On one level, the title can simply be taken to refer to the 'cross-over' nature of the music, but this is nothing like the kind of synthesis one normally associates with the rock/classical fusion. For one thing, the piece is more than a set of separate movements; it's actually quite tightly constructed. For another, it's rhythmically extremely complex in places, and harmonically challenging. It's contemporary. It's experimental. But the liner notes also make a point of telling us that the instruments involved are a Gibson 'Les Paul', a Fender Stratocaster and a 1950's Guild guitar, names that will set the hair tingling on any rock aficionado's neck.

Be warned then. If you're a purist, you'll probably hate what you hear; if you're musically a pluralist, especially one whose life-span covers the '60s and '70s, you're in for a treat. Various guitar styles are showcased, but none is a pastiche. Where I think I can hear references to Frank Zappa, Jimmy Page, Steve Miller, Larry Coryell, Pat Metheny and, of course, Jimi Hendrix, another listener will no doubt find a handful of other names I've either forgotten or don't know.

Transit begins in a deceptively soft and spacious way. Introduction opens with a single synthesized flute, others gradually joining to create a sound reminiscent of the glass harmonica. The first movement proper has the guitar effectively feeling its way, rhythmically and harmonically, against a spacious accompaniment. This is developed in the second movement, with shifts in tempo and a sense of developing urgency; but it is not until part four that we fully enter the world of rock, with appropriate bass riffs and drum sounds. Part five is jazz-rock territory and we begin to get a feel of Nicolella's tremendous virtuosity as the guitar solo builds and soars. Abruptly, the rhythm changes and we're enveloped by a strange melange of funk and heavy metal, articulated by a series of dislocated tempi. Part seven features rapid bursts of synthesizer. Melody sometimes emerges in snatches which, bizarrely, seem to echo Bach, then Hindemith. The guitar work in section eight takes us back to the tentative ground of the second movement; then we're into the world of heavy rock once more. Section ten, the improvised guitar movement, is perhaps the most obviously lyrical, and beautiful of the piece. This segues into the final section, which builds to an almost frenzied climax, and Transit ends in a sonic antithesis of its opening bars.

It's hard to find comparisons. Pat Metheny, perhaps, in Steve Reich's Electric Counterpoint. But that's a very stately piece compared with this roller coaster. The closest I can think is Jan Hammer's album from the 1970s, The First Seven Days which, paradoxically, doesn't even use a guitar; everything is synthesized. Perhaps there is nothing quite like it. The only way to find out is to listen for yourself!