Christopher Ruel's Neoclassical Reviews Web Page

High Definition is a monumental instrumental effort that sets the new high water mark in the neoclassical arena. High Definition has taken the neoclassical genre to an entirely new level that definitely rivals and may even exceed the traditional European predecessors of the neoclassical movement. This album is highlighted by the blistering fast, synchronized dual lead work and lead trading of Ukrainian-exported keyboard wizard and performing classical pianist, Vitalij Kuprij of Philadelphia, PA, on keyboards and his newly found neighbor and guitar slinger, Greg Howe of Easton, PA. Be prepared if you have not heard this one yet, because it will take you straight between the eyes. The composition is superb. The execution is unbelievable. The breadth and depth are staggering. This album is a nonstop cavalry charge from start to finish. Greg Howe, known mainly for his jazz fusion or really undefinable, eclectic style, demonstrates that he is a very capable candidate in the neoclassical arena.

The composition contains all of the elements that I like to see: melody, harmonization, structure, time changes, catchy rhythms, unexpected changes of direction, and relentless drive. The playing has finesse, precision, feeling, and grasp that has never been known in the neoclassical sphere before this CD was released. Greg Howe delivers his brand of barely contained aggression with blinding speed that that is so refined that it is deft. The synchronized sections with Kuprij will have you scratching the sand off your jaw after it hits the ground - the speed and synchronization are that amazing. It is as fast as anything I have ever heard and it is musical and accessible at the same time! This level of sophistication coupled with playing this speedy and tight has never been seen before in any type of music.

So, now if you have bought High Definition based on this review, you need to be prepared for the way that this CD unfolds. If you hate it when somebody tells you the plot to a movie you are going to see and don't like it when somebody ruins a surprise for you, then skip over this paragraph. Otherwise, you should be prepared for a slow opening, a sort of an ominous prelude that is a build up to the real punch that is kept in store. Vitalij and Greg are going to play with your heads on the first track, "Beyond Infinity", which merely hints at what is to follow. And, this build up continues into the second track "High Definition" for about three minutes, until it finally delivers the neoclassical punch melody that has been promised. And, then you know, if only for a brief time, that you are in for some serious virtuoso fireworks. Now that you have been teased and tormented for two tracks, Vitalij and Greg are done messing with you and they are ready to pull out all of the stops. The ascending arpeggio theme lets you know that High Definition is coming on straight ahead for you with "Symphony V" into the neoclassical frenzy you have been promised.

Listen closely for the synchronization of keyboard and guitar on "Symphony V". The synchronization is so tight that some people that I have played it for can not tell that it is two different instruments. That is how good it is.

Well, after "Symphony V" you can expect this virtuoso level of musicianry and composition to continue for the remainder of the album. Every track on High Definition is exceptional and lends balance to the album in some way. The standout for me is "Opus I (Theme By Paganinni)". This single track really captures all of the positive elements of the synergy between these two great virtuosos, Kuprij and Howe, not to exclude the inspired and exceptional drumming of Jon Doman that sets the pace and drive of the entire effort. Jon Doman must have been ready to run a marathon after the exercise he got making this album. "Opus I" is loosely based around a theme by Nicolo Paganinni, the legendary violin virtuoso and composer that the two pay tribute to in this composition... or should I say the virtuoso that the two shamelessly outdo and relegate to the recesses of history for all time, leaving Paganinni only his compositional skills to distinguish him. Greg Howe clearly demonstrates that the electric guitar is the instrument of choice for modern virtuosos by enunciating the wide scope of technique, speed, tone, dynamics, and feel that is available in the electric guitar that can not be gotten out of the violin or any other instrument for that matter. But, Kuprij steadies our thinking by reminding us that the piano and keyboard with a talented player can keep up with just about anything Greg Howe can do on the guitar... except, arguably, the nuances that can only be gained by direct contact with the strings. (But, if you have any doubt about this, take a listen to "Sky Overture" by Uli Jon Roth and he will prove my point here!... I'm sure I might get some disagreeable e-mail on this one though...)

The music in High Definition is intense, driving, speedy, precise, inspiring, overwhelming, moving, enthralling, and will have you jumping out of your chair, frothing at the mouth like a wildman before you are through listening to it! On a scale from 1 to 10, High Definition is an 11. It is the single album that is the best of breed in the neoclassical genre and has not yet been topped. If you like or ever liked neoclassical, you must buy this one. Your life will be incomplete without having heard High Definition. If you are a neoclassical fanatic, High Definition will be the centerpiece of your collection. Truly World Class. For those of you who have undergone continual disappointment ever since Yngie's Rising Force album, this is the one that takes it to the next level and delivers what you have been wishing for... but maybe had given up on. So, if neoclassical depression has got you down, Dr. Chris prescribes a dose of High Definition to bring your heart back to life and get your pulse going once again. When you hear the speed and precision, you will understand why they named it High Definition... they weren't kidding around with you now!

Keyboards and Piano	Vitalij Kuprij
Guitars and Bass	Greg Howe
Drums	Jon Doman

1) Beyond Infinity

2) High Definition

3) Symphony V

4) Divided World

5) Excerpt From Sonata In A Minor (Mozar)

6) Opus I (Theme By Paganinni)

7) Why?

8) Parallel In Time

9) Silent Destiny

When Extreme Measures was first released, I was skeptical that it could maintain the level of excellence set by Vitalij Kuprij and Greg Howe in High Definition. Boy was I wrong. George Bellas picks up right where Greg Howe left off, bringing with him a different feel that is a little more raw and openly aggressive, closer to an Yngwie feel in its raw energy. The composition on Extreme Measures demonstrates a depth and indominatable character that will not be limited by any bounds as Vitalij Kuprij does what no other neoclassical virtuoso has been able to do before him... follow up his debut album with a second effort that is comparable to the debut and in this case possibly exceeds it.

Extreme Measures opens with "Prologue", a slow, contemplative prelude with a longing melody that sets the backdrop to provide a drastic contrast for the fiery keyboard work and singeing guitar melodies and runs that are about to ensue with "Destination". When the transition from "Prologue" to "Destination" occurs, you will know what you are in for this time. Kuprij is not going spend as much time toying around with you at the beginning as he did on High Definition. But though it is impressive on its own, "Destination" is really just another prelude of sorts to the real scorcher that is to follow.

