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"Released in the beginning of 2007, this chronicle of trumpeter Brian Groder caught us totally by surprise. The impact of hearing the strong and incisive lines created by the "front-line" of Groder and saxophone veteran Sam Rivers was great, freeing shock waves that will be felt for a long time. Focus, agility and a rare creative empathy."
— Publico (Portugal's National Daily Newspaper)

"If [Groder's] others are even close to this, they would be worth seeking out. He links up with Sam Rivers and the veteran reed man's rhythm section in this quartet, and between them they produce an absorbing set of free-bop that yields up new riches with every listen. The two-horns-and-rhythm format inevitably evokes Ornette Coleman's experiments with jettisoning conventional harmony, but the players find their own routes through that structural model. There is plenty of variety in the ebb and flow of the music, and the alternation of instruments by both horn players adds to that feel of a constantly shifting soundscape. Most of the compositions/improvisations are short and tight, and the playing virtuosic, but with no hint of the egotistic overstretching or speed-freakery that can often come with the territory in this genre. Recommended ."  — Ken Mathieson, JazzWise
 

"Inventive, original contemporary jazz."

"Reminiscent of Miles Davis in the mid-Sixties."

"This tightly knit free jazz ensemble work well together, suggesting a fairly stable association between the musicians over a length of time. On the opening Spell-cast, Groder plays with a tight intensity on muted trumpet, reminiscent at times of Miles Davis. As well as producing a lyrical sound it is also wound up like a steel coil, suggesting inward passions struggling for expression. On 'Diverging Orbits' he is more laid back, playing open horn and giving way, after a short but effective solo, to bassist Mathews who plays with strength and a ripe, supple bass sound. Muted trumpet and flute blend attractively on the opening bars of 'Behind the Shadows Part 1', the two musicians' lines converging and spinning around each other for some complex improvisation. This two-way conversation is continued in 'Part 2' with Groder in very Miles-ish harmon muted mode and Rivers' flute weaving in and around him like gossamer. 'Iota' is darker and more ominous in mood and performance, the bass stalking Groder's lonesome trumpet lines and segueing to melancholy arco. 'Cross-Eyed' features a powerful blend of trumpet, tenor sax and bass with the drums providing additional commentary in the background.

"These four musicians integrate fully to produce inventive, original contemporary jazz and the only problem I can see is that the lack of any standards or familiar songs will prevent many jazz enthusiasts from investigating this release. On some tracks Rivers launches into some fairly wild improvised choruses but for the most part, this is stimulating, fresh jazz with an eye to the future but a strong awareness of the past and as such, recommended." — Derek Ansell, Jazz Journal International

"The name of trumpeter Brian Groder will be unfamiliar to many, and the great danger is that without the appeal of the presence of Sam Rivers, also on this disc from the Latham label, its existence would have passed essentially in silence. That would have been a true sin.

"Because the music of these fourteen, medium-to-short composition-improvisations is indeed stimulating, and for a wide series of reasons: first of all the optimal understanding between the two players: a sharp and calm Groder, in many ways reminiscent of Miles Davis in the mid-Sixties (but with a greater restlessness), set against the Sam Rivers that we know very well and who, despite his years, still succeeds in creating original lines on the sax and flute.

"Another key ingredient of the performances - and we give proper credit to the leader [Groder] - is one of having considered an organic flexibility, emphasizing duets (trumpet and flute on the two parts of 'Behind The Shadows', for example) and leaving vital space for the music in order to not trap itself in a bottle.

"Of particular note are Doug Mathews and Anthony Cole, for years the stable bass and drums of the Rivers' trio, whose contribution throughout the disc is of fundamental importance: not that Groder and the elder Maestro don't succeed independently, and find a perfect measure of dialog, but it is certain that the rhythmic ideas that come from Mathews and Cole are the ideal base to allow them to vent their creativity.

"Some critics might say that even if Groder had been talentless, a record with companions of this sort would have made the same beautiful music: we are of the opposite opinion (not that the Rivers trio wouldn't be enough for us) but because we believe that the delightful success of Torque is owed to the confidence that Rivers and his companions credit to their less famous partner in adventure, respecting his ideas and tempos and enabling them to play beautifully and design a passionate disc. And for us as well." — Enrico Bettinello, AllAboutJazz Italia  

"A superior set of contemporary jazz."

