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Friday, 03 February 2012 07:45

Written by Rich Kienzle

Tony Rice has been the definitive bluegrass guitarist for decades, especially after the death of guitarist Clarence White, Rice's musical hero, in 1973.  He began making a name for himself as a singer and guitarist during early in the decade with the Bluegrass Alliance and more notably with J.D. Crowe and the New South, where he first worked with Ricky Skaggs.

By the late  70's however, Rice was a key member of the David Grisman Quintet,  playing Grisman's complex blend of bluegrass,  Django Reinhardt-influenced swing and adventurous instrumentals that defied classification. That experience expanded Rice's musical palette drastically.  He continued down that path even after departing Grisman in '79.  With his own band, the Tony Rice Unit, he pursued an even more eclectic blend incorporating jazz and folk, yet he never lost his deep love for conventional bluegrass.

The Bill Monroe Collection is an extremely well-chosen compendium of previously issued Monroe covers Rice recorded over the years for Rounder Records (now owned by Concord Music Group) in various settings, most vocal-instrumental, some strictly instrumental.  There's nothing to criticize here, though most of the material is predictable, including "On and On" and "Muleskinner Blues," the Jimmie Rodgers favorite Monroe used to open his concerts.

There's also "I'm On My Way to the Old Home," "Molly and Tenbrooks," the gospel number "You're Drifting Away" and instrumentals like "Gold Rush" and "Cheyenne."  All told, the material is eminently satisfying. Rice's guitar virtuosity is consistent throughout and it's more poignant hearing his vocals since dysphonia (vocal cord paralysis) later robbed him of his singing ability.

Unfortunately, the set falls short in the areas of both timing and packaging.  Obviously compiled to mark Monroe's 100th birthday in 2011, Concord inexplicably waited until 2012 to release it. Why?  It's also difficult to understand why the CD insert, which duly lists songs and composer credits, omitted listing recording dates and the musicians accompanying Rice, the sort of thing routinely included with most reissues.

That vital info is likewise ignored by Rounder Records co-founder Marian Leighton Levy. Not only do her pretentious liner notes offer no historical context for the actual Rice recordings, while discussing Monroe, she references two "cultural theorists" and the arcane academic work Deleuzism: A Metacommentary. Who cares about such turgid blather? Consumers? I doubt it.  This is a Tony Rice reissue, not a damned doctoral dissertation.

The music, of course, is ultimately what matters, and every track here makes rewarding listening.  Rice handled Monroe's material masterfully in those days, just as he continues displaying his guitar virtuosity in various settings today. That said, I'd suggest the Rounder folk dial back the pomposity next time.

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