Charlotte Jazz Musicians Jim Stack and Doug Henry: Exploring a Legacy

Charlotte jazz musicians jim stack doug henry oui talk raw

Table of Contents

Charlotte Jazz Musicians | Legends Jim Stack & Doug Henry Share Their Stories

Join Jennifer Busco on Oui Talk Raw as she delves into the vibrant legacies of Charlotte jazz legends Jim Stack and Doug Henry. From their early days in the city’s music scene to their performances at the iconic Cajun Queen, Jim and Doug share stories of jazz, friendship, and the joy of playing music. Discover their remarkable journeys—from Jim’s time with NASA to Doug’s 40 years with The Four Tops—and hear their reflections on life, music, and the impact they’ve made on the Charlotte community.

Listen to Jim Stack
Q & A with Charlotte Jazz Musicians Jim Stack and Doug Henry

Host : Welcome everybody to *We Talk Raw*. I’m your host, Jennifer Busco, and today we are on location at the Walton Wood Retired Living Center with two of my favorite people in the Charlotte music scene. Let’s introduce our guests today. We have Mr. Jim Stack. Hi, Jim, how are you?

Jim : Hey, good.

Host : Jim plays piano here in Charlotte and is well-known in the jazz scene. And we also have Mr. Doug Henry. Hi, Doug!

Doug : Hello.

What do you play, Doug?

I play the clarinet, the flute, and the saxophone.

The clarinet, the flute, and the saxophone—wow! We’re here today to talk about your legacies, stories, and experiences as jazz musicians in Charlotte. Jim, how are you today?

How old?

(Laughs) No, not how old—how are you?

Oh! How am I? I’m good today. I remember who I am today! (Laughs)

Good! So, I used to work at a Cajun restaurant here in Charlotte called the Cajun Queen. That’s where I met Doug and Jim. You two were playing Sunday and Monday nights there for how many years?

I started in 1989.

Same here—around 1989.

So that’s about 35 years! How did you two meet?

Oh, we met way before that—playing in different bands and around the scene.

Yeah, I moved to Charlotte in 1984 and started playing around town. That’s when I met Doug.

And you were a band leader too, Doug?

Yes, I taught music for seven years with Charlotte-Mecklenburg Schools and spent 20 years teaching at Providence Day School.

Nice! And Jim, what’s your background before music?

Well, my father had a cotton business. In high school, I worked in a furniture store, and after graduation, I worked for his cotton business. But I was already playing music—mostly with other young people around my age. Eventually, I enlisted in the Air Force.

Was that during the Korean War?

Yes, it was getting started, and I was about to be drafted. But two of my friends were putting together a band in the Air Force and convinced me to join. I enlisted and eventually got stationed in Washington.

Were you already playing piano at that time?

Yes, piano and vibraphone. It’s like a xylophone but nicer—prettier sounding.

(Laughs) So was it jazz you were playing back then?

Yes, it was jazz. We didn’t play marching music or rock and roll.

What year was this?

1951, ’52, and ’53.

Wow, that was even before Elvis!

Yep. After my service, I wasn’t sure what to do. I thought about playing music in Charlotte, but it wasn’t easy to make a living doing just that. Then I saw an ad for summer school at Queens College, which at the time was a women’s college. I decided to go, thinking it would give me time to figure things out.

Did you end up majoring in music?

No, I originally majored in business, but an attractive math teacher convinced me to switch to math. I ended up getting a degree in math in three years.

Wow! And that math degree eventually led you to work for NASA, right?

Yes, I was playing vibraphone on stage when some men invited me for a drink. They asked if I did anything besides music, and I told them I was about to graduate from college with a math degree. They worked for the Douglas