Steve and I have had the good luck to read this memoir and so enjoyed Gene's recollections his time spent with Bill Monroe. I always love seeing "old" pictures but, mostly, I was inspired by the lessons learned and the hard work pursuing goals that one sets. ...and then there is that Lowinger humor!!!!
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| I Hear A Voice Calling: A Bluegrass Memoir |
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| Written by Ben Freed |
 Gene Lowinger needs no introduction to many bluegrass musicians as the author of the now classic,” Bluegrass Fiddle.” His wonderful new book, “I Hear a Voice Calling: A Bluegrass Memoir” is a welcome addition to the bluegrass library and will put him squarely on the map of bluegrass history for newcomers and long-time fans alike. This absorbing recollection of his experiences as one of Bill Monroe’s Bluegrass Boys is accompanied by 75 photographs and describes the arc of Lowinger’s musical affair with bluegrass fiddling.The book chronicles his initial enchantment with string band music in the early days of New York City’s Washington Square Park folk scene, followed by his struggles and triumphs as a classical violinist. An interesting slice of New York’s bluegrass history is told by Lowinger in recounting his membership in the New York Ramblers, a band which included David Grisman, Winnie Winston , and Jodie Stecher. I’d love to hear a recording of that formative band, which went on to win the 1964 Union Grove band competition. The few included photos of this ensemble are precious. The fascinating heart of Lowinger’s story is his recollection of the nine months in 1965 he spent on the road with Monroe’s band. By sheer strength of his wits, skill and chutzpa, this 22-year-old Jewish New York college boy managed to score himself a small but not insignificant role in American musical history as the instrumental centerpiece of the world’s most important bluegrass band. There is much insight into Monroe’s character as both a bandleader and human being through Lowinger’s description of his personal relationship with the old master. One can picture the young Gene at his first gig onstage at the Grand Old Opry with the Bluegrass Boys. It sure doesn’t get more awesome than that! His reminiscences about the inner workings of the band and his backstage experiences with other bluegrass heavy-hitters such as Jim and Jesse, Peter Rowan and Roy Acuff will be of great interest to fans of the music. Gene later goes on to describe his eventual disillusionment with the life of a road musician while discovering the rigors of classical violin. Later in life, reported with satisfying sentimentality, the author reconnects with Monroe through his newfound skill as a photographer. The many previously unpublished pictures of “Big Mon” and others, mostly all taken by Lowinger, are alone worth the price of the book. Lowinger’s story comes together beautifully in the personal voice of a musician who had the good fortune of learning the universal truths of artistic expression from one of the pioneers of American music. Anyone with an interest in Bill Monroe and the Bluegrass Boys will want this brief but noteworthy book in their library. Thanks for the memories, Gene! Ben Freed
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