Brian Groder, musician

[reviews]

Brian profiled in the March 2010 issue of Downbeat Magazine.

Brian's interview with Jason Crane about making Torque with Sam Rivers

BRIAN GRODER and BURTON GREENE - Groder & Greene buy it here

"Trumpeter Brian Groder has a talent for creating combinations of players to achieve certain musical outcomes. This instinct is especially important when the territory traversed is free jazz , where the mixtures of players are indispensable if the music is to be coherent. On Groder & Greene, the free jazz is indeed cogent and compelling."

It is pure magic. - AllAboutJazz

"With eight group improvisation and just one composition, Greene's 'Can You Thropt The Erectus?,' the expectations might be for chaotic, shambolic music. But this music is nothing of the sort. The group interplay tends toward coherent statements and organized, at least for free improvisation, tracks. This band's music crystallizes into fully formed conceptions." — Mark Corroto, AllAboutJazz read the rest here

"Trumpeter Brian Groder, over a small handful of recordings, is established as an improviser creating his own pathway apart from his influences, and his main mentor Sam Rivers. Decades of dedication to creative music have given pianist Burton Greene a mighty reputation in his field, with a unique perspective that crosses over into 20th and 21st century contemporary classical music. With ex-Cecil Taylor sideman, alto saxophonist Rob Brown, the fantastic bassist Adam Lane, and drummer Ray Sage, this thoroughly special collective makes music in the moment with a certain grit, spirit, and depth. The liner notes of the CD obsess about so-called free jazz as if it is a regularly maligned and misunderstood subgenre, but one thing is certain: this talented ensemble plays music unique unto itself, liberated of any barriers save the occasional pulse or beat rooted in the tradition. What Groder and Greene accomplish is an integration with their band members, sounding unified while retaining their individuality in a cohesion that not so much defines a sound as it consistently triggers their best assets. Cool and groovy yet elusive and ethereal, the opening number "Landfall" establishes a rambling swing as Brown fans the flames while Greene walks up and down a spiral staircase. Tip-toeing through time, Greene's delicate musings during "Separate Being" shape Groder's muted trumpet into a dream sequence, not nightmarish but rather pleasant, while "Amulet" goes into the underground abyss, more spacious yet shredded. The funky "Nigh" recalls a Julius Hemphill blues, as Groder's outspoken horn and Brown's honking alto tumble on and on. A few segments feature two instruments paired before the rest of the group joins in, like the alto/drums workout starting up "Only the Now" followed by the loose rhythms of Lane and Sage, or a solo Groder followed by Greene on "Cryptic Means," which identifies the intent of the group as much as any title, with a considerable amount of playful counterpoint in varied tempi. At times, other gruff tones or late-night elements enter, but in general, there's grounded improvisation with a firm background and experience playing with masters of the idiom. Groder & Greene is an excellent example of new, modern-day music lined with the wisdom of the pioneers of free jazz, creative improvised, or spontaneous composition, whatever you wish to term it." – Michael G. Nastos, Boom 997, Ottawa, Canada

"Free or modern progressive jazz can take many forms but for seasoned artists like trumpet /flugel horn player Brian Groder and pianist Burton Greene the outcome is always definitive and enduring. On their first collaboration for Latham Records the duo’s album Groder & Greene hit the shelves on October 1, 2009 after nearly two years prior to the original recording date. Good things come with time and jazz listeners will be rewarded with their patience by receiving a classic rendering of the free form style of jazz popularized in the 1950′s by such icons as John Coltrane, Sun Ra and others. The inspirational improvisations of pianist Burton Greene, alto saxophonist Rob Brown, bassist Alan Lane and drummer Ray Sage help Brian Groder to take the music to another level. Equally fluent on trumpet and flugelhorn, Brian Groder is a venerated composer, trumpeter, and ensemble leader that has been cited as one of the most original jazz voices of his generation. Groder’s penchant for working with other composers gives his brand of modern progressive jazz distinctive richness and depth when the collaborations reach their fruition during a performance. Fortunately this particular group of songs was captured during the heat of spontaneity created by the artists in the studio. The experience of Greene as a leader in the free jazz movement of the 60′s is immeasurable and his influence resides in the color and overall flow of each composition. Groder and Greene complement each other beautifully on the release and allow the rest of the musicians to contribute in equal measures making Groder & Greene a true partnership of musicians allowing the voice of jazz improvisation to be heard loud and clear throughout the recording." - Keith Hannaleck, All That Jazz