"Extreme Measures", the title track, pulls out all the stops as Bellas asserts his abilities, demonstrating that he is truly a world class player, along with his Kuprij-predecessor, Greg Howe, as well as his obvious influence Yngwie Malmsteen. And, Vitalik Kuprij, well, his virtuoso talents are just assumed at this point after High Definition. But, unlike some predecessors, Kuprij has been able to maintain a comparable level of composition and proficiency to his debut release, on this, his second effort. Anyway, the title track, "Extreme Measures" is a driving, vibrant instrumental that is carefully orchestrated and features some really scorching guitar work by George Bellas. I had heard George Bellas' solo material (which is pretty good on its own) prior to this release, but even then, I was not prepared for his playing on Extreme Measures. Bellas' guitar work on the track "Extreme Measures" is so conspicuously incredible that this single track will make you need to reevaluate his capabilities altogether. The sweeps are so smooth, fluid, and fast they are surreal, transcending the mechanics. The feeling is both inspiring, mesmerizing, and haunting at the same time. The precision and cleanness are staggering. The arrangement of the sophisticated, guitar-intensive runs and sweeps is brilliant. And, the emotional content that Bellas imparts to his playing is so clearly stated that he probably could not get it across better if he were to state it in words. Did I mention how amazing Bellas' sweep picking is? OK. I just didn't want you to miss this point!

And, though I am primarily pointing out Bellas' contribution on this track because I think it is probably the biggest feather in his career hat to date (though he is building a headset that rivals an Indian chief), it should also be understood that Kuprij is right there taking it to him the whole way and that he is not in the background in a secondary role. But, Bellas presence on "Extreme Measures" is noteworthy because it was a surprise to me (but maybe not to his many students around Chicago), even though I was already aware of his capabilities to some extent.

Vitalij Kuprij sets a new type of standard with his heart-wrenching ballade "Crying In The Shadows". Kuprij has really blurried some lines that were previously clear between classical, neoclassical, and world music on this track. He demonstrates a strength in his personal character by bringing a composition that is obviously so sentimental to the aggressive neoclassical genre. However, this may not be so unusual for a musician of European origin. But, you probably will be surprised the first time you hear it. The slow melodies in "Crying In The Shadows" prove that there is more to being a great musician than merely possessing the capacity for speedy playing. Kuprij has composed a captivating instrumental love song (of lost love) that is built primarily around his mastery of the psychological effects of tonal relations and timing between notes, much like Chopin's and Mozart's melodies hinge upon. Kuprij works around his main theme with many variations that maintain the slow melody feel, but also arranges some very quick grace notes and seamlessly integrated faster runs within these melodies. "Crying In The Shadows" is one of the most moving and absorbing compositions I have ever heard, classical, neoclassical, movie soundtrack, or anything else. I would love to know what the inspiration for this composition was!

Another notable track on Extreme Measures is "Track On Fire"... and the name is not misleading because this track is a-blazing fast and definitely ablaze with fire! Kuprij and Bellas trade off blistering fast lead work on "Track On Fire" as they reassert their prowess over their respective instruments. You are not going to believe Bellas' playing on this track as he fortifies his standing in the world class arena. And, again, Kuprij is right there taking it to him.

On Extreme Measures, Kuprij ventures further into his straight classical recordings with coverage of two Chopin etudes, as well as coverage of LVB's "32 Variations In C Minor". This coverage of straight classical piano works clearly demonstrates Kuprij's capabilities as a performing concert pianist for traditional classical music. Kuprij executes these complex works with world class precision, timing, dynamics, and comprehension. For you younger listeners, this is a really good disc to trick your parents into taking a listen to neoclassical music. You can lure them in with these Chopin etudes, then let the CD just run into one of the neoclassical pieces, and watch their expressions while you sit back and grin. Extreme Measures is great fun for the whole family! ;) Just be sure to remind your parents that once musicians have mastered classical music like Chopin and Beethoven, that they move up to the next level of performance... neoclassical!!! ;) They will never be able to give you a hard time about blasting neoclassical on your stereo again.

I have looked at Extreme Measures from a number of different angles since I originally purchased it when it was first released in 1998 and I have not been able to find anything bad to say about it since then. The production is first rate. The instrumentation and tones applied are perfect. The playing is simply unbelievable... state of the art. The composition is as good as anything that has ever been written. The thematic development, structuring, and counterpoint are enthralling. The rhythm section is outstanding... surprisingly, Jon Doman must have survived his first marathon sprint session in High Definition and was sadistic enough to try it again on Extreme Measures... John Onder probably just didn't know any better ;) but showed skill, composure, grit, and amazing drive to keep up with the blazing tempos. And, the overall impact and emotional projection from the music are devastating. Bellas has assimilated that Yngwie quality of drive and presence in his feel, that he may have exceeded even Yngwie in that Yngwie quality. ;)

Extreme Measures has cemented a position in my permanent rotation with its display of dual virtuoso proficiency and superb composition. On a scale from 1 to 10, I give it a 10 without second consideration. Extreme Measures is world class and balances precariously at the pinnacle of modern Western music of any genre. Maybe Extreme Measures is as good as High Definition, but it is never quite the same after your first time, no matter how good it is! But, at least Extreme Measures does not come up short and that in itself is astounding. I will leave it up to the listeners to decide if Extreme Measures exceeds High Definition... We're onto you now Kuprij!

Oh, and just in case you noticed those flames on the cover art, they are there for a reason... this CD will set your stereo on fire!!!

Keyboards and Piano	Vitalij Kuprij
Guitars	George Bellas
Bass	John Onder
Drums	Jon Doman

1) Prologue

2) Destination

3) Extreme Measures

4) Depression

5) Chopin Etude #11 in A Minor Opus 25

6) Crying In The Shadows

7) Track On Fire

8) Chopin Etude #12 In C Minor Opus 25

9) Intrigue

10) Ludgwig Van Beethoven 32 Variations In C Minor

11) Epilogue: Improvisation On A Theme By JS Bach

Tony Macalpine steps up to the plate on guitar with Vitalij Kuprij on his third outing on the mound, VK3. I was curious to see what would happen in this effort because both Tony and Vitalij are virtuoso keyboardists with a mutual interest in Chopin. And, Tony MacAlpine is one of the premiere guitarists in the neoclassical arena, so I really had high expectations when I had learned that the two were teaming up for this release.

VK3 is different from Kuprij's previous two efforts. The composition covers a broader range and is not characterized by the same raw drive that the previous two efforts had. This is not to say that the music is without drive, but it seems as though the drive takes on a different nature in VK3. Maybe it is just that Bellas' presence was so stunning on Extreme Measures that it was just difficult to follow. The high level of composition and sophistication delivered in the previous two CDs is maintained in VK3. The album follows a format that seems to be emerging in the Kuprij releases where the first two tracks build up to the centerpiece which is the third track.

My inclination for Chopin makes "Alternate Diversion", the third track on the album, my favorite. "Alternate Diversion" is based upon a Chopin prelude that Kuprij then decides to develop in his own way into a more involved composition. "Alternate Diversion" remains true to its namesake and goes in the directions unexpected, even though we are expecting it from the title. The opening theme, taken verbatim from Chopin, is MacAlpine's finest moment on the CD. The Chopin theme is played with an overpowering, haunting feel that is absolutely captivating. "Forever" is another good track that can be characterized as having a feel of appealing resignation to it.

