Tony MacAlpine	Website:	www.Tony MacAlpine.com
	Genre(s):	Neoclassical, Progressive, Jazz Fusion
	Instrument(s):	Electric Guitar, Acoustic Guitar, Keyboards, Piano
	Trademark(s):	Virtuoso guitarist, keyboardist, and pianist, classically trained pianist, purist neoclassical compositions, melodical, musical, accessible style, strong Chopin influence.
	Album(s):	Edge Of Insanity Maximum Security Freedom To Fly Madness Premonition Evolution Violent Machine Chromaticity
	Collaborations:	CAB CAB 2 Vitalij Kuprij, VK3   Vinnie Moore, Mind's Eye Vinnie Moore, The Maze Planet X, Universe
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CAB follows up their popular 1998 premiere with CAB 2, adding Brian Auger on keyboards to the all-star lineup. If you like the initial release by CAB, you will probably like some of CAB 2, if not all of it. CAB 2 is similar to the original, self-titled release by CAB in its sound, texture, and compositional style. The music is centered around themes with complex melodies that explore nonstandard, fusion-oriented harmonization. The tracks are groove-based, setting down progressions characterized by unusual, jazzish tonality and complicated rhythms that the instruments then trade off lead work over when they are not collaborating on a theme.

Being a fan of MacAlpine, I have to admit that I picked up the original CAB and CAB 2 primarily to see what he was doing on them. And, MacAlpine's playing is interesting and blazing fast in spots, as I would expect. But, what I didn't expect is that I would like Bunny Brunel's bass playing so much, especially since I am not a big bass follower. Because it was unexpected for me, I think Brunel pretty much steals the stage on this one. He has several exceptional solos and his playing in general is good throughout, though all of the instrumentation is good and none is lacking. I think it definitely says a lot that Brunel's bass work caught the attention of a guitar-centric listener like myself. He has a great feel that he conveys in his playing and approaches the bass more like a solo instrument taking advantage of string stretching and other effects to give the bass lines and solos character beyond what you might here with a more conventional bass player. Brian Auger also brings a new dimension to the group with his angle on the keys, but his playing is not that far off from the MacAlpine fusion sound from the CAB premiere. Auger definitely lends some stylish improvisation and speedy solos to the effort. And, Dennis Chambers adds his savvy brand of fusion drumming to the mix to give the sound another dimension and more depth.

My favorites from CAB 2 are "Decisions" with its themes that balance tonal complexity with accessibility; "South Side" with its catchy groove and smoking bass, keyboard, and guitar lead work; and "Top Spin" with its solos, and especially Bunny's cool bass solo. But, I was a little disappointed that the group did not capture the electricity on any tracks like they did on "Elastic Man" from the the first CAB release. However, CAB 2 still delivers a solid effort from the group.

If you like melody-centric music that develops themes around exploratory tonality with jazzish foundations that goes outside but not out of the solar system and you like equally-matched improvisation trading off between guitar, keys, bass and percussions, then CAB 2 is something you should check out. Or, if you are a jazz-oriented bass player or have any interest in jazzish bass you should check out Bunny Brunel's exceptional playing on this effort.

CAB makes its debut with drummer extraordinaire Dennis Chambers, renowned axeman and keyboardist Tony MacAlpine, and bouncing bassman Bunny Brunel teaming up to serve up a collection of aggressive jazz fusion tracks to expand MacAlpine's scope further into this genre that the others already have a firm foothold. The tracks on CAB can be characterized as funk/groove-oriented, theme-centric arrangements having an aggressive drive to them but that are balanced with complex yet digestible rhythms, tonal backdrops, exploratory yet accessible themes, and lead work that trades off between bass, guitar, keys, and drums bringing to view the talents of all three contributors. The format seems to be a forum mainly to display the improvisational capabilities in the realm of fusion for the three comparably matched solo acts that collaborate on this effort. CAB is reminiscent of the rock group Cream in concept, but with a jazz fusion spin-off. CAB is definitely leaning toward the rock edge of fusion in its feel, guitar work, and arrangements, though it does seem that Brunel and Chambers are tugging the rope vehemently in the other direction. And, it is kind of a paradox that MacAlpine's keyboard work on this effort is more jazz-oriented than rock, and yet his lead guitar work has a decisive rock edge to it.