"This disc, which gives top billing to the trumpeter Brian Groder and the seminal free-jazz pianist Burton Greene, is perhaps my favourite disc of this batch. It has the greatest range of expression and timbre, as well as the strongest sense of momentum, and — pardon my bias is showing — the greatest connection to jazz of the unfree kind." — Ottawa Citizen, Canada

"A sense of form and cohesion makes Groder & Greene a success. Veteran “free” pianist Burton Greene cogitates at the center of all this. Even when he engages in atonal keyboard cascades he exhibits clarity of intent and certainty of direction; when he shifts gears, even subtly, he carries the rest of the musicians with him. Let’s consider the opener. Bassist Adam Lane offers a folk-like tune that trumpeter Groder picks up and gives a Blues tinge. Joined by drummer Ray Sage’s ride pattern and Greene’s jabs, the band strides forward in a manner that would warm a bopper’s heart. Then Greene interjects a single note line that’s harmonically askew, and the steady sense of swings grows looser, slowly coming undone. This leads to alto saxophonist Rob Brown entering, offering a jagged commentary on the piano figure Greene now lines the middle of the soundscape with. All comes undone as the group reaches a free form rubato with Groder rejoining the fray that resolves seven minutes in to a soft, quick ride pattern. Groder and Brown whisper as the tune closes with the trumpeter echoing some of the blues phrasing of the opening minutes. Such shifts of temperament are witnessed throughout the session. Not that all are the same. The two horn players flex their Free bop chops over bass and drums on the opening of 'Nigh' and most of 'Surmised Wink,' hinting at the excitement a more straightforward blowing session might have yielded. 'Amulet' is a piano, bass, and drums trio that has Greene plucking at the piano inside and out and Lane and Sage responding appropriately. Greene’s 'Hey Pithy, Can You Thropt the Erectus?' is a raucous outing marked by growling, gagging, and Borscht Belt exclamations, by, I assume, Greene. And the ensemble closes with the aptly titled and rendered with suitable delicacy 'Sleepwalker'.” — David Dupont, Cadence Magazine

"As your musician friend would say upon listening to this marvelous free jazz CD, 'That's some serious heavy ---- !' Fill in the blanks." — Dick Crockett, "The Voice", 88.7FM, Sacramento

"After taking octogenarian saxophonist Sam Rivers on one of the most exciting rides of recent years on 2006's Torque, trumpeter Brian Groder has teamed up with another iconic figure of free jazz, pianist Burton Greene, for nine magnificent musical adventures recorded, appropriately enough, in Greene Street Studios NYC in October 2007. Without wanting in any way to downplay the importance of Groder's limpid and remarkably inventive trumpet and fluegelhorn playing, or alto saxophonist Rob Brown's technically and musically outstanding contributions (there's no point in even saying that, as everything Brown has committed to record in his lifetime has been technically and musically outstanding), the date belongs to Greene, not because he deliberately pushes everyone else to the sidelines, but because his contributions as both soloist and especially accompanist are so startlingly original that they command attention, from the inspired octatonic riffery of "Landfall" to the inside-piano investigations of "Amulet", from the virtuosity of "Cryptic Means" to the spiky comping of "Nigh". Sometimes it's all a bit over the top ("Hey, Pithy, Can You Thropt the Erectus?" owes much more to Greene than its punning title), but, hey, I'd rather it was like that instead of some earnest MOR Clean Feed outing where everyone is so afraid of walking on anyone else's toes that nobody moves at all. Greene has worked before with bassist Adam Lane – notably on 2004's Isms Out (CIMP) with Roy Campbell and Lou Grassi – and it shows: Lane is acutely aware of the pianist's left hand, and its tendency to provide the low and mid-register harmonic information, and concentrates accordingly on the more melodic upper octaves of his instrument. Which is not to say the pianist rides roughshod over Lane when the latter takes a solo – far from it: Greene's ear and sense of space is as acute as ever. In such ebullient company, a flamboyant drummer (like Han Bennink) would probably sink the ship altogether, so it's just as well Ray Sage is on hand to keep the beats tight and the music on course to its final destination. This is a truly splendid album, easily the best thing Burton's released in years, and one of the freshest and most enjoyable releases of the year." — Dan Warburton, Paris Transatlantic Magazine

