A Quote by Marty Stuart
From the first time I played with Lester Flatt, I sensed an extreme amount of history around me.
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From watching Lester (Flatt), I learned that it's important to be loyal to the people who made you and bought your music. He called me up to the front of the (tour) bus on the very first trip I went on with him. Lester pointed out two elderly people who were walking towards the but. He said, 'Those two people have been coming to see me since the mid 40's. That's what a country fan is all about.'
The only two jobs I ever had were with Lester Flatt and Johnny Cash.
The American people get to express themselves, and in the ways that they choose. But I have got to tell you, I - this convention, I have sensed a tremendous amount of energy, a tremendous amount of unity, not around the personalities, but around the choice that we face in the fall.
Walking into the Ryman with Lester Flatt was the equivalent of walking into the Vatican with the pope.
You say, The sensed absence of God and the sensed presence amount to much the same thing, only in reverse.
As a kid, I sensed history going on all around me, but the basic thrust of it didn't move me.
Nobody in my school knew who Bill Monroe was, or Lester Flatt and Earl Scruggs, and barely Johnny Cash. Nobody spoke that language. I proceeded to get myself kicked out.
In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.
I knew it straight away when Twitter first came around, and also Facebook, where it was so easy to post, that this was another way to speak directly with people listening to my music. If they found my music and they like it, most likely they want to hear more from me and hear what I'm about. I've put an enormous amount of time into that and it's played out well for me.
In this country kings or dukes don't amount to nothing. The greatest man around then was Franklin D. Roosevelt, and he was the President; so I started calling Lester the President. It got shortened to Pres.
I guess the first time I played around Washington, D.C. was at a place called The Famous. That was the first place I played, I believe.
Lester is the Rock of Gibraltar. Nothing can rattle him. I am not. I was always flying off the handle about things. And the one person who could calm me down and make me realize that none of this silliness mattered was Lester Holt.
Journalism is my first love. But music comes in a close second. What's important for me is that whatever you do, whatever your passion is, you should have another passion - something in your life. And when I put on that musician hat and I put the bass in my hands, I'm not Lester Holt the TV guy anymore. I'm just Lester Holt who likes music.
I've been listening to jazzmen, especially saxophonists, since the time of the early Count Basie records, which featured Lester Young. Pres was my first real influence, but the first horn I got was an alto, not a tenor.
I used to play the drums. When I was 11 I got my first professional job, I played drums in a cabary and played Elvis and stuff, I used to play left handed actually. Then I started to pick up the guitar when I was around 15, but I played the drums for a long time.
You have Extreme and Van Halen and the history that I have with other people I played with. There are some effects that will hopefully break that stereotype.
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