"The immediate impression Groder and Co. delivers is jazz as the absolute definition of free, improvised without a written, planned score to be played from. And then melodies with intended chords as companions are disclosed, and suddenly the notes are given patterns and invisible walls to bounce against. Maybe this sounds like an often used 60's-formula. However, these four musicians sculpt new life into this paradigm through total presence and superb musicianship." — Johan Scherwin, Lira Magazine, Sweden

"Here’s a superior set of contemporary jazz, blazing straight out of the long and unruly heritage of left-field explorations. Rising trumpeter and composer Groder is here teamed with the eminent saxophonist and flautist, Sam Rivers, plus Rivers’ usual rhythm section of bassist Doug Mathews and drummer Anthony Cole. Together, they whip up a bubbling, effervescent concoction of jagged, free-jazz group improvisations and hard-swinging free-bop that recalls Miles Davis’s mid-’60s ‘time no changes’ output as much as it does Ornette Coleman’s confounding harmolodic experiments. Groder and Rivers seem unnaturally in tune, weaving lines around each other, finishing each other’s thoughts and anticipating statements with razor-sharp accuracy. And the Octogenarian Rivers remains a commanding presence, attacking his sax with a fiery vigour that leads one to conclude that, in his case, jazz is, indeed, the healing force of the universe."  — Daniel Spicer, Popmatters.com (UK)
 

"Marked by the flawless tone of Groder."

"Brian Groder plays his trumpet and flugelhorn with a fresh and authoritative sound. His presence is known after only a few seconds into the first track, 'Spellcast', and things get better from there. Thankfully Groder’s compositions are inventive without being too cerebral, a problem for many current jazz releases. Throughout the recording the whole band gets ample time to blow. A great listen." — Marco Watercrest, Landmark Magazine
 

"New York-based Brian Groder is an up-and-coming trumpeter, whose new album Torque has enlisted legendary reedman and flautist Sam Rivers, 83, along with his working trio (Doug Mathews, Anthony Cole). The fourteen songs on the nearly hour-long program average about four minutes — each tune almost blending into the next — producing an almost suite-like effect. From the free-form 'Betwixt' to the flute and flugelhorn duets on both parts of 'Behind the Shadows', to the tenor and flugelhorn duet on 'Camouflage', along with the trumpet and bass collaboration of 'Iota', Torque is marked by four brilliant musicians listening closely to one another and playing extremely well together."

"All written — whole or in part — by Groder, Torque is a graceful recording that while at times free and cacophonous, is never hard on the ears and is marked by the flawless tone of Groder. Torque is an enjoyable listen — in parts, or taken in the lovely playing all at once. Lastly, Rivers' technique, it should be noted, is just as powerful as ever, after almost 50 years of playing." 
— Ollie Bivens, All About Jazz-LA
 

"Impressive depth and creativity."

"Lovers of avant-garde jazz will be delighted with Torque — trumpeter Brian Groder's recent release, an audacious series of swirling sensations, experiences, instantaneous feelings, experimental grooves and surprising sonic explorations. On this album Brian Groder is joined by legendary Sam Rivers and his trio and the result is an unique performance that fuse trumpet, flugelhorn, saxophone and flute in minimal to complex sequences charged with an expressive inner energy. A volcano of well-forged collective improvisations of impressive depth and creativity."
 — JazzWorldQuest
 

"It's remarkable that so much of this is improv."

"Regardless of the line-up changes, the music is absolutely fantastic, and will entrance both freejazzers and mainstreamers alike, by the absolute musical freedom, openness and vision on the one hand, and because of the accessible sensitivity, and the melodic and rhythmic feeling on the other. Groder is obviously the musical center of the album, yet the intensity and depth that is brought here should be credited to the whole band.