On a scale from 1 to 10, I would give VK3 an 8 overall, which is good enough to put it into my permanent rotation with the others by Kuprij. VK3 did not live up to my expectations of Maximum Security meets High Definition that I had anticipated was going to be the best Kuprij release to date. Tony's guitar work seemed to me to be lacking in the characteristic melody-centric style that I have come to like so much about MacAlpine. VK3 is still an awesome CD and maybe my assessment is a little tarnished by my high expectations for the album that I just felt were not delivered. With the common interest that Kuprij and MacAlpine share in Chopin, I thought there would be more chemistry and synergy, but apparently Kuprij had more synergy with Bellas on guitar, in my mind anyway! VK3 is still better than most neoclassical stuff out there.

Keyboards and Piano	Vitalij Kuprij
Guitars	Tony MacAlpine
Bass	Dave Naccarelli
Drums	Jon Doman

1) Break Through

2) Estimation

3) Alternate Diversion

4) Infusion

5) Forever

6) Game Of Power

7) Reflections

Greg Howe follows up his neoclassical work on High Definition in a solo effort that focuses solely on neoclassical. Maniacal stands out among the others. The syncopated rhythm is disturbing yet compelling. If you don't have a stable heart, be careful not to play this one too loudly. The composition is nothing short of brilliant, making Maniacal one of my all time favorite neoclassical tracks. The rest of the album maintains a high level of excellence, as we have come to expect of Greg after High Definition, but does not maintain the relentless drive that is accentuated in Maniacal. Greg's playing and composition on Ascend are world class, but I've listened to High Definition so much that I've now gotten used to it. One surprising aspect to this album is what seems to be a Rush influence that I had not seen up to this point in Greg's playing. Greg's influences are diverse in style and genre but all have one thing in common: they are all outstanding musicians and this shows in his absorbtion of styles.

The rating on this one depends on your taste and preferences. I go back and forth on this one, depending on what type of music I want to hear that day.

Back around the time Turn Of The Millenium came out, I was desperate for new neoclassical material. I was blindly pulling stuff off the Shrapnel web site to try to find new virtuosos that were pushing the envelope forward. George Bellas was one of the first to answer that calling. My first impression was that "oh here is another Yngwie clone". But, a closer listening and subsequent efforts have proven otherwise. George is definitely influenced by the likes of Yngwie and Uli Jon Roth, but he is his own man and his work stands on its own legs of merit. So when you buy this CD you can expect composition that is reminiscent of Yngwie, but Bellas delivers in a strictly instrumental packaging that Yngwie departed from after his initial effort. Turn Of The Millenium launches George Bellas into the world class arena.

War Cry shines above the others on this CD with its compelling, driving melody that will give Viking bravery to the yellowist, chicken-livered coward.

This one makes it into the permanent rotation with an 8 out of 10, with tracks that are 10s in their own right.

George comes out of the chute bucking, snorting, and driving for a victim on this one. The second track, Ripped To Shreds, redefines speed with precision with a bid for the king of speed in the neoclassical arena. The composition is complex and substantial and has a tendency to get nostalgic in the later tracks. There is no way the rest of the CD can maintain the level of drive established in Ripped To Shreds. I look at this one as a prelude to Extreme Measures which takes Bellas' playing to an entirely new level.

I'd give this one a 7 out of 10 overall with a noteworthy 10 on the first track which is as good as anything that has ever been put out.

Vinnie Moore: The Maze

1999, Shrapnel Records

CyberHome: http://www.VinnieMoore.com

For those of you who had written Vinnie Moore off and had forgotten about him, he is back with a vengeance. The epic, title track to The Maze is his best effort to date. Vinnie has teamed up with his old collaborator, Tony MacAlpine, to break the "Bach Rock" stereotype by broadening his scope of style and composition with the collection of diverse tracks he has arranged on The Maze. And, for those who thought Vinnie was a little too strict with his time, he does not sound like he is playing along with a metronome on this one. This is a different Vinnie Moore that has brought along with him all of the things that you liked when he first came out with Mind's Eye and Time Odyssey, but has now addressed some of the areas that he had been criticized. There seems to be a growth in his playing that brings more aggression, feel, fluidity, and drive - more life and personality. There has also been a growth in Vinnie's style that has incorporated elements outside of traditional classical and neoclassical that are from other genres and styles of music that Vinnie has explored in the ten year interim that he ventured from the neoclassical format. The music is more well-rounded and diverse because of these new influences.

"The Maze" opens up the day of racing and gallups wire to wire for the distance (8:39) with an all out, relentlessly driving shred-fest complete with well-felt melodies, divergent themes and variations, and all of the classical structuring and sequencing that you would expect from Vinnie Moore. "King Of Kings" follows with its inspirational themes, speedy fretwork, and uplifting arrangements. Another highlight of this CD is "Never Been To Barcelona" a lively, Spanish-sounding, acoustic masterpiece that has merit on its own as a straight classical composition. The complexity and accessibility of "Never Been To Barcelona" are very impressive, as is the proficiency and cleanness that Vinnie pulls it off. And, the themes and thematic development are just beautiful... comparable to Sor, Segovia, Parkening,... World Class.

"The Thinking Machine" is another track that showcases some involved thematic development built around complex guitar pattern sequencing and Vinnie's ability to deliver satisfying melodies and themes right when they are appropriate. And, "Eye Of The Beholder" is another track built in the neoclassical format that showcases Vinnies prowess as an axeman and a composer.

I didn't feel as though the entire CD kept up the pace set by the title track, "The Maze", which has set a new standard for Vinnie Moore. But, the effort is a solid one and I was very pleased to see Vinnie Moore back in the neoclassical arena with an effort that is sure to re-establish him there.

It is worth getting The Maze just for the title track and "Never Been To Barcelona". But, if you are a neoclassical fan, you will find other tracks that are enjoyable as well. If you were once a neoclassical fan but have moved on to other genres now, you should check out The Maze just to see how Vinnie Moore has evolved. And, don't bring your preconceptions with you, because you are in for a few surprises.

Guitars	Vinnie Moore
Bass	Dave LaRue
Keyboards	Tony MacAlpine
Drums	Shane Gaalaas

1) The Maze

2) King Of Kings

3) Cryptic Dreams

4) Never Been To Barcelona

5) Watching From The Light

6) The Thinking Machine

7) Eye Of The Beholder

8) Rain

9) In The Healing Garden

10) Fear And Trepidation

Vinnie Moore: Defying Gravity

2001, Shrapnel Records

CyberHome: http://www.VinnieMoore.com

For those of you that had thought that Vinnie Moore was a historical footnote in the neoclassical movement in the 1980s, you had better take another look. Defying Gravity is Vinnie Moore's strongest effort to date as Vinnie has pumped out his second serious neoclassical effort in as many years. And when you do pick up Defying Gravity, be prepared for a new Vinnie Moore. Vinnie's playing and style have changed vastly, though there are some remnants of his 1980s style. Vinnie has brought in a lot more feeling, a little looser timing that lends more fluidity and grace to the music (you may not be able to calibrate your metronome by it any longer), and some really nice aggression! ;) For those of you who have already heard The Maze, Defying Gravity picks up right where The Maze left off and even kicks it up a notch or two.

