The title of Transit conveys how the 44 minutes of music on this instrumental album travel roads paved with both rock and classical traditions. Composer John Fitz Rogers uses a virtual orchestra of computer-driven instruments that atmospherically blend with classical guitarist Michael Nicolella’s electric guitar, resulting in a highly eclectic work that derives as much influence from Edgard Varése as it does from Jimi Hendrix.
Transit is divided into two distinct parts, each with five movements that subtly build upon one another. "Part I," for example, begins with a synth-flute melody and concludes with wild solos from Nicolella, augmented by Rogers’ huge Hammond B3 organ sound. Meanwhile, "Part II" opens with a schizophrenic synthesizer that segues into a subdued yet ominous organ solo followed by a weeping guitar interlude that gives way to a middle section bursting with high-tension fusion and a bombastic finale.
This is not really progressive rock in the traditional sense. In fact, the liner notes indicate that Rogers becomes easily bored by the genre. But it grooves, it breathes and it lingers. Although Transit lacks some of the warmth other instrumental recordings of this nature boast, it’s ability to flow seamlessly toward a satisfying conclusion makes for a notable aural journey — a worthwhile passage, if you will.