"A marvelously free interplay of five strong musical personalities in the "Instant Composing" process, to be experienced and enjoyed." — Jazz Dimensions Magazine, Germany

"A brisk session of free jazz from some terrific modern players. I first heard of trumpeter Brian Groder on the album Torque, where his backing band with Sam Rivers‘ trio (with Sam Rivers included). Here, he’s got another crackerjack band, with pianist Burton Greene up front. Very nice work, overall. Groder surrounds himself with good company, and as on his previous CD, it pays off." — Memory Select blog read the rest here

"It’s somewhat surprising, on the heels of Greene’s Klezmer projects and the uniquely boppish dates he’s recently produced for CIMP, that his collaboration with trumpeter Brian Groder harks back to the blowouts of yore. In a quintet with altoist Rob Brown, bassist Adam Lane and drummer Ray Sage, the emphasis is on collective improvisation. However, playing free in this decade is something decidedly different than it was 40-odd years ago, for musicians’ technique and knowledge is generally at a much higher level. Groder has a precise, steely tone and his statements are economical - cool, yet full, like a less- brash Ted Curson. It’s hard not to reach back in time when hearing Brown boil over as blocky piano motifs and turbulent gut and horsehair pool and shove underneath, but even within those choppy waves, there’s a sense of composure directing the ensemble’s bombs towards a plotted explosion. Greene mirrors and recombines phrases into dense dialogues in a mutable, cubistic approach to comping." — Clifford Allen, AllAboutJazz NY

"This is one smokin' hot little (9-track) CD that features trumpet and flugelhorn from Brian, with keyboards from Burton Greene, along with alto sax by Rob Brown, double bass from Adam Lane and drums by Ray Sage. It's an October 2009 release jammed full of very interesting spontaneous improvisation, and I dug it in many different ways. Sage has played with some other underground folks we've reviewed here, most notably Bonnie Kane, reviewed in issue # 81, so I expected something different... something "off the path"... and I got it in spades! The keyword for the playing these guys do is "different", in fact... not so strange that a reg'lar jazzer couldn't dig down into the soul of what they do, but certainly off-kilter enough that no self-respecting "middle-of-the-roader" would be caught with a copy of their CD. Of course, this kind of music is more suited to the readership of this fine 'zine, where the unexpected IS the norm... because that's what keeps life moving in new directions... one of the best examples is "Only The Now", one of my favorites... just listen to Lane's double bass on this one - truly moving (every second of every measure). My absolute favorite, though, had the sounds of hobgoblins from the netherworlds... that would be "Hey Pithy, Can You Thropt the Erectus"... definitely something along the lines of an improvised exorcism... ha! ha! These guys clearly know how to have fun with their music, and easily pass it along to the receptive listener. They get a MOST HIGHLY RECOMMENDED from me, with an "EQ" (energy quotient) rating of 4.98." — Dick Metcalf, IMPROVIJAZZATION Nation