"And probably the most stunning aspect of it all is that Sam Rivers goes along with Groder throughout, as if he's become the alter ego of the trumpeter, but then on sax. The veteran's skills, empathy and musical understanding are astonishing. Everything on this album is a success. A real must!" — "Free Jazz" blog, Netherlands

"It's been a while since I've heard anything this be-bop / free-bop / outside-trad, but the opening bars lay out trumpeter Brian Groder perambulating in a really nice solo expounding neither theme nor direction, a perfect intro for Sam Rivers to walk in on 'Betwixt'  and immediately set to work erecting the oppositionally harmonic contrast, Groder redoubling his own efforts in response. Everything proves to be a long intro that collapses, and that's how the whole CD goes, as the title infers: torquing expectations.

" 'Diverging Orbits' escapes into structure, Groder strident, Rivers elastic but soon bent, slurring with his customary refusal to remain in any standard form."

"Contra-bassist Doug Mathews gets a layback solo, as does drummer Anthony Cole, then, it's forward into mutant Herb Alpert flourishes soon vacated for the marvelous flute section in 'Behind the Shadows', Rivers delighting as ever, taking the instrument into zenned-out shakuhachi skyflight. 'Cross-Eyed' pours forth pure engrossing blow-outs resolving into 'Involution', with shifting planes of thematic architecture. It's remarkable that so much of this is improv, the rapport being copasetic at all levels. Perhaps that's the key: there are guidelines but the creativity within them illustrates that anarchy thrives best under minimal agreement." — Mark S. Turner, Signal To Noise
 

"Innovative compositions and a fat trumpet tone."

"Essential? Yes."

"Free improvisational music that can swing."

"New York-based trumpeter and composer Brian Groder calls his thing Modern Progressive Music and expresses himself freely on Torque, released on his label Latham Records. His fourteen compositions are fully realized in less than seven minutes each. In some free jazz performances where one might not feel a complete catharsis before another piece begins, Groder and The Sam Rivers Trio finish what they start for and with you – completely.

"The group dialogue begins with 'Betwixt,' a medium tempo tune that gives them time to simmer their organic stew. 'Diverging Orbits' and 'Involution' (which he gives "inspirational" and co-compositional credit to pianist Joanne Brackeen) are wheels in motion and elevate the art of the creative process. The Trio – reedman Sam Rivers with bassist Doug Mathews and percussionist Anthony Cole, plucked from his Rivbea All-Star Orchestra – form the solid ground that Groder needs to step onto with his fluid playing on trumpet and flugelhorn and his intricate yet listenable and enjoyable compositions. [NOTE: Free improvisational music can swing!]

"Groder links up with reedman Rivers on 'Behind the Shadows Part I.' The pair dart in and out and behind each other like two newly acquainted birds in flight, and then they slowly retract from each other. 'Behind the Shadows Part II' captures the two much more familiar with each other. They’re together again on 'Camouflage' and 'Tragic Magic,' where Groder pulls out his flugelhorn. Again on flugelhorn, Groder draws warm tones from the bass strings of Doug Mathews in their duet on 'Iota' and 'Fulcrum.' Another group effort, and aptly named, is the pivotal point of the group’s collective flow that ebbs into the final 'Water Prayer,' featuring Groder with percussionist Anthony Cole.

"Torque contains no convolutions of textures or harmonies that could have weighed it down. Groder proves that the creative process does work with much give and 'give more.'" — Cheryl K. Symister-Masterson, Jazz Review
 

"Music not only for today but also for tomorrow."

"This CD is right at the cutting edge of contemporary improvised music. Brian Groder has been around for some time — this is his fourth CD as leader — but is new to me. Strikingly uncompromising in his approach, Brian demands and deserves the attention of audiences who like to hear music that is not only new but thought-provoking. Here, Brian is joined by the Sam Rivers Trio, which features Sam on flute and saxophones, Doug Mathews on bass and Anthony Cole on drums. About half of the themes that form the base of the thirteen explorations on this CD were composed by Brian, with one piece with Joanne Brackeen, three with Rivers, and two with Rivers, Mathews and Cole. Music not only for today but also for tomorrow." 
— Bruce Crowther, swing2bop.com
 

"Truly one not to be missed."

