The late John Fahey's name is no more than vaguely recognizable to most music fans. Yet those who know his work tend to rank him among the great guitarists, right up there with anyone who's tried to broaden the spectrum of sounds to be obtained from the instrument.

How highly is he regarded? Let the liner notes to Vanguard Records' "I Am the Resurrection: A Tribute to John Fahey" (Feb. 14 release) provide the answer:

"In truth," co-producer M. Ward writes, "it's only a short amount of time until John Fahey is recognized as the most innovative guitarists America has ever produced - my hope is that our tribute record acts as a catalyst towards this understanding and appreciation. He is our Django Reinhardt and William Blake wrapped up in one - only better."

Seem like hyperbole? A listen to the album might convince listeners that Ward, who also is one of the performers, knows of what he speaks.

So, who's involved in this endeavor? No brand names pop out among the artists; perhaps the most recognizable ones are Fruit Bats and Calexico. But all the artists do yeoman's work in putting their own stamps on Fahey's complex, often complex, often beautiful music.

Selections run the gamut of styles, from relatively straightforward blues-based compositions to upbeat, ragtimey numbers to Eastern-influenced music to the solemnity of a hymn.

"Variation on 'Commemorative Transfiguration and Communion at Magruder Park'" is a prime example of the last-named, as performed by multi-instrumentalist Sufjan Stevens with the assistance of vocalist Rosie Thomas. Like Fahey, Stevens employs a good bit of dissonance while taking on at least a dozen various stringed instruments, horms and percussive implements, but at no time does he lose the sense of reverence inherent in the subject matter. It should be no surprise that Stevens says he was particularly inspired by watching Fahey perform a song called "In Christ There Is No East or West" on television in the late '60s.

In a bluesier vein is "Sunflower River Blues" by Pelt, featuring Jack Rose on guitar and Mike Gangloff on banjo. The main lick is reminscent of the Rolling Stones take on the Rev. Gary Davis' "Prodigal Son," as it might have been performed by Leo Kottke on his landmark "Six- and 12-String Guitar" - an album that, of course, drew direct influence from the work of John Fahey.

"Blues" is in the title of no less than four compositions on "I Am the Resurrection," but some don't quite fit the blues mold. An example is "Sligo River Blues," performed by Venezuelan guitarist Devendra Banhart, a spare arrangement with vibes accompaniment that has a very calming influence.

Ward's performance contribution, "Bean Vine Blues #2," owes much to Scott Joplin's ragtime repertoire, and it apparently is a fun one for Ward to play: "In my opinion it's probably the only song of Fahey's that I've ever heard with a blatant sense of humor."

Drawing from an era approximately a century after Joplin's heyday is "The Singing Bridge of Memphis, Tennessee (Brooklyn Bridge Version: The Coelcanth)" by Lee Ranadlo of Sonic Youth fame, who toured with Fahey toward the end of the guitarist's life. This is the most avant-garde piece on the album, with Ranaldo employing ambient street noise and piercing feedback to augment the relatively simple, relaxing acoustic guitar strums of the main theme.

Another past collaborator with Fahey, Cul de Sac - the band cut the 1996 album "China Gate" with him - covers "The Portland Cement Factory at Monolith, Ca." with a live recording from 1997. The Chicago-based quartet gives a spooky reading, augmented by Robin Amos' electronics.

An interesting arrangement closes the album: Howe Gelb of Giant Sand plays an 1888 Emerson Grand Upright piano on "My Grandfather's Clock," explaining that Fahey "can play guitar like a piano player, which I relate to from playing the piano like a guitar player."

Perhaps Fahey's most famous composition is "Dance of Death," which is covered here by guitarist Joey Burns and percussionist John Convertino of Calexico. The foreboding song combines a bluesy base with melodic overtones by way of Reinhardt, the enigmatic Belgian gypsy guitarist who has spawned generations of admirers and would-be imitators.

The title of one more album track addresses Terpsichore: "Dance of the Inhabitants of the Palace of King Phillip XIV of Spain," played by Jason Q. Lytle, who augments his guitar playing with synthesizer. His take on John Fahey:

"Although the music Fahey made confused me, it was often done in a repetitious fashion, allowing me to think I understood it at times. When in fact I never understood it, and I was further confused when it had some rambling, seemingly nonsensical title applied to it. These of course were all great reasons to keep listening."

Or, for the uninitiated, great reasons to start listening.