"Appearing on numerous top-ten lists for 2009, Groder & Greene brings together NYC free jazz trumpeter/flugelhorn player Brian Groder with Chicago-born/Amsterdam-based free jazz piano legend Burton Greene - veteran of the NYC Avanat Garde scene and contemporary of such folks as Archie Shepp,Henry Grimes and Bill Dixon. They are joined by alto saxophonist Rob Brown, double-bassist Adam Lane and drummer Ray Sage in creating eight efficacious improvised pieces that range from ferocious (the excellent opener "Landfall") to quiet and strange ("Amulet") with every variation between. The strength of the players and exceptional rapport they bring the sessions takes what should by any means be chaos and instead weaves spontaneous compositions out of the cacophony. All of the players exhibit exceptional abilities within this genre, with Greene attracting the ear with piano work that at times tinkles odd notes, or canters across the keys and at others pounds out furious fistfuls of block chords. He truly seems a perfect foil for Groder's strong melodic touch, and the other musicians also seem especially well chosen for this project. Superb tracks like "Only the Now," "Separate Being," "Nigh," and 'Surmised Wink" are remarkable examples of free jazz music at its finest - full of unexpected surprises mad intriguing directions, while the cover of Greene's "Hey Pithy, Can You Thropt the Erectus" is an engaging treat. "Cryptic Means" features the duo without the rest of the bend in a rewarding turn, and the haunting "Sleepwalker" ends this dreamlike experience (complete with nightmares) in delicious fashion." — JazzChicago.net

"We are dealing with a work of high caliber, where the quintet follows a compact and with a group identity. In their performances they appear to have a mysterious bond, because everything works perfectly without there being a single moment of routine. The beautiful voices of the soloists are on display within well-designed tracks, which show how, after all, even within a genre defined as 'free' there's room for an organization of sounds, an internal evolution different from what has been recorded decades ago. It is worth mentioning Groder's previous recordings: here we have a worthy sequel and a confirmation that we're in front of a musician of international stature." — Cosimo Parisi, Musicboom, Italy

"In addition to the leaders, Groder on trumpets and Greene on piano, Rob Brown and Adam Lane join the forces to put this one over the edge. Great playing all the way around." — Jazz Corner "Top Ten of 2009"

"Groder is poetic and unique, with a sound all his own." — Vittorio Lo Conte, AllAboutJazz Italy

"That spontaneous improvisation proceeds flawlessly is a tribute to the musicians who play the music. In Groder & Greene, a recording which brings together trumpeter and flugelhorn player Brian Groder with pianist Burton Greene, altoist Rob Brown, bassist Adam Lane and drummer Ray Sage, open-mindedness, musicianship and a salient responsiveness generates the stunning quality of the intuitive interaction among the group’s members. The direct improvisatory messages delivered in Groder & Greene are not easily forgotten. Groder speaks with his brass instruments in untwisted lines, forever communicating their tremolodic brightness as well as their muted softness. Lane’s opening bass pizzicato in “Landfall” regales his extraordinary bent pitch sensitivity. Brown distinguishes himself with an essential vertical relationship to his alto. And Sage never fails, through a lightness of touch, to develop primary background textures." — Lyn Horton, JazzTimes read the rest here

"Groder & Greene is a decisive case that proves 20th century free jazz continues to be vital and expertly accomplished in the 21st century. Pianist Burton Greene and trumpeter/flugelhorn player Brian Groder - along with alto saxophonist Rob Brown, bassist Adam Lane and drummer Ray Sage - are experienced pros of the progressive jazz scene and together the five artists have forged one of this year's finest works of fully improvised material. The 75-minute outing shows music unfolding in real time, true spontaneity occurring when the microphones went live at The Studio on Greene Street in New York City in October, 2007. While the quintet may have discussed forms to follow or the order of instruments, or perhaps some expectations regarding tempo or mood, its obvious there were no pre-existing melodies, lines, explicit chords or other structural elements written down beforehand. There is much autonomy at play on the nine tracks, each piece swirls, bursts with energy and the responses to each moment are plainly unanticipated. Even so, there is also a perception of objectives being met and a keen impression of order. There is, above all, a high degree of focus and communication. The album commences with the approachable 'Landfall,' which starts with Lane's easygoing bass groove, Groder's standard bebop trumpet and Greene's bustling single-note piano runs. Gradually the tune expands into a provocative nexus of auditory impacts: Sage's leaping drums, Brown's tense saxophone and Greene's knotty and rhythmic keyboard lines that evoke Cecil Taylor's percussive patterns. The piece works as a striking strategy to introduce the players' authority of their instruments as well as the particular improvisational methodology that is shaped throughout the session." — Doug Simpson, Audiophile Audition Magazine read the rest here