"A document of four superior players being inspired by one another."

"The trio is in fine form and Groder seamlessly adheres to its core, though Groder easily holds his own, particularly during the smaller settings. Rivers and Groder intertwine deeply on the flute-based mystery of the two-part 'Behind The Shadows,' the muted 'Camouflage,' or Groder’s fine mutework in connection with Rivers’ soprano on 'Tragic Magic.' Of the others, Groder turns in a particularly insightful performance on the duet with Mathews, 'Jingo.' Like the trio’s other outings with other instrumentalists, they are at the top of their game and make such so-called 'outsiders' like Groder welcome. This is the kind of record you can listen to repeatedly without fatigue." — Jay Collins, Cadence (©Cadence Magazine 2007)

"Recorded two years ago, but only released this January, Torque captures New York trumpeter Brian Groder collaborating with Sam Rivers’ then-trio (Rivers, bassist Doug Mathews, drummer Anthony Cole) on 14 bracing blasts of fluidly improvisational jazz.

"Groder goes in for short bursts of creativity on Torque, and most of the cuts here are refreshingly short: Two clock in at around six and a half minutes, while most of the rest are between two and four minutes. Running time is typically not an issue for jazz musicians, and the short lengths of these cuts is in no way indicative of a dearth of ideas. But it should be noted that the energy Groder gets from compressing these back-and-forths into quick bites increases their effectiveness without turning them into speed-jazz.

"Taken as a whole, Torque functions well as a document of four superior players being inspired by one another (Mathews’ bass work here is some of his freak-funkiest) and Groder’s stratospheric trumpet chops hold up surprisingly well against the fire of Rivers’ melodic squeal. When the two face off, trumpet versus flute, on the 96-second 'Behind the Shadows, Part 2', Groder is both respectful of and challenging to Rivers, while Orlando’s own jazz elder playfully engages the youngster in a solid bit of conversational improv. The musicians are generally restrained as far as tempo and tenor goes, and the spacious recording atmosphere allows each man’s instrument to ring out in the mix, giving the listener a chance to fully engage in the process."
—  Jason Ferguson, Orlando Weekly
 

"Brian Groder's Torque is an exemplary representation of festive jazz and jazz that broods." — Sari N. Kent, TheCelebrityCafe.com
 

"What we have here is a true definition of today's jazz; swinging, vibrant and full of vitality."

"A shining light in NYC's new jazz avant-garde."

"The general atmosphere of the disc has something of the end of the 1950s, the height of which saw the spread of the seeds of free jazz, but it is completely un-nostalgic, destroying the arguments of any who lament the absence of 'the new thing' existing today, but do not equally criticize the current reproductions of bop, considering it the limit and the apogee of 'true jazz' and therefore a repeated justification if possible ad eternum.

"What we have here [with Torque] is a true definition of today's jazz; swinging, vibrant and full of vitality. In this aspect, the contribution of Cole, the drummer, is essential. He starts and stops the changes, holding the oars and steering the boat itself - as in the case of 'Involution' (an ironic title?) - not a usual thing to hear on a record.

"But do not think from this description that the album is at half-strength or immature; Groder can have a hot sound, particularly when he plays the flugelhorn, but his underlying logic is always acutely melodic and he prefers subtlety (notice how he deals with dynamics) to the obvious.

"As for Sam Rivers, listen to the bittersweet heights of the sound of his tenor and try to remember someone else who could touch you thus ... you can't, can you? Another reason to listen with great attention to this album; at 83, this magnificent saxophonist, sadly, will not have a long road to travel.

"Beyond that, in music as in the art of wine, the number of added springs remains a guarantee of refinement." — Trem Azul Jazz Store, Lisbon, Portugal
 

"The axis on which this session rotates is the superb rhythm section of bassist Doug Mathews and drummer Anthony Cole. That said, Torque is likewise an intergenerational jazz jaunt that works exceptionally well due to several factors: the extreme level of comfort that flutist/saxophonist Sam Rivers has with this rhythm section; the fact that Rivers, at the age of 83, can still blow away just about anybody; and compositional skills of the driving force behind this date — trumpeter/flugelhornist Brian Groder.

