Fire in the Water, Earth in the Air: Legends
of West Texas Music
"Indeed, Oglesby's introduction of more
than two dozen musicians who called Lubbock home should be required
reading not only for music fans, but for Lubbock residents and
anyone thinking about moving here. On these pages, music becomes
a part of Lubbock's living history."
continued from page 1
Bonus Interview Material
Chris: I wanta shift gears here. One subject that I am wantin to explore is the man and the place of Stubbs.
DC: Stubbs was our greatest friend in this community,
even beyond those all night jam sessions. I mean, you could call
Stubbs up at anytime and say you needed - yknow, a case
of beer after the liquor stores closed; stuff like that - And
Stubbs not only would show up with two cases of beer; hed
show up with all the barbecue you could eat!
One of the biggest deals with the the Cactus Theatre was getting
Stubbs "thumbs-up" on it. I don't know I felt
that way about it but it was a big deal to me.
That was the last conversation I had in person with Stubbs before he died
But Stubb was all for what we were doin with The Cactus and Lubbock. I just regret that Stubb didnt live longer and could be our guest a lot here at the theatre.
But I really
I mean, Stubbs was the worst businessman
that ever lived, yknow.
Chris: Stubb seems like he is almost more of "a Force" than than just a man; Much of this phenomenon emanates out from Stubb, it seems like.
DC: Yea, Stubbll live on for a long time. I mean, Terry loved him. Terry and Joe and all of those musicians were a lot closer to Stubb than I really was. By me always being in business and always havin to watch the bottom-line and stay alive - yknow, that kinda deal - instead of out playing with them and bein a musician...
What Im saying is, Im a musician more than I am a businessman. And if I coulda afforded to feed my family and stay in West Texas and done nothing but play music, I wouldve never bought a recording studio. I would have just played music my whole life. Thats what I really wouldve liked to have done.But I just simply couldnt make a living doin it in Lubbock; Especially playin saxophone.
If Id been playing steel guitar or somethin that was a "Country" instrument when used to the only place you could get a job in Lubbock is playin in a Country bar; I couldnt do it playing saxophone.
But Id walk into a building in Lubbock, and it would
be like, "Gah, it would be great if they had a bandstand
over there and a little music goin
But back with the Stubbs deal; Stubbs was that way, "We need to do this!" He was always comin up with these deals that needed to happen because of the great music here. And I mean the best jam session Ive ever been in my life was at Stubbs.
At " the Great East Broadway Onion Pool Championship" deal, that night I was playin in a band down there called Good Cheap Jazz that night. And ol Tom T. Hall saw the name Good Cheap Jazz, and he went back to Nashville and wrote "Good Cheap Country" on the back of his bus; And that was on his bus for years.
Chris: My dad was friends with Stubb's and he would
drag me over there all the time. I remember bein a kid
"It was almost like another world
DC: Well, see thats always been the case in this
town. Lubbock has some of the best-kept secrets in the world.
And still does.
Were not good promoters, yknow. Thats back
to that mentality. Our mentality and our work ethic and our whole
way of bein raised in west Texas was that;
But look at Muhammend Ali. He found a way to tell the world
how great he was.
Promotion is the biggest thing. Well, weve not been good promoters in Lubbock.
The second half of my career - Its promoting Lubbock music. Not getting in and producing it, particularly...And I do produce it, too. But the big deal is; Every time we do a project, we now have a place to go with it. We got a way to make it happen. So its like connecting that production thing to the promotion thing.
I heard the definition of "Luck"; The definition
of luck is the meeting of two circumstances, and that is:
Now if you think about that, Chris, that is the definition
What I'm into right now, is the "Opportunity" business. Were offering opportunities to people to get their stuff out there and show all that great knowledge theyve compiled and all that ability and all of the great art theyre wantin to offer the world. Were gonna try to make the opportunities for that to happen. And thats by now bein able to plug your community into the music - where the whole community supports it.
Chris: I cant quit thinking about that line from
the Bible - Mark 6: 4-6 - where it says Jesus said
to them that no prophet goes with dishonor except in his own
home. And Jesus couldnt do any miracles there, and he had
to go out traveling around on a circuit."
DC: Bigger than life. Thats why they dont accept how great Holly is
great the Holly reputation is.
I think the philosophy is that you just gotta believe
in the inherent quality of the endeavor and believe enough in
it to stay with it; Put your heart into it.
I believe in that stuff. I believe in the power of music.
Look what it did to me: I mean, I heard Sam Butera blow saxophone
and my whole life changed. From that moment. It was so impressive
to me, and it was such an emotional thing for me to hear that
And that wasnt just a poor-ass saxophone
player. I mean, that was the Honkinest, Grooviest Mother
that ever lived! He could say more with less notes than anybody
Chris: And Im sayin that your life being changed Its so inter-related with all these other Lubbock musicians, that it has to have changed their lives, too.
I think thats what its really all about; every individual person being their little part and doing their part, and not worying about what everybody elses part is. When they do that one thing that makes them "weird" or "different" from everybody else, then thats the one thing that helps move everybody else along.
DC: That is a really neat, neat deal; to think of it
But I mean, like theres a trumpet player named Clay Jenkins that is now a really
well-known jazz trumpet player in Los Angeles. I taught Clay
and got him into the deal; And now he teaches - And theres
hundreds of people that he's taught
Hes more of a
player than he is a teacher. But hes still teaching at
Cal-Arts which is The artist deal; its the real
But it was that inspiration - getting it going in that direction
- that helped him make a decision that, "Hey, I can do this!"
Chris: This is something I think about Buddy Holly; Have you seen Paul McCartney's film The REAL Buddy Holly?
DC: No. I need to. You're the third person recently who's told me about it.
Chris: Paul talks about how he and John used to try to figure out how Buddy would do that 'eeah-eeah, a-hee a-hoo a-hah,' yknow. That hiccup thing Buddy would do.
And thats just
To me; "Wheres that
come from?" It's just weird sounding; just weird! But he
was comfortable enough with himself just do whatever he wanted
to do, just the way he wanted it. And everybody else in the world
DC: Yea. Its those "Greats" like that
he was way out there....
I mean, think about Norman Petty: Norman Petty had
this real straight group, the Norman Petty Trio
- the squarest crap youve ever heard. Well, it wasnt
that square but it was kinda square - compared to jazz
it was really square.
Thats why you guys who do these books are valuable!
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2007 Chris Oglesby
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