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It is inarguable, I believe, that rock 'n' roll would not exist as it exists today without Bill Monroe. While musicologists are quick to point out the influence of black southern musicians and music upon Elvis Presley, the influence of what was once best known as hillbilly music is often given short shrift, if any at all. Yet Monroe's "Blue Moon of Kentucky" was one of the first tracks that young Presley cut. Similarly, Monroe's influence on country and Americana music is profound, and certainly more obvious. If Hank Williams, Sr. was the first superstar for those genres, Monroe was certainly its mentor.

A tribute to Bill Monroe would accordingly seem to be a no-brainer. Ricky Skaggs' excellent BIG MON of a couple of years ago was a classic, but was also Monroe seen through the eyes of "new country." A more traditional, if not more authentic, tribute had been performed prior to that released by Skaggs, in 1997 --- indeed, Skaggs had been a part of it, and may have been inspired to put together his own tribute as a result of it --- but the recording of that tribute had not seen the light of day. Until now. 

Audium Records has a somewhat unique vision of country music, one that looks towards it future while retaining a respect for, and an eye on, its past. IT is accordingly fitting that Audium has see fit to release THE LEGEND LIVES ON: A TRIBUTE TO BILL MONROE. Recorded live in April 1997 at a concert at the legendary and historic Ryman Auditorium, and spanning two discs, THE LEGEND LIVES ON is not only a tribute and a documentary of country and bluegrass music but also a demonstration of why bluegrass music has been called white man's jazz.

There may be no better demonstration of this proposition than "Rawhide," an instrumental collaboration between Marty Stuart and The Clinch Mountain Boys which barrels along at such a frenetic pace that it seems as if the musicians are held together only by some aural centrifugal force. "Rawhide" is hardly the only outstanding moment on THE LEGEND LIVES ON, however. The repertoire here ranges from poignant on the autobiographical "Cross Eyed Child" to spiritual ("Wicked Path of Sin," "Swing Low Sweet Chariot," "I'll Meet You In Church") to romantic ("Rose of Old Kentucky"). In listening to this music it is amazing to behold, to be reminded, of what Monroe, and by extension, these musicians, were able to do. On "Highway of Sorrow," for example, Tim O'Brien in just a bit over two minutes tells a tale of bad choices and result heartbreak that anyone of age can immediately identify with. The artists presented here, whether household names or otherwise, uniformly amaze, surprise, and delight --- Charlie Daniel's turn on "Orange Blossom Special" is nothing short of heart stopping --- and the fact that a couple of them (most notably John Hartford) have passed in the intervening period between this project's performance and its release make it all the more memorable.

THE LEGEND LIVES ON is one of those releases that quite simply is an integral part of every music collection. There may be no better example on two discs of southern American Music. It is a tribute to a man, for sure, but it is also a tribute to a genre. You haven't heard it all until you've heard THE LEGEND LIVES ON. Highest possible recommendation.