There are a number of stand outs on this effort. The title track, "Defying Gravity" sets the scene for what Vinnie has in store for us with some very accessible themes, speedy guitar work, and relentless drive. The Spanish-flavored, acoustic masterpiece "Last Road Home" is one of Vinnie's best compositions to date and rivals any acoustic composition classical or neoclassical. The inspiring "Alexander The Great" will instill bravery in the heart of the meekest soul with its empowering themes and emotional content. This epic composition will lend you the heart to cross the Granicus River on your trusty mount, Bucephalas, with your cavalry behind you, and to then face the Persian army of Darius that outnumbers you ten to one. And, you will know that you are going to be victorious despite the odds. "Awaken The Madman" steps up the pace an intensity with a gallup down the homestretch to the finish line with some very aggressive and speedy themes. The all out stampede and cavalcade is complete with a slow-motion victory gallup and fanfare section packed full of well-felt melodies that balance the driving, shredding-fast maniacal theme. "Awaken The Madman" is slightly reminiscent to me of Greg Howe's "Maniacal", at least in concept, but probably also in emotional content. You will be pleasantly surprised on this one, I'm sure.

My favorite and the final track, "Between Then And Now", is a bittersweet, melodic, savory, little ballade that demonstrates a depth and feeling that will squeeze your heart through your throat and that many in the past have said that Vinnie lacks. But Vinnie Moore has set the record straight this time around and there is no question about his depth and feeling any longer. The maturity that has evolved in his playing, style, feel, and composition will make you realize that you need to reevaluate what you thought Vinnie Moore was all about. Once again, as in The Maze, Vinnie demonstrates that he has grown to more depth than his original efforts in the 1980s. It is good to see guitarists / musicians / artists pushing forward, rather than just trying to maintain ground. And, my hat is off to you Vinnie Moore for reinventing yourself when many people were saying that you were through! I think we can no longer call Vinnie's style "Bach Rock". It has become broader in scope than that now.

Defying Gravity is worth checking out, especially if you liked The Maze. Defying Gravity is among my favorite neoclassical albums. If you are a neoclassical fan or liked Vinnie Moore's neoclassical efforts back in the 1980s, you need to check this one out. Defying Gravity contains some of the best neoclassical music that has ever been recorded. Give it a shot! This definitely is not the Vinnie Moore you remember from the 1980s... this one is better.

Guitars	Vinnie Moore
Bass	Dave LaRue
Keyboards	David Rosenthal
Drums	Steve Smith

1) Defying Gravity

2) Out And Beyond

3) Last Road Home

4) Alexander The Great

5) The Voice Within

6) If I Could

7) House With A Thousand Rooms

8) Awaken The Madman

9) In The Blink Of An Eye

10) Equinox

11) Emotion Overload

12) Between Then And Now

Most of us used to view Uli Jon Roth as a pioneer who forged into new areas of style and technique, but was overshadowed by the second generation of players who built on his hard work. No more. Uli Jon Roth has gotten his chops up to snuff with the best of them now and has taken the neoclassical movement by storm. His centerpiece, Sky Overture, is simply put - unbelievable. It brings all of the elements we have come to expect from Uli Jon Roth, such as uncomparable feel, stylistic inflections, and directional changes that can be invented only by Uli. What was not expected was the new level of technical proficiency that Uli has brought to his playing. For those of you who have written off Uli Jon Roth as a pioneer who had played his piece, had made his contribution to the neoclassical movement, and had moved on to become a historical footnote, you had better take another look. The playing on Transcendental Sky Guitar is Uli Jon Roth's best effort to date, easily eclipsing any previous efforts. The technical proficiency rivals Yngwie, Macalpine, and the others, and it brings that undefinable quality and feeling that only Uli has mastered. Transcendental Sky Guitar brings neoclassical one step closer to just plain classical making the electric guitar a viable instrument in the classical context. Like the spectator says in the background at the end of live performance of Tuona E Fulmina - "Unbelievable!!!".

I give it an 8 out of 10, with Sky Overture and Tuona E Fulmina from Vivaldi's Four Seasons receiving 10s. If you like the classical compositions that Uli picked better than I did, you may give this better ratings. But, I like the pieces that are relentlessly driving or have gut-wrenching feeling.

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.

Tony MacAlpine: Chromaticity

2001, Shrapnel Records

CyberHome: http://www.TonyMacAlpine.com

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.

1) Christmas Island

2) Chromaticity

3) City Beneath The Sea

4) Digitalis Destructi

5) Isis

6) Prince Of Lights

7) Still Valley

8) Avenger

9) Eye Of The Soul

10) Etude Nr. 8 Opus 10 (F. Chopin)

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.

Facing The Animal marks the end of an era for Yngwie and the beginning of a new era. There are several tracks that stand out that make this CD worthwhile. These are Only The Strong, My Resurrection, Air On A Theme, among a few others. I wouldn't say that these tracks are anything groundbreaking as far as composition goes, but they are cool songs that make this CD worth getting.

Yngwie fulfills a life-long dream in this effort that stars him playing with a full classical orchestra comprised of professional musicians on conventional instruments. This is not neoclassical. This is Yngwie's debut as a modern classical composer. The compositions adhere strictly to the sonata allegro format that classical compositions used to be based upon. Concerto Suite is much like a violin concerto, except the violinist is replaced with Yngwie on the electric guitar. Don't expect any thundering power chords on this one. The composition is impressive, marked by Yngwie's trademark style. My favorite is the opening track, Icarus Dream Suite, a reworked rendition of my favorite from Rising Force. You have to approach this one as though it were a traditional classical piece when you listen.

This release slipped past me and I didn't pick it up until after the War To End All Wars. This probably turned out to be a good thing because I might not have picked up War To End All Wars sooner if I had gotten Alchemy first. Alchemy starts out with high expectations and fizzles out from there. Although there is some good playing on this CD, I was disappointed overall with the compositional content. I want more neoclassical and new stylistic elements from new CDs from Yngwie. This CD definitely does not meet that criteria to my expectations. War To End All Wars is better in these regards. The few highlights from this CD are Blitzkrieg, Blue (a well-fealt instrumental), and the neoclassical recapitulation Asylum. The three course Asylum, although characterized by trademark Yngwie riffing, restores some faith in Yngwie as a legitimate canditate in the neoclassical arena. He's always got at least one on the CD that compells you to buy it.

