The floor of Brian Torff’s office is scattered with black cases. The walls hold shelves of vibrant books, with titles including “The History of Jazz” and “The Anatomy of a Song.” On the wall, there is a framed photo of piano keys. To its right, a wooden stand is piled high with CDs. Below, there is a keyboard. On its stand, a flier reads “Seize the Beat: Music and Race in the Deep South.”

Torff reaches inside the largest case, revealing a glossy guitar. He begins to strum, unleashing a bluesy melody. He plays with a casual nature, at ease in a space filled with relics of a rich musical past. 

He continued to sweep the silver strings, eventually breaking loose from an almost trance-like state to reveal the song’s title: “Good Trouble.” The original piece was written in honor of John Lewis and inspired by Torff’s crossing of the Edmund Pettus Bridge, the site of the “Bloody Sunday” conflict in 1965.  

His time spent in Selma, Alabama marked a stop in a larger tour of the Deep South. Accompanied by his wife, Torff ventured into the heart of the Civil Rights movement. He recalls standing on the grave of Robert Johnson, a legendary bluesman and activist buried in Mississippi. 

“It was so profound, it just hit me like a thunderbolt,” Torff remarked. 

Today, this electrifying moment continues to fuel his creativity. He formed the Brian Torff Group, a band driven by a desire to capture the complexity of the American story “through American roots music with an updated twist.” By blending original music with classic Delta Blues, Torff aspires to demonstrate the deep impact of Black music on our nation’s culture. 

The Fairfield community will have an opportunity to experience their unique performance style by attending the “Live at the Levee” Music Series. The series will commence tomorrow, Oct. 10 at 7 p.m., functioning as an “informal music gathering.” Torff highlighted the intentional distinction between the gathering and a typical concert. 

“When we think ‘concert,’ we usually think, ‘I’m going to sit in the chair,’” he explained. “‘This is probably an assignment and there’s something expected of me.’”

As a member of Fairfield’s Arts Institute Steering Committee, Torff understands the value of programs that bring students into traditional art spaces. But, he also sees merit in providing on-campus opportunities that are “not as high level as the Metropolitan Museum of Art.” 

By performing in the Levee, which he characterized as a “kind of unused resource,” Torff hopes to remove the notion of obligation. By opting for an unstructured format, he believes the dynamic essence of the Blues and Jazz genre will be amplified. 

“We’re just going to play and have fun,” he shared. “And, we hope the audience does the same thing.” 

The setting of an understated sports bar is not Torff’s standard venue. His extensive resume includes performances at the White House, Carnegie Hall and the Hollywood Bowl. Torff has shared the stage with icons of the industry, plucking his double bass alongside the likes of Frank Sinatra and Tony Bennett. Still, he is just as thrilled to set up on the tiled floor of the student body’s beloved pizza joint. To Torff, his title as a Fairfield University professor is at the top of his list of accomplishments. 

“I think it’s a critically important role to be in,” he said. “I take it very seriously.”

Torff began teaching in 1993, following a stint as a substitute teacher for a “History of Jazz” course. He admitted that he “came into academia through the backdoor,” but has since fallen in love with the educational environment. However, he also recognizes the limitations of the classroom setting. 

“We need more students to make the discovery. It’s about going and looking and seeking,” Torff emphasized. “It’s great to have an assignment. It’s great to learn in school. But, ultimately, it comes down to the individual living a life that seeks out continuous learning.” 

Senior Justin Sabogal was offered the opportunity to collaborate with the Brian Torff Group, tapping into this mode of hands-on learning by creating videos for the band. With fellow Film, Television and Media Arts (FTMA) major Jacen Januseski ‘25, he filmed and edited a three-hour set of the band’s original music. 

“We filmed 11 songs that were all original pieces written by Brian,” Sabogal noted. “Filming the band was a really cool experience. I enjoyed capturing the performance while also listening to great music.”

The film was recorded in Studio A at the Media Center. The featured songs included “Mississippi Saxophone,” “Ain’t Gonna Play No Second Fiddle” and “Legend of Robert Johnson.” 

Owen Bonaventura served as the recording engineer for the project. By assessing the technical resources offered at the Media Center and pulling equipment from his personal studio, he was able to execute Torff’s aesthetic vision. 

“Brian’s music is very ‘rootsy’ and vintage-inspired, so he wanted the aesthetic of the recording to feel like the viewer was watching a live band playing together in a room,” Bonaventura illustrated. “He didn’t want it to be too perfect– he wanted it to feel real.”

Bonaventura, who received a Grammy nomination for his work in the “Dear Evan Hansen” movie, can recognize notable talent. He underscored that, in addition to immense musical talent, Torff possesses intangible qualities that “allow him to perform among the echelon of artists that he does.”

“There are many people who are masters of their instrument, but there is a great distinction between someone who is just a talented player and someone who plays among the greats,” he clarified. “The musicians that get the calls are good people first, above all else. They are very easy to get along with, and their presence lifts the energy in the room… Working with Brian is very easy because he deeply enjoys making music, and his energy fosters an environment where creativity thrives.” 

Sabogal echoed Bonaventura’s sentiment. 

“Working with him on that project was a great experience, but getting to know him and hearing his story was even more meaningful,” he said. “I’ve always loved collaborating with artists because of their incredible talent and creativity.” 

With his sights set on a career in the entertainment industry, Sabogal is inspired by Torff’s pursuits and looks forward to filming another concert in Spring 2025. He reiterated the role that music and film play can play in driving positive change and feels that the Levee Music Series will be an extension of this movement. 

“Fairfield will benefit from this event because it will create a new community on campus,” Sabogal observed. “It will bring students and faculty together to enjoy music that’s not often heard on campus, performed by one of their own.”

Bonaventura agrees, adding that the Levee Music Series will “expose Fairfield students and faculty to genres that are historically significant in the development of modern American popular music while remaining entertaining and educational for today’s audiences.” 

Torff celebrated 50 years as a professional musician on Oct. 2, as his first “break” the opportunity tour with Cleo Laine in 1974. Half a century later, he continues to lean into life’s “unexpected twists and turns” and the ever-evolving “language of music.” In the spirit of a true Jazz musician, Torff is open to adaptation. Whether performing for a crowd of 20 or 20,000, he is compelled to communicate meaningfully with each new audience. 

“Music can’t solve the world’s problems,” Torff concluded. “I do think, though, that it has power in the sense that more people will want to come and hear music than listen to a speech. The problems of race in America are ongoing and we have a responsibility to put important messages out there. We can’t go to sleep on it.” 

The Brian Torff Group will perform at the Levee from 7 to 9 p.m. tomorrow. Their next performance will take place on Thursday, Nov. 14. Dates are also planned for January, February and March of 2025. Admission is free.