"A member of the '60s Jazz Composers Guild, with pianist Cecil Taylor and saxophonist Archie Shepp, Rivers has credentials that match up with any seminal avant-gardist. His '70s SoHo performance space Studio RivBea served as a wellspring of free jazz and his playing across these tracks has lost none of that fire. Groder, who is a shining light in NYC's new jazz avant-garde, leads the proceedings with an emphasis on his flugelhorn and intersperses ensemble playing with duets of various pairings on these 14 compact pieces."

"A spiritual airiness makes these forms and rhythms, which defined primarily in terms of line, stand out. From the artistic packaging to tunes like 'Diverging Orbits' that lift off in controlled melodic flight before each player enters into his own trajectory and 'Fulcrum' which both horn men independently rise up from a rhythmical pivot point, a loose zeitgeist prevails. 'Behind the Shadows Part 1 and 2' are diminutive flute/horn duets with Rivers leading on 'Part 1' and Groder returning the favor on 'Part 2'. All four of these musicians are able to use the full range of their instruments to quell or excite and whether it is a gorgeous duet, tight ensemble playing or Rivers and Groder spitting fire, Torque twists and turns easily to move through its free and structured spaces." 
— Elliot Simon, All About Jazz-NY

"Jazz trumpet-eer Brian Groder and group explore the avant-garde idiom ... Just crossing over from 'mainstream' to 'avant' ... And, Brian has written some compelling originals to instruct us in that area of music. Brian and his cohort on reeds, Sam Rivers, have never sounded better! While the group drives hard, they manage to maintain a certain simplicity to what they deliver musically which increases our interest. Brian and group play their music with a beautiful 'touch' with their virtuosic technique. I sense that although they are keeping a tight rein on technique just for the sake of technique, they can also swing mightily. And, lo ... they do!" — George W. Carroll, ejazznews
 

"A solid chemistry anchors each track."

"Torque contains balanced alternation - during 'Iota', Groder's trumpet and Mathews' bass have a calm conversation;  'Diverging Orbits' contains beautiful solos from Rivers, Mathews and Cole. The two 'Behind the Shadows' numbers are duets between Groder and Rivers. Late bop with much space for improvisation which in some numbers ('Cross-Eyed') goes over into tasteful free jazz."
— Jo Vanderwegen, Gonzo Magazine, Belgium
 

"The son of two swing musicians and someone who spent his early years in Atlantic City house bands, Brian Groder has decidedly different ideas when he leads his own session. On Torque, his fourth as a leader, the trumpeter/flugelhorn player's music hearkens back to the '60s avant-garde where arrangements were wide open but the rhythm section usually swung and had a strong linear quality to it.

"The Sam Rivers Trio here backs Groder, including the saxophonist himself, so there is a solid chemistry that anchors each track.

"Another strength is that Groder chooses to keep his tunes short, seldom breaking the four-minute barrier and only going over six minutes once. This brevity allows listeners who may not be fans of avant-garde jazz to take in the music without being overwhelmed. Groder also offers plenty of solo time to Rivers, who is still his same old speedy self even in his 80s. Highlights include the horn and sax duo piece called 'Camouflage', the nicely lyrical 'Oculus' and the jaunty 'Involution', which is co-written with Joanne Brackeen. Points for packaging as well."
— Tad Hendrickson, JazzWeek
 

"Groder converses very beautifully with the trio. Without exaggeration, this is one of the better recent samples of avant-garde jazz." — Radiophone Greece

"Their chemistry catalyzes this exceptional recording."

"Groder obviously understands musical communication."

"When I teach jazz survey courses the avant-garde period is always the trickiest, because people have such preconceived notions about freer or experimental jazz. Brian Groder’s Torque is a great starter CD if you’re looking to stretch someone’s ears with more exploratory, yet accessible jazz.

"Opening with the short, intriguing 'Spellcast' it is clear Torque will take surprising twists and turns, but will not shriek, or otherwise scare neophyte listeners. Groder has a remarkable advantage in his sidemen, Sam Rivers and Rivers' regular trio-mates, Doug Mathews and Anthony Cole. Groder has played in Rivers' band, so now having his support in a very prominent sideman role is a bit unusual, though not unprecedented (Miles Davis playing on Cannonball Adderley's Somethin' Else comes to mind).