If you pick up Double Live, you should not expect anything new from Yngwie on this CD, as this CD rehashes old material. What you should expect is some inspired renditions of the material that is covered. Yngwie's playing is in good form on this live CD. His lead work on old favorites, such as Far Beyond The Sun, is as good as I have heard him live on the many bootlegs that I have heard. Yngwie plays fast and cleanly with good direction and focus of the like that hasn't been heard from him since the mid 80s. But, as I said, don't expect anything new stylistically. I wasn't thrilled with all of the selections on the CD and I think the CD would have been better if a few of the rock genre pieces could have been left off or replaced with neoclassical pieces. But, the live versions of Resurrection, Never Die, Gates Of Bablyon (an old Rainbow favorite), Pictures Of Home (another Ritchie Blackmore favorite from Deep Purple), Seventh Sign, and I'll See The Light are well done. I was surprised that some of these tracks came off as well as they did live. This is a good one to add to your Yngwie collection.

Before I picked up this CD, I read a promo where Yngwie said that this effort would be his best to date. I was pretty skeptical to believe that he would ever produce anything to measure up to his first solo effort, Rising Force. Although, not a straight instrumental album as was Rising Force, the playing and composition on War To End All Wars is Yngwie's best since at least Marching Out. (I'm not going to tell you that there is anything better on the new one than I Am A Viking.) There are a number of good instrumentals with some new aspects to Yngwie's style and with speed that is mind boggling. The composition on the instrumentals is new and solid. My favorite on this one is not an instrumental, however. Running Wild is the postfix to I Am A Viking. This one strikes up a chord with those of us that were around when it all started. Mark Boals can sing. His voice rivals that of Jeff Scott Soto. This album is a departure from the trend Yngwie had embarked on in the early 90s.

Definitely pick this one up and give it a couple of listenings to adjust to. This one is in my permanent rotation.

Borislav Mitic: Borislav Mitic

1998, Shrapnel Records

CyberHome: http://www.BorislavMitic.com

Though not his first release, Borislav Mitic received his first real attention in the USA with his self-titled, Shrapnel release in 1998. When you first encounter Mitic, you are probably going to think something like: "What kind of name is that? He couldn't possibly be any good with a name like that!" But, I am going to caution you right away and remind you of an eccentric guitarist from Sweden that we all thought the same thing about when we first heard his name in 1984... Yep, we thought the same thing... until we heard him play. And, Mitic has got his chops down, so you had best not get too skeptical until you take a good listen to this neoclassical purist that has the same speed and precision as the Swedish viking that conquered the guitar world in 1984.

The self-titled Borislav Mitic album is a strictly instrumental shred-o-rama of highly-disciplined neoclassical chops and compositions. Mitic gives equal attention to his virtuoso guitar pyrotechnics as to his well-balanced composition. Borislav is not just out to throw a bundle of scorching fast guitar work at you. He is out to put it in a packaging that is going to stand the test of time with the finest neoclassical albums to date. The composition, production, and attention to tone, dynamics, and balance are all superb.

The CD opens with "Sky Rider", a harder-edged piece with a sliding, descending, crunching riff that then trades off between some ethnic-sounding melodies and faster playing. "Chasing A Dream" follows with the melodies, speedy shredding, and carefully orchestrated themes and sequences that are Mitic's trademark. Several tracks that lend more ethnic sounding harmonization with Baltic, Middle-Eastern, Indian, and Celtic flavoring follow. "Ballade Pour Elle" is a bittersweet ballade that features some beautiful melodies and inspired, emotional playing by Mitic. The carnival-like, Bizet-Liszt rhapsody, "Bird Dance", features some well-orchestrated sequencing that not only showcases Mitic's virtuoso technique, but also demonstrates his ability to compose palatable music at high speeds from different genres of European and other schools of music.

1) Sky Rider

2) Chasing A Dream

3) Mystic (Part I)

4) Mystic (Part II)

5) Waltz Of Time

6) Celtic Legends (Part I)

7) Celtic Legends (Part II)

8) Ballade Pour Elle

9) Bird Dance

10) Light Of 7 (Part I)

11) Light Of 7 (Part II)

12) Southern Wind

13) Fairytale's End

Borislav Mitic: Fantasy

1992, Sahira Records

CyberHome: http://www.BorislavMitic.com

Borislav Mitic's first solo effort prior to the self-titled Shrapnel release is a showcase of Mitic's command over classical masterpieces by Paganini and the like. The CD is dominated by arrangements built on the foundations of Paganinis "24 Caprices", "2nd Violin Concerto", and "Moto Perpetuo". But, Mitic does not limit himself to Paganini and also draws from other European classics, as well as other flavors of music outside of the traditional European variety.

There is no earth-shattering, revolutionary technique on Fantasy, but the playing is solid, there is mastery of neoclassical techniques, and the arrangements are well thought out. Mitic delivers some blazing chops in a tidy format that is closer to straight classical on electric guitar than some of Mitic's neoclassical predecessors. Mitic is a neoclassical purist with guitar prowess that rivals the best in the world and does not muddy his playing or composition with any infantile rockisms. But, not to worry, there is no shortage of driving pace and aggression in this highly disciplined shred-fest. There is an obvious Yngwie / Paganini / Bach influence in Mitic's style, but Borislav uses this for a base that he builds upon. Mitic adds other influences that spice it up, giving it a different feel than his influences. And, correct me if I am wrong, but it sounds to me like a strong early Greg Howe influence on "Hired Gun" and "Riding The Wind". Mitic is the first guitarist that I have heard that has been able to assimilate that early Greg Howe style. It is impressive.

Fantasy blasts out of the shoot with "Master Of Strings". Mitic doesn't waste any time with a build up and takes it right to you. By the time the main and second theme have completed with their first few variations, you will know what Borislav Mitic is all about. If there are any doubts left after "Master Of Strings", the title track "Fantasy" will clarify matters. But first, Mitic will taunt you with some Paganini-centric themes and shredding on "La Campanella" to make it clear what speeds and precision he is capable. "Fantasy" ensues with a collage of singeing melodies, Yngwie-like riffs (he may have borrowed some signature Yngwie patterns), and searing, speedy runs that will convince the most skeptical guitarists of Mitic's abilities. But, borrowed or not, the playing is really hot and inspired.