"A few years back, Brian Groder wandered into DMG and left us with his own self-produced disc. Although I hadn't heard about him before this, Brian was backed by free/jazz legend Sam Rivers and Sam's current trio. Turns out that Brian is an excellent trumpeter and that disc was one of the highlights of the year. For this disc, Brian works with another legend, ESP pianist Burton Greene plus an equally impressive crew with Rob Brown on alto sax, Adam Lane on bass and Ray Sage on drums. It's been about a month since Brian laid this disc on me and I am still amazed by what I hear. Although this disc is freely organized, it often sounds as if many of the pieces were pre-planned or partially written. The ever-wonderful bassist, Adam Lane kicks off "Landfall" with an infectious pumping bass-line, which remains at the center of the entire piece. The incredible piano, bass & drums rhythm team plays tightly and loosely at the same time, speeding up and slowing down together while the trumpet and alto sax sail around one another in interconnected spirals. On 'Only the Now', the drums and alto sax play an intricate duet at first, with the other instruments slowly coming one at a time, each one adding another line to the ever-flowing waves within waves. The closer you concentrate, the more you hear the way this intense listening session reveals different connections amongst the members. This is magical (free) music that is never cluttered, busy or indulgent. There is often a relaxing sense of calm at the center of the well measured storm. Each member of the quintet contributes to the direction and inspired interaction. Brian plays some sublime muted trumpet on 'Separate Being' while Burton carefully places soft flurries of notes and Rob spins a few notes of his alto into cerebral tapestry. There are those moments when it sounds as if there are a couple of songs or ideas happening simultaneously, but as soon as you feel as if you about to fall in, the direction changes, a clearing opens up and you land safely back on the ground. Groder & Greene have again left us with one of this year's best." — Bruce Lee Gallanter, Downtown Music Gallery

"More than two years ago trumpet-player Brian Groder released "Torque", a stellar CD with Sam Rivers on sax. Ever since, I've been scanning the usual information sources, eager to find new material by him, wondering what happened because I couldn't find any, but here it is: finally. The band is co-led by pianist Burton Greene, with Rob Brown on sax, Adam Lane on bass, and Ray Sage on drums. Quite a band! And so is the music. Which is as free as it gets, and quite disciplined at the same time. Brian Groder explains "We would discuss the possible form, order of instruments entering and exciting, moods, dynamics and tempos ... but there weren't any melodies/lines, chord or special structure we were reading down". And even if that is the case, very often that is not how it sounds.

Again, a great album; 4-1/2 stars - FreeJazz

"I will not review every track, but you get the gist of it: lots of variation, lots of musical ideas, lots of fun too, and emotional moments, ... what more do you want? So, in sum, again a great album. Some jazz musicians publish more than is possible to keep track of, other artists remain shamefully under-recorded. Groder clearly fits in the latter category. Not only for his technical skills on the trumpet, but also for his musical ideas." — Free Jazz blog, Netherlands read the rest here