"Their empathy comes through in the strong interplay, particularly on 'Behind the Shadows' (Part 1 & 2). Listening to their compatibility is also a pleasure as they weave together the duet 'Camouflage'."

"While the playing is adventurous, it does not meander. Most cuts are around four minutes, and all have a focused emotional intensity. On a tune like 'Involution', Mathews and Cole maintain a propulsive beat, behind inventive solos from Groder and Rivers. Groder also shows an effective use space on the austere bass-duet 'Iota'.

"Groder often plays muted, as on the sprightly 'Jingo', another trumpet-bass feature. Having backed up singers in Atlantic City bands (like Cole who backed up members of his family of famous vocalists), Groder obviously understands musical communication. He has conversations through his trumpet, rather than yelling at the top of his lungs.

"Torque has challenging compositions, adventurous solos, and accessible swing. It is a strong statement from Groder’s emerging voice and further solidifies the sterling reputation of the veteran Rivers. It is music that can reach both fans of the avant-garde and those who rarely venture beyond modal hard-bop, which is actually quite something to say." — Joseph Bendel, J.B. Spins
 

"A mostly straight-jazz feel with some nicely open spaces for soloing, and some jazzy improvised tracks with a friendly, informal air. Trumpeter Groder leads the session, with legend Sam Rivers and his longtime trio as his backup band! Very nice stuff if you want a solid "jazz" sound. For a more "typical" head-solos-head format, try 3 or 8, or (more subtly) 11."— Craig Matsumoto, KZSU, Stanford University

"May prove to be an enduring classic."

"To begin with, most of the fourteen selections are short — generally between three and six minutes long. While such stimulating music could be easily endured in massive doses as far as this reviewer is concerned, the idea of keeping the pieces brief and digestible is a master stroke. Motifs are just as long as they need to be, the solos are direct and to the point, making the incredible music on this disc even more potent in short bursts.

"The majority of the compositions are by Groder. 'Betwixt' is an exercise in measured chaos, typifying the tightness of the ensemble and the seamless communication between Groder and Rivers. 'Diverging Orbits' is a delight, with all participants reveling in pure swing with a firm grasp of the song's elusive harmonic structure. There is also an abundance of intimate duets on this album between various members of the group."
 

"An attractive, vigorous brass-reeds-bass-drums quartet, with the leader on trumpet and flugelhorn, Sam Rivers on flute and saxophones. Groder gets more play and makes more of an impression, with Rivers tending to slip into the background. B+" — Tom Hull "On the Web"

"Groder is clearly a formidable talent."

"Opening with 'Spellcast', a smash-and-grab duet between Groder and drummer Anthony Cole, suggests a free-form fare is on the cards. Yet although the language in places has that late-50s angularity this is no nostalgic wig-out. Blending tight compositions with intricate duets gives a surprising variety and enables the quartet to move into a thoughtful and investigative space that holds the attention and certainly engages your toes as well as the brain. Cole’s drumming is superb throughout, a rolling force that accentuates and supports as occasion demands; he’s exceptionally tasteful on the improvisation 'Cross-Eyed', matching and pushing Sam River tempestuous blowing. During the straight-ahead groove of 'Involution', it’s Cole who contributes that rarest of things – a drum solo that you wished had carried on for a few extra bars!"
 

"The counterpoint between Brian Groder and Sam Rivers is careful as explosive nitroglycerin, a swinging microfiber of low end hard bop fantasy with no boplicity. Just free swinging ... a slight case of art negoism. The counterpoint with muted trumpet and Sam's soprano on 'Tragic Magic' will throw you for a foil, if there is one (a sword carrier.) So score yourself a scone and dig the re-harmonizing and re-happenings as Brian Groder and Sam Rivers get it on. You know Sam Rivers for his daring voice. Brian Groder plays trumpet like a saxophone." — Dick Crockett, "The Voice" 88.7FM Sacramento
 

"Music of ceaselessly fascinating possibilities."