"Virtuosa" again showcases more of Mitic's speedy axe mauling that sounds more like a tree running through a lumber mill than an axe. "Virtuosa" has a really neat harmonized section that harmonizes some blistering fast leadwork over a shrilling melody in perfect harmony. Already mentioned, "Hired Gun" and "Riding The Wind", lay down more blazing lead work in the fashion of the early Greg Howe. There are very swift sweeps, fiery runs, and scorching melodies, all played over a hard rock groove and all in the great Greg Howe tradition. Mitic winds down the album with a couple of more melodic, slower pieces. "Written In Stars" is an acoustic composition of Mitic's own creation that fits within the neoclassical genre, but also extends far beyond that with its low-keyed acoustic harmonies and melodies. "All These Years", my personal favorite from Fantasy, starts out as an acoustic piece loosely based on Pachelbel's "Canon In C" and then explodes tactfully into some triumphant arpeggios and warming melodies that reiterate the main theme in a new, more assertive voice. Mitic then goes out with a bang with Paganini's "Moto Perpetuo"... verbatim, leaving no doubts about his skill and command over the guitar.

The more I listen to Fantasy, the more I think I might like it better than the self-titled Shrapnel release. I strongly recommend Fantasy if you liked Mitic's Shrapnel release or Paganini or are a neoclassical purist. There is a lot of good balance between melodies and faster passages in these arrangements. Mitic is the type of player that I am very partial to because of his ear for melody and development of melodic themes. And, Borislav Mitic is making unusual names fashionable again with his shredding, guitar prowess. Who would have ever guessed there would be a virtuoso of this caliber that would come from Yugoslavia? You can get it at http://www.guitarnine.com.

1) Master Of Strings

2) La Campanella

3) Fantasy

4) Ave Maria

5) Virtuosa

6) Epitaph

7) Lion Heart

8) The Road To Babylon

9) Hired Gun

10) Forever

11) Riding The Wind

12) Written In Stars

13) All These Years

14) Moto Perpetuo

Theodore Ziras: Virtual Virtuosity

2003, Secret Port Records, SPR 0009

CyberHome: http://www.TheodoreZiras.com

Theodore Ziras answers the challenge to follow up his world class debut with a comparable sequel on his latest release, Virtual Virtuosity. Ziras unleashes a fury of relentless, aggressive neoclassical fireworks on the first track, "Terminus Ad Quem", blazing a trail of fiery fretwork that sets the frantic pace for the album that seems impossible to maintain, though remarkably, it is. Notably on this effort, Ziras has made improvements on production and integration relative to his phenomenal first release, Trained To Play, though he also maintains his devotion to purist neoclassical philosophy that is characterized by original themes, catchy motifs, mesmerizing patterns, breath-taking sequences, and awe-inspiring arrangements. The compositions are comprised of intensive guitar lines that intracately weave the complex themes, sequences, and passages into cohesive arrangements that dazzle the listener with the individual musical ideas while exhilarating them with the overall musical vision and driving direction that is formed from these constituent elements.

Once again, as on his first release, Ziras has fused a combination of inspired themes with intense development and virtuoso guitar work that established his trademark sound on Trained To Play. His arrangements strike a tenuous balance between the enigmatic, involved technique, arrangement, and structuring, and the musical ideas that they project. These contending elements in the compositional fiber of the music heighten the intensity of the listening experience in a manner that will surely attract the attention of a technical audience while Ziras' attention to accessible thematic development should keep the interest of a much wider listening audience. Followers of Kuprij, Bellas, Becker, and the other devout neoclassical technician / composers will revel in the resurgence of neoclassical extremism that Ziras has achieved with regard to these forementioned elements on Virtual Virtuosity.

It is easily apparent that Ziras has put much effort into developing new and original material on Virtual Virtuosity that distinguishes his guitar playing and compositional ingenuity from the pre-existing volumes of neoclassical virtuosity.Fans of the purist neoclassical school of listening and guitar virtuosity will want to add this release to the top shelf of their collection. Theodore Ziras has put forth another monumental effort that has resulted his second masterpiece of epic scale and colossal proportions. The intensive material on this CD makes for satisfying absorption upon each subsequent listening that only gets better upon each successive exposure.

And, as I already explained once before and Virtual Virtuosity has proven once again thereby re-vindicating my original assertion, Theodore Ziras is the real deal. So, aspiring guitarists and would be neoclassical composers take note because Ziras serves it up fast and hard with the technical proficiency and precision of a Swiss watchmaker.

Tracks:

1) Terminus Ad Quem

2) Dark Valley

3) Depression

4) Air-To-Air

5) The Edge

6) Virtual Virtuosity

7) Fictitious Rhapsody

8) Your Majesty

9) Evermore...

10) The Boring Machine

11) Liquidity

Theodore Ziras. Now this is what I am talking about. Superb composition, amazing technique, staggering speed, breathtaking feeling, enthralling emotional content, carefully balanced dynamics, and polished finesse; it is all there. Theodore Ziras has driven a stake into the ground at the world class neoclassical arena with Trained To Play that has established him as one of the premiere axemen in that arena, ready to fend off all doubters at the peril of their own lives... well, at least their reputations. In a single word: INTENSE. I am now making the official proclamation: Theodore Ziras of Greece is the real deal. He is undoubtedly a virtuoso six string slinger of world class caliber.

Theodore Ziras is a musician who will appreciate the criteria that I have measured my reviews against. Ziras lists his influences who all possess these qualities. These influences show in Ziras' playing and compositional style. What I like about Ziras is his attention to and careful execution of balance. There is balance in speed and slower, well-fealt melodies (and there is no shortage of speed here, if that is what you like); balance in dynamics; balance in tonal contrast; as well as balance in the guitar techniques and contrapuntal phrasings orchestrated. There is thematic development, exploration, and unexpected changes to keep the short attention span of hyperactive minds, like mine, involved. Did I mention that Ziras uses some really unusual instrumentation in spots... is that a harp I hear? It sure sounds good once you get over the shock of hearing it with that restless guitar. And, the technique... the fluid, blazing sweeps like a match set to a trail of gasoline; the blindingly fast scales like a zipper pulled evenly up a jacket; the smoking fast pedal tones like a lark in mating season, only ten times faster; the crystal clear picking as clear as a symbol in an anechoic chamber; the inspired string bending, vibrato, and control; let's not even get into any of that!

Ziras has absorbed and assimilated the styles of Malmsteen, Becker, Bellas, and several other notable neoclassical giants. He has put the resulting hybrid style into a packaging that has a style and feel that are all his own. The underlying feel and melodic invention is unique to Ziras as he applies many techniques and phrasings made famous by his predecessors. But, Ziras is no clone. These now standard techniques that Ziras integrates into his style are used as a foundation to build upon with his own unique compositional vision that breathes new life into these revived techniques. So, although I wouldn't say that Ziras is a pioneer in technique, I would say that he shows skill and promise as an artistic pioneer in the second generation (wave) of the neoclassical musicians that started with Kuprij and Bellas who are building upon the foundations laid by the first generation comprised of the legendary pioneers, such as Malmsteen, Becker, MacAlpine, and Vinnie Moore.