"Brian Groder and pianist Burton Greene are veterans of New York’s progressive, free jazz scene, so it’s no surprise that the duo’s latest work, Groder & Greene, is a masterful example of the 20th century avant-garde jazz in which they were bred. As with many totally improvised, “out” recordings, it’s often best to sit back, turn off your brain, let the cacophony come to you, and absorb the constructive and destructive interference of sounds. Album-opener “Landfall” is the most accessible track on the Groder & Greene. It begins with a silky bass groove played over fairly staid bebop drum and piano parts and gradually morphs (some might say “devolves”) into a maddening, improvised confluence of sonic textures: screeching trumpet and saxophone, chaotic keyboard lines, and spastic drumming. The song exemplifies the considerable talents of Groder, Greene, and their excellent accompanists: bassist Adam Lane, drummer Ray Sage, and saxophonist Rob Brown. Their command of their instruments plus the language of music and the jazz idiom in particular allows them to take a (semi) traditional jazz progression and deconstruct it in real time, using only their ears as guides. The remaining tracks on Groder & Greene, while somewhat more challenging, are just as intriguing. With atonal mayhem that would sound at home on a horror-movie soundtrack, spontaneous melodies that ooze emotion, and exhilarating bursts of rhythm that drive the release, it’s a work that could only result from giving world-class musicians the total freedom to communicate with one another musically. Greene and Groder should be commended for fostering such uninhibited communication." — Michael Kabran, Popmatters

"This recent outing finds Groder surrounded by some heavy company. Burton Greene, for starters, is one of the foundation pianist of free music, beginning in a very interesting group with Alan Silva in the early sixties, continuing to thrive with a number of seminal recordings for ESP and BYG, and on from there. He has from the very start forged his own path and he sounds today as good as he ever has, which is very good by any index.

"Rob Brown plays extraordinarily loquacious alto sax. He never seems at a loss for lines nor does his inspiration flag. Adam Lane is one of the premier bassists of the new music and a composer and leader in his own right. If I were only allowed to name a handful of bassists that were most actively innovative today, he would be on it. Ray Sage I don't know much about, but his drumming on Groder & Greene achieves exactly what is needed: a loose freetime player who can carry a pulse well if called upon, and consistently invents within the group setting. Well, then there is Brian Groder himself. The evidence of this disk suggests he is a trumpeter anyone would welcome on a free date. He's limber and filled with good musical ideas. That's the lineup individually. Collectively they come up with a program that updates the classic free date with plenty of permutations, landmarks, signposts and traffic signals, always showing green (or is it Greene?). Seriously this is excellent music and some of the best Burton Greene in a long time. But it's everybody shining. I don't give out stars, that always reminds me of second grade penmanship, but if I did, this would get the highest rating. Grab a copy and give it a spin." — Gapplegate Music

"Groder & Greene is a new project bringing together trumpeter Brian Groder and pianist Burton Greene to create the kind of artistic jazz that borders between absolute freedom and brilliance. Along with Rob Brown, Ray Sage and Adam Lane, Groder and Greene play this music as if they were born to do it. This is an album you’ll want to recommend for anyone who asks about quality jazz albums of 2009. There are many, but this is one of the best." — This Is Book's Music blog

"After his first one, "Torque", with legend Sam Rivers and his trio, it is now with veteran Burton Greene with whom Brian Groder joins forces for another tour de force. To begin with, it is a long time ago since I enjoyed so intensely a jazz recording as this one. Great vibrant and spirited music. Free jazz by musicians who can handle freedom and demonstrate a strongly focused operation, creating some fantastic and gorgeous moments. For me the fun already starts with the opening track "Landfall": the comical, seemingly a bit clumsy playing by Greene, with a delicious solo by saxplayer Rob Brown. Yes, Groder contracted an impressive crew for this date. Rob Brown played with Cecil Taylor. Burton Greene is one of the godfathers of freejazz. He lived (or lives?) in Amsterdam. In recent years he had his band Klezmokum, playing klezmer in a jazz jacket. The names of Adam Lane (bass) and Ray Sage (drums) didn't ring a bell, but fine musicians they are. The improvisations are much of a collective exercise, but Greene is often somehow in the center of where it is happens. Greene is also the writer of the only composition on this disc: "Hey Pithy, Can You Thropt The Erectus?" All pieces make the impression of being chaotic and cacophonic from the outward, but if you dive into them, all is dazzlingly intertwined and connected. Very communicative ensemble work. "Nigh" circles around a simple melodic theme that sounds very familiar but I'm unable to identify it. Also it is driven by a straight beat, which is not what you expect in free jazz. Greene puts a lot of humor and fun in the music, like in "Amulet" where he distorts the sound of the piano by putting objects on the strings. It is the contrast between Greene's 'primitive' playing and the playing by the others that make this one a very enjoyable record. Must have been two blessed days when these recordings were done in october 2007." — Vital Weekly webcast, Netherlands