"Doug Mathews lays down solid walking bass support for the leader's solos, followed by a serene Rivers' excursion that takes us back to Mathews' unaccompanied bass. Rivers' flute and Groder's trumpet, muted once again, comprise a companionable if impolite conversation (the price of polyphony) on the leader's 'Behind the Shadows'. With 'Iota', Groder introduces flugelhorn and a rich, convivial sound, receiving deep-rooted nourishment from Mathews' bass. 'Cross-Eyed' breaks the spell of intimate duets, capturing all four musicians in unfocused sound and fury.

"'Involution', the longest of the compositions at just over six minutes, offers inviting Rivers flowing into Groder's solo, which yields to a brief, low-key dialog between bass and drums. On 'Camouflage', it is again on flugelhorn that Groder proves a compelling complement to Rivers' tenor sax, before returning to muted trumpet for a sharply syncopated 'Jingo' and some infectious boppish playing.

"On 'Tragic Magic' Groder exchanges his Harmon for a cup mute while Rivers goes to soprano sax. With the outcome hanging in the balance, 'Fulcrum' is a critical moment that features an animated argument between the two principals. It's a split decision until the finale, 'Water Prayer', which opens with a vocal chant and continues with Groder’s lush flugelhorn, culminating in a reconciliation as well as restoration of the wellsprings that are as vital to music as to life — assuming the creative artist acknowledges there’s a difference."  — Samuel Chell, All About Jazz
 

"The point is that trumpeter Brian Groder's Torque, despite the title, is no arm-twister, but a varied, frequently absorbing program of fourteen musical vignettes that course through just about every melodic possibility, tonal inflection, dynamic level, rhythmic path, and instrumental texture available to four instruments — without chordal instruments — in exchange for a return to the fundamental principles of melody and rhythm. In that respect, the music on Torque is as much reactionary as it is 'progressive.' (T. S. Eliot probably got it right when he insisted that the notion of 'progress' is alien to the arts, which return us to the very life-springs that, thanks to our consumptive demands on nature, have all but run dry.)

"Once the listener has adjusted to the 'tonality problem,' this is music of ceaselessly fascinating possibilities, much of its success dependent on the quick decisions required of drummer Anthony Cole. The opening two pieces introduce the sounds of Groder's muted trumpet and Sam Rivers' tenor sax respectively, with the latter's full, bracing sound not quite met on its own terms by the leader's penetrating but somewhat thin-sounding open horn."
 

"They seem to sail together and anticipate each other's moves."

"Brian wrote or co-wrote all of the tracks on this Torque. On 'Betwixt', the quartet opens with a wonderful free yet focused intro, as Anthony plays some marvelous mallet work, both Sam and Brian take some short, explosive solos and only break into the theme near the end. The trio swings hard on 'Diverging Orbits' with strong solos by Sam and Brian. You can tell that the rhythm team has been playing together for a while, since they flow so tightly together, always moving in waves. It is Doug who takes a long and expressive bass solo on this tune as well. 'Behind The Shadows' is an amazing duo of haunting flute and muted flugel, spinning tightly around one another. " 'Iota' is a fine duo for somber flugel and poignant acoustic bass. These pieces often unfold organically, freely at first until the rhythm team hit their stride and then everyone erupts quickly together, playing tightly as they soar."

BRIAN GRODER Ancestral Tongues (Latham 4094)

"Trumpeter Brian Groder leads a capable ensemble through [performances] which are interesting, tender, and well-delivered. Kevin Kuhn's guitar work shades the procession with subtle, brief strums, adding some unexpectedly rhythmic responses to the horns soloists. Amidst the slower ballads, the uptempo swing of 'Lee's Label' stands out as the finest piece, with some heated tenor from Michael Mee which frays at the edges of his quick triplets and trills and some high spirited trumpeting from Groder. With all eight pieces contributed by the session's leader, this is a nice inside jazz disc with much to offer those who yearn for more ballads, nicely crafted heads, and compelling solo work from all." — Andy Bartlett, Cadence Magazine