CAB takes it straight to you with "Night Splash", a track that is pretty representative of what you are in for with this CD. "Night Splash" lays out the format of improvisation built around shared thematic development as a center with the improvisation collaborated by all four instruments involved, usually with one instrument in the spotlight, and definitely with all instruments being managed by players of near-equally matched skills in the supergroup tradition. What is nice about this format is that the thematic center gives some cohesion to the track that the improvisation can then venture out from and return to when it is time to trade off. This format works well for me as a listener.

There are a number of tracks on CAB that make it worthwhile, each having a different feel that is pulled from some different influence or creative facility. In fact, the effort is pretty solid from beginning to end. So, if you like jazz fusion with a rock edge, it is a good one to pick up. Some of the other tracks that grabbed my attention were "So There Is Love", "Boogie Me", and my favorite on the album, "Elastic Man".

I think the CAB formula works best on the track "Elastic Man" that sets a nice backdrop with the smooth jazzish progressions, grooving rhythms and spunky basslines, that are contrasted by the opening, teasing theme. This backdrop and intro are then decimated first with MacAlpine's soulful keyboard solo and then his full-frontal assault of ripping guitar work featuring some really cool muted, speedy runs that gives the track its character and title. MacAlpine then with a single grinding stretch lets you know that it is time to pull out the stops and lets the shrapnel fly with some shredding that works nicely over the jazz foundations. If that weren't enough, Brunel lays down some incredible bass work throughout and especially in his solo that is able to keep things going even after MacAlpine's inspired solo that doesn't leave much room for conversation afterwards. I think that "Elastic Man" is the type of arrangement that would have a broad appeal that spans well beyond the jazz fusion listening audience... it is coooool!!! {8{)

I enjoyed CAB for its listener accessibility, aggressive brand of rock-edged fusion, and impressive soloing, especially on bass and guitar, though the keboards and drumming are really entertaining too! The tonality is both interesting and satisfying. But, from an listener's viewpoint it is good how CAB balances complexity and jazz-isms with listener accessibility; a touch juggling act for any arranger, but one that CAB has pulled off pretty well.

The Derek Sherinian - Tony MacAlpine - Virgil Donati collaboration known as Planet X has released a collection of exploratory tracks on Universe that are right out there with the real Planet X. The tonality on these tracks is pretty dissonant across the board which makes the music pretty inaccessible to the average listener. For an educated ear, the tonal exploration and lead work that follows it could be pretty interesting. However, the characteristic of this music that made it lacking in luster for me was the oppressiveness of the rhythms that drive the outside-sounding progressions and harmonies. The rhythms sounded very monotonous and stale to me causing the music to become oppressive to listen to.

It is amazing how MacAlpine can shift gears so easily and switch from one genre to another as seamlessly as a chameleon. MacAlpine's playing is impressive, as always, and even moreso to some extent because of the difficult progressions he harmonizes with. In fact, all three are obviously great musicians, but the end effect just does not strike a resonance with me. I was disappointed that there was not more melody and cohesion in the composition, but instead there was intangible harmonization, disenchanting rhythms, and a conspicuous absence of inspiring melodies that have made MacAlpine one of my favorite musicians. In a word, dissonance. But, maybe that's what you might find on Planet X and that is what was intended. I think there may be a divergence in opinion over Universe by Planet X among the average listener and the educated musicians because of the inaccessibility of the harmonization involved and general dissonance. But, my primary goal in this review is to warn the listeners what they are getting themselves in for with the dissonant foundations that Universe is based upon. This is definitely not a sound for MacAlpine that is within the scope of anything he has done before, at least that I have heard!

