Bridges is a native of North Carolina who now resides in Barrie, Ontario, and his piano playing and vocals have a driving thrust that keeps this disc of covers fresh and fierce. Keys to the Blues is an obvious play on words, referring to piano keys as well as the song selection. The covers consist of a mix of early rock, R n' B, soul, and blues. Though many of the songs can be considered standard fare, that permits listeners to become comfortable with the format and lyrics and that allows you to focus on the playing. Some of the songs remain true to the originals but they are balanced with moving interpretations of others.

It certainly doesn't hurt to have such talented backing musicians. The core of Curley's sound stems from his partnership with drummer Bucky Berger. They create a tight fit and will hold a song all by themselves, almost like the late Otis Spann and S.P. Leary combo. Dan Whiteley is a valuable contributor on guitar, as is John Deehan on sax, and the groove is rounded out by Victor Bateman on upright bass.

Then there is feature guest Chris Whiteley who wears multiple hats on this disc (performing on trumpet, harmonica and lead guitar) and they are all in tip-top shape. Right from the opening song Talk Too Much, the pace for the rest of the disc is established thanks to his frantic fret work. Whiteley's harp playing on Early in the Morning is out front and crisp, but you are still able to hear the double and triple piano notes from Curley as he's pounding out the blues. The harmonica on Three O'Clock Blues vibrates with the same intensity as someone shaking their head in disbelief about their baby still being out at that late hour.

Yet, it is Curley who is clearly in control. His relentless drive pushes these songs to a new level. His rhythmic left hand is as powerful as a back-beat for rap or funk music. Meanwhile, he injects intense bursts of note playing with his right hand, best heard on the solo in Rock Me, Baby. His voice is deep and clear, giving powerful emotion to all the tracks.

The song Summertime is remarkable. This classic is transformed into an anthem for driving fast with the windows down and the volume cranked thanks in no small part to Berger's drumming. Get grooving to the back-beat, listen to the nice piano fills, some soothing trumpet and sax, and nod.

With its distinct style over all 16 tracks, you would think there is a risk of repetition on the is CD but it never occurs. The arrangements and performances are tight. The session must have been as charged as an electrical storm.

The strength in Curley Bridges' playing is in his rhythm. It creates a sense of urgency triggering an increase in the listener's heartbeat allowing for a heightened listening experience. You can't help but lose your blues, even after hearing just a portion of this CD.

Copyright 2003. Review by Warren Dallin.

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