Another aspect of Ziras' approach that I really like, is that he focuses on the clean, melodic, classical aspects of his influences. Ziras plays with clear, clean tone which really makes the fretwork apparent, as well as the technical proficiency involved. The tonal canvas that Ziras paints is pure in its colors and doesn't get muddied by any adolescent fantasies of rock-stardom that could otherwise result in compromise to the classical aspects of the music. This is music written and executed with a vision of its place in a broader historical context and hits its target in the listening audience of neoclassical purists who like instrumental music that is not saddled with trendy rock-isms. One listening to the opening theme (that is reminiscent of George Bellas immediately) will tell you what you are in for with Trained To Play. About the only weakness I might point out in Trained To Play is that it is so guitar-centric that the keyboards a relatively weak... but trust me, the guitar work is enough! You probably wouldn't even think to listen to the keyboards in that context if I hadn't pointed it out. Maybe Ziras should be the next guitarist to team up with Kuprij?... a frightening thought. Are you paying attention? He is that good!

As far as standouts go on Trained To Play, there aren't any. The entire album is absolutely amazing. You will not have a moment to catch your breath from the opening theme to the final note and at any time during the million notes that occur in between. Ziras takes you on a race, wire to wire, with an all out controlled frenzy of blistering guitar work that leaves the competition standing at the starting gate, deer-in-the-headlight eyes wide open and paralyzed with bewildered amazement. And, he does it with classy, well-felt melodies of his own design that taunt his detractors and rivals because he knows he has the speed to back them up. So, though I will refrain from singling out any tracks as standouts, I will say that those haunting melodies in "The Gush" sent chills down my spine and widened my eyes with attention.

Trained To Play has earned my awe and respect. I highly recommend it to neoclassical fans. This is the best new artist neoclassical album to be released since Vitalij Kuprij. Give it a couple of listenings to absorb it. Ziras is a very intelligent musician... and did I mention that he can tear it up and shred with the best of them? If you like neoclassical music, you are going to love Trained To Play. Or, if you are just a guitarist and what to see what the state of the art in neoclassical music is, you should pick this one up. Theodore Ziras is a classy player with a promising future. He is a guitarist's guitarist that is capable of composing music accessible to the masses. I can hardly wait to see what he does on his next release. My hat is off to you Theodore Ziras.

1) Future Memories

2) Dash

3) Common Transition

4) The First Attempt

5) The Vital Lead

6) Confusing Check

7) Mysterious Simplicity

8) The Gush

9) Missing God

10) Never Breaking The Rules

11) Symphonious Departure

Tony Hernando: The Shades of Truth

2002, Lion Music. LMC2224 2

CyberHome: http://www.TonyHernando.com

Hold onto your hats for Tony Hernando's rip-roaring shredfest The Shades of Truth because this album is blazing into the far reaches of extreme guitar space at warp 10! Hernando tears it up with his relentless style of aggressive shred that blares his call to arms for taking no prisoners. Hernando's style that weaves assaulting speed with searing melodic themes is founded in progressive instrumental rock, blues, neoclassical, aggressive fusion, and, of course, shred! Shred!! SHRED!!! Did I mention shred? OK.

Hernando opens the album with a subduing barrage of speed-laden tracks that aim to disarm the staunchest critics. He then demonstrates that his scopes have wider range than just shred with his blues track "Show Blues", though he does have trouble repressing his uncontainable speed on that track, as well. The epic track, "Broken Hero", demonstrates Hernando's depth of feeling and capacity for thematic development with a heart-wrenching ballade reminiscent of Jeff Beck's "Cause We've Ended As Lovers." The shift in focus from unrelenting speed to melodic themery (a word kind of like strategery) is a welcomed relief and thereby makes a distinctive contrast to the shredding pyrotechnics. But, once again, Hernando cannot repress his inclination for alacricity as is demonstrated by his fusion of blistering runs that are interwoven with the ballade in the fine neoclassical tradition. Hernando delves further into a neoclassical onslaught on the ninth track "Outsiders" that invokes in the mind of the listener fiery flashes of Vinnie Moore, Paul Gilbert, Yngwie Malmsteen, Cacophony, and, of course, Vitalij Kuprij. (Probably because he matches racquets on keyboards with Hernando's furious guitar work in the volley of exchanges on this track.) "Outsiders" is hands down the best track on the album for me and rivals some of the best neoclassical tracks from the masters of that discipline. The speed and precision of the classical phrasings on "Outsiders" are staggering... And, what's more impressive than that is that, though some influences are discernable, Hernando has come up with some new neoclassical patterns and phrasings in his blistering lead work that keeps it interesting. On the next track, "Eleven 30", Hernando continues his ostentatious exposition of guitar prowess by demonstrating his aggressive legato shred and sweep picking techniques blended with raucous riffing that prove he has studied Greg Howe, as well, and that he can kick it into high gear, shaking the pepper on demand. (pun intended!)

Hernando is a serious shred talent that manages to achieve the difficult balance of shred speed and coherent composition in a manner that is digestible and appealing. With the premiere aggressive neoclassical and progressive drummer, Mike Terrana (from Tony MacAlpine's band Violent Machine), on the skins, the credibility of this effort must be taken seriously. And, if this weren't enough, the guest spots by the dominant neoclassical keyboardist, Vitalij Kuprij, and the Texas guitar legend, Andy Simmons, are a dead giveaway to Hernando's emerging talent. Fans of aggressive shred, neoclassical, and speed-centric fusion should check out this album from Tony Hernando. Hernando's relentless, blazing, raw speed will not disappoint! This guy's got world class chops that will stifle the most skeptical critic.

Just in case you've missed my meaning, Hernando is HOT! ;-) Check it out! This is no holds barred shred a la sophisticate.

Guitar	Tony Hernando
Bass	Pepe Bao
Drums	Mike Terrana
Guest Appearances	Vitalij Kuprij, Andy Timmons, Victor Herrero, Alberto Navales

1) At the Crossroads

2) Behind the Catwalk

3) House of Glass

4) Uncommon Vision

5) Show Blues

6) The Silence of Loss

7) Broken Hero

8) The Edge

9) Outsiders

10) Eleven 30

11) Still Believe

Hess: Opus 1

1999, Queen Of Krakow Music

CyberHome: http://www.Hess.4T.com

When I first listened to Hess' Opus I, a strictly instrumental effort aimed at neoclassical purists, I had to pull it out of the player and make sure the manufacturers didn't accidentally put a new George Bellas CD in the wrong case. I was not surprised later when I was reading the reviews for his mentor, George Bellas, on the Guitar Nine web site, that Tom Hess gave Turn Of The Millenium a 10. The compositional styles are very similar, as are the techniques they both deploy. But, it is pretty clear (to me anyway!) that Bellas is the master and Hess is the student, though a very talented and promising one that is challenging his master.