Tony Macalpine: Violent Machine

Expecting another neoclassical effort, I was at first disappointed with this CD. This effort is definitely not straight neoclassical. It is something else. I'm still not sure what it is. But, now that I have gotten over that disappointment, I really like this album. This is a departure from the norm for Macalpine. Macalpine broadens his style incorporating new stylistic elements and begins to redefine himself. Don't expect the strict structuring that characterized some of Macalpine's earlier efforts. This one is a little looser and is the better for it. Violent Machine grows on you over time and becomes better with each listening. It is a new style and requires a little time to sink in.

On Chromaticity, Tony reembarks on the stylistic direction undertaken in Violent Machine, stretching his boundaries beyond conventional neoclassical. There are neoclassical overtones, but the style on Chromaticity defies a genre. MacAlpine brings in new elements of harmonization to his fret work in a barrage of frantic, driving runs that are balanced with slower outside melodies and harmonization. The melodies are more complex and further outside the diatonic context than previous MacAlpine efforts, but it comes off well. The new melodic character is sustained throughout the album, keeping true to the title. The influence of Chopin's chromaticism on MacAlpine is evident as Tony takes it further than he ever has before, fusing it with other influences and his own, unending creativity. Chromaticity is almost like a fusion between neoclassical and jazz fusion and instrumental rock bringing stylistic elements from all.

Chromaticity comes out of the gate like a claustrophobic Thorougbred with the stand-out, lead off track, "Christmas Island" that sets the pace and the feel of the album. MacAlpine trades off blistering fast runs on the guitar and keyboard using some very unusual tonality and patterns that strike an appealing balance between an outside sound and digestible harmonization. The wild guitar runs are woven seamlessly with the chromatic melodies that form the themes that the composition is built around, always finding the trademark MacAlpine accessibility that makes them work. "Chromaticity" follows suit with a similar format, but different themes and different shredding, speedy runs that together form a synergy of relentless drive and relief. "City Beneath The Sea" offers a little more relief from the onslaught of chromatic shrapnel that MacAlpine blasts in the first two tracks. The third track is more melody-centric with some soulful, tasteful MacAlpine themes that constitute the basis of this composition. The melodies then open up into some faster playing that is still very melody-oriented, making "City Beneath The Sea" one of MacAlpine's tastiest tracks to date with its unusual yet accessible harmonization. Chromaticity continues on, exploring some unusual chromatic and boundary-stretching tonality that balances exploration and listener accessibility in a very tenuous fashion that pushes the edge of the envelope of what is digestible, but always stays within that limit.

If you liked the direction MacAlpine took in Violent Machine, you will most likely like Chromaticity. MacAlpine has made a serious effort to reinvent himself and stretch the boundaries of his musical scope beyond the neoclassical genre that many have pidgeonholed him. The signature speedy runs and catchy themes are still present, but the tonality is drastically different on Chromaticity. This new tonality makes this album interesting enough to take a listen, even if you aren't interested in straight-laced neoclassical (any longer). Chromaticity is a solid effort from MacAlpine with themes that grow on you the more you listen to them. You will have to reassess your understanding of MacAlpine after listening to this CD. Check it out.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com

Tony Macalpine: Maximum Security

When I first met up with guitar wizard and instructor Lee Wertman way back when, he asked me what I wanted to hear when I listened to music. As I enumerated my criteria his eyes widened. The following week he gave me a tape of Maximum Security and said "you are going to love this". Few people have ever estimated me that accurately. The following day I bought every Tony MacAlpine CD I could find. And, it is only once in your lifetime (or a few times if you are really lucky) that you will be introduced to something new that relates to you that significantly that you are leveled by it.

Maximum Security is a landmark in neoclassical guitar that showcases Tony's musicality and guitar mastery. Tony is incomparable and Maximum Security stands to date as his crowning achievement. MacAlpine's style seamlessly integrates blistering fretwork with melody in a manner whereby the resulting music transcends the complex technique involved. MacAlpine is the real deal and this is why so many have tried to immitate him since. Also, the supporting rhythm section on Maximum Security is first rate. Maximum Security is solid no matter what angle you look at it from.

I give Maximum Security a 10, especially in consideration of when it was released. World class when it was released, and still is.

Copyright 2001 - 2003 Christopher Ruel. All Rights Reserved. www.ChrisRuel.com