"High quality, under the radar trumpet man Groder is not only making a name for himself as an original jazz voice, he’s creating his own niche of doing duets with civil rights jazz-era free jazz players and making interesting collaborations that cross generations and sonics. Teaming this time around with one of the era’s piano men, this sounds like some post 'Bitches Brew' Miles that’s stripped down to the elephant funk basics but still delivers a full sound. Wild stuff for ears looking for a thrill, this seems to be sitting down jazz that gets you squirming in your seat. A delightfully wild ride." — Chris Spector, Midwest Records

BRIAN GRODER and the SAM RIVERS TRIO - Torque buy it here

"Brian Groder brings impressive focus and impeccable chops to this encounter with Sam Rivers. The trumpeter holds his own as a player opposite a true giant of jazz, bringing poised, muted trumpet figures that fit perfectly with Rivers' elaborate flute filigrees on the freely improvised 'Behind the Shadows Part 1'. He also asserts his presence confidently into a tight band that's been going for more than a decade, finding firm footing in 'Oculus''s relaxed, swinging groove and joining into the collective tumult of 'Betwixt'. The other two players get a couple duets apiece with Groder, and each offers a strong example of unflagging engagement. The opener, 'Spellcast', features drummer Anthony Cole's masterful management of tension with fluid shifts from cymbals to toms. Bassist Doug Mathews' adroit shifts between unison and counterpoint on 'Jingo' are impressive. While it's Groder's date, Torque is an excellent opportunity to hear Rivers in a two-horns-and-rhythm-section setting that he hasn't employed for a while. His adroit tenor turn on 'Diverging Orbits' sounds individual yet completely integrated into Groder's free-bop framework; the energy and attunement of his playing belies the fact that he was 81 years old when this disc was recorded. Somehow that makes this recording seem even more special. Four stars." - Bill Meyer, Downbeat Magazine

"Kevés olyan produkció van, amelyet a közönség és a szakma is egyaránt elismert, ugyanis az esetek többségében vagy az egyik, vagy a másik oldal fanyalog. A „kiemeltek” közé tartozik a trombitás Brian Groder Torque című albuma is, amelyet mind a két oldal osztatlan sikerrel fogadott. A korong a nagy presztízsű Downbeat magazintól a Best Of 2007 címet is elnyerte." Papiruszportal (Hungary) read the rest here

"Subtle yet powerful, wrenching at the listener and weaving an intricate web of Jazz as Jazz should be, stunning compositions matched with great playing." - PBS 106.7-FM. Melbourne, Australia

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

"Brian Groder is imaginative and highly achievable with the daring tenacity of an avant jazz artist. The counterpoint between Groder and Sam Rivers is careful as explosive nitroglycerin." - Dick Crocket, "Still Another Jazz Show" 88.7FM Sacramento

"Music from Brian Groder and his perfect partners, the Sam Rivers Trio." - WJCT FM, Jacksonville FL

"Groder speaks jazz as if it were his mother tongue, but that also means that he does not leave it as he found it." - ImproJazz, France

"In these notes is the entire history of jazz." - Vittorio LoConte, Musicboom.it

"It's remarkable that so much of this is improv, the rapport being copasetic at all levels." - Mark S. Turner, Signal To Noise

"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. A great listen." - Marco Watercrest, Landmark Magazine

"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

"Trumpeter Brian Groder's Torque is one of those rare releases in which everything clicks. This is easily one of the best and most exciting releases of 2006 and may prove to be an enduring classic." - Ken Kase All About Jazz

"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. Music of ceaselessly fascinating possibilities." - Samuel Chell

"Torque is marked by four brilliant musicians listening closely to one another and playing extremely well together. An enjoyable listen in parts, or taken in the lovely playing all at once. Rivers' technique is just as powerful as ever, after almost 50 years of playing." - Ollie Bivens, All About Jazz-LA

"Groder is a musician with spotless technique and a nicely open sound, harmoniously well grounded with a feeling for melody. For lovers of Sam Rivers, or of music of the afore-mentioned Ornette Coleman, this CD is certainly a welcome addition." Jazz Podium

"The result is a subtle, creative CD in which the unprecedented suppleness of the rhythm section allows these two smoldering volcanoes to produce a splendid palette of sounds." - Mischa Andriessen, Jazzmozaiek Magazine

"Groder manages to create a common language which holds the middle between free, avant-garde and bop. Everything on this album is a success. A real must!" - Free Jazz blog

"Not only has Groder penned excellent material for the whole album, he is also an excellent executive musician who leaves enough space to allow the other members to shine." Jo Vanderwegen, - Gonzo Magazine

"Torque is a fine recording that deserves to be heard by as many fans of improvised music as possible." - Ronald Lyles, Jazz Improv NY

"The magic here is that even when these men are playing in the free mode, they seem to sail together and anticipate each other's moves, always flowing together in one stream." - Bruce Lee Gallanter, Downtown Music Gallery

"The cooperation between the younger Groder and old hand Rivers is perfect, sounding as if they have played together for years. Essential? Yes!" - Jan van Leersum, MazzMusikaS

"Between them they produce an absorbing set of free-bop that yields up new riches with every listen. Recommended ." - Ken Mathieson, JazzWise

"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

"Here's a superior set of contemporary jazz, blazing straight out of the long and unruly heritage of left-field explorations." - Daniel Spicer, Popmatters.com

"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." - Publico (Portugal's National Daily Newspaper)

"Rivers is not diminished by his age, intense as always and sometimes playing with the force of a tornado." - Trem Azul Jazz Store, Lisbon

"A new vision for modern jazz that has a lot on the ball." Midwest Records

"There's never a dull moment throughout this recommended CD." - Ken Dryden, All Music

"The best of Groder's last three CDs." - Swing Journal, Japan

"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." - Tad Hendrickson, JazzWeek

"These four musicians sculpt new life into this paradigm through total presence and superb musicianship." Johan Scherwin, Lira Magazine

"You'll play the disc so many times, trying to find your favorite part, that the batteries in your remote will die. It's that kind of thing." - Jazz p Svenska

" 'Cross-Eyed' and 'Fulcrum' bristle with improvisatory richness. 'Tragic Magic' is an extended duet between trumpet and saxophone, and 'Diverging Orbits' is the perfect platform for Groder's explorations." - Nate Guidry, Scripps Howard News Service

"This CD is right at the cutting edge of contemporary improvised music. Strikingly uncompromising in his approach. Music not only for today but also for tomorrow." - Bruce Crowther, swing2bop.com

"Groder shines during the full quartet meetings, and easily holds his own during the smaller settings. This is the kind of record you can listen to repeatedly without fatigue." - Jay Collins, Cadence (Cadence Magazine 2007)

"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

"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

"Groder is clearly a formidable talent. If you like your jazz brisk and tonally adventurous without losing melody or a sense of restraint, Torque has everything you could want." - Sid Smith, Postcards From the Yellow Room

BRIAN GRODER Ancestral Tongues buy it here

"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