The compositional landscape of Opus I by Hess is epic. There are many diverse themes organized in the complex arrangements that have a good fluidity in their transitions. The compositional style and sound is reminiscent to me of Bellas, Rush, and Malmsteen. The depth and breadth covered in the composition definitely covers a broad scope and is pretty seamless in its integration. Though the composition seems almost nostalgic at times, the soundscape is constantly changing. There are moments of aggression, heart-felt emotion, and exasperation.

From a technical viewpoint, Tom Hess' guitar playing is nothing less than amazing. Hess has accuracy, timing, and proficiency that rivals the greatest neoclassical guitarists to date. However, similar maybe to Vinnie Moore in the 80's, Hess' playing seems to me to be very mechanical and lacks a certain degree of feeling and emotional content in places that Vinnie Moore's latest releases have acquired. This is a tough one to call, and maybe I am being a little over-critical on this point, because the technique deployed by Hess is definitely very advanced and involved, as well as it is constantly changing throughout the album demonstrating a wide scope. But, in addition to this, some of the progressions are somewhat stale, slow moving, and uninspired due to a lack of attention to the underlying rhythms. And although technically impressive, the arpeggios and other guitar sequencing can tend to be a little monotonous in spots, as the same pattern is simply repeated for different chords or relative scales where somebody like MacAlpine would work together different but related patterns or just use contrapuntal phrasing for each phrasing to avoid the monotony. (But, I realize that this is what makes MacAlpine so amazing!) Some of the playing comes across as having a tendency to showcase technical proficiency and the music suffers a little for it, but I didn't mind it too much the way that is done. However, the speed, precision, and cleanliness in the sweep picking are unbelievable. Some of the melodies tend to come across as mechanical and lack the presence, drive, and feeling of Tony MacAlpine, George Bellas, or Uli Jon Roth. If Hess could consistently pull in a little more Kuprij drive and Uli Jon Roth feeling, I would be thrilled to death with this stuff. The feel and emotional content in Opus I are just a little too tidy, across much of the album but not everywhere, and I personally would like to see a little more raw emotion like Uli Jon Roth possesses in his playing. (So, my advice would be for Hess to take a listen to "Sky Overture" and assimilate a little of that feel and emotion in his playing.) But, we may be getting into an area of personal preference here and if you are a neoclassical connoiseur, you will just have to take a listen yourself and see what you think. So, to summarize this aspect of the effort, the technical proficiency is astounding, but though it exists to some degree, I would like to hear more emotional content. And, it should be pointed out here that I am making comparisons from Hess to the true world class players that he is challenging. Tom Hess is clearly in that league.

The rhythm section does not help the album either. The drums sound like they were added after the guitar sections and there is a lack of synergy between the guitar and rhythm section, as you might find with Bellas and MacAlpine. I suspect that this is the main source of the problem I am having with Opus I. Maybe if a great neoclassical drummer like Mike Terrana or Jon Doman had been thrown into the mix, the end results may have been better. It should not be underestimated what a great drummer will do for the music to liven it up and create synergy with the tonal instruments.

The epic journey of Opus 1 begins with "Exploration" that lays down the format, sound, and style that the remainder of the album will follow. The varying soundscape comprised of different themes, transitions, and tones is made apparent in "Exploration", so this makes it a good sampler to get a feel for the CD. The redeeming theme in "Homage", that follows second in the lineup, marks a large contrast to the blazing fast, sweeping arpeggios that also adorn this track making the listener first aware of Hess' technical capabilities. "Phoenix Rising", the third track, seems to lack a drive and direction to me. It rambles on too much without a destination. But, "Empire", that ensues, then redeems Hess with some very aggressive playing, direction, feeling, and presence, not to mention the superb guitar chops that are the premise. Now that's what I like to hear... speedy neoclassical drive played with a maniacal vengeance! So the album proceeds with each track possessing a different character by being woven together by the common thread that is Hess' constantly changing compositional style and outrageous guitar slinging. Two other tracks that are notable in my view are "Golden Colloseum" that has a good, raw, Rhandy Rhoads aggressive feel to it, highlighted by some raucous guitar work that is happily reminiscent of the late guitar hero, making it my favorite on the album; and "Queen Of Me", a more tender track that builds upon some heart-felt acoustic themes which blossom into some beautiful, inspiring melodies played on the electric guitar to contrast the acoustic themes. Overall, the album is consistent in quality from cover to cover.

Well, I hope I have not bashed Opus 1 too much, there is a lot of great music here. How well you will like it will depend on your preferences for Hess' compositional style and the balance between guitar technicianry and musical appeal you are looking for. Both aspects exist in the music, but there is a certain balance that is evident in the manner the composition is integrated. And, please keep in mind, again, that some of my commentary is done in reference to the world class players that Hess has established himself among in Opus I. Overall, I like it!

1) Exploration

2) Homage

3) Phoenix Rising

4) Empire

5) Modes Of Expression

6) Lydian Speaks

7) Imperial

8) Through Space And Time

9) Golden Colloseum

10) On The Brink

11) Queen Of Me

12) Palette Of Shades

On In The Name Of Bach, Alex Masi sets out to modernize the tonal interpretation of the classical works by JSB. The interpretations are literal in the composition, but the instrumentation applied is what makes these interpretations unique. Masi has transcribed Bach keyboard works for guitar and uses an interesting and effective mix of acoustic and electric guitars to revive the dusty, old favorites that he has selected. Masi uses the latest techniques in his interpretations and plays with good precision, true to the classical interpretations of these works. Masi uses some different effects for the electric guitar to add a new dimension of tonal contrast to JSB's works. Masi approaches the selected works of JSB as a formal, classical musician with his only angle being the acceptance of electric guitar as a valid instrument in the classical arena. Masi does a pretty good job of pulling this off, too.

This one is recommended for neoclassical purists. There is not power chord riffing or improvisational shredding here, if that is what you like. This CD was especially interesting to me because of the work that I have done in transcribing some of the same pieces by Bach to guitar.

Son Of Man has a distinctive, spiritual feel to it that is reminiscent of Uli Jon Roth. The opening track, In The Beginning, is epic. It has a cool Italian-Western feel to it and builds tension until it releases with some Uli-like, savory melodic lines. There are some other highlights on Son Of Man, but In The Beginning is undoubtedly the climax from the start. If you like Uli Jon Roth's melodic tendencies and string-squeezing vibratos, you'll want to listen to Son Of Man. James Byrd throws in some other advanced techniques to balance the well-fealt aspects of his playing. Byrd demonstrates the Uli Jon Roth principle that the notes that you play are not so important as the manner in which you play them. There is more to guitar technique than blazing up and down scales and shredding arpeggios.

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Players:
Guitars, Rhythm Programming	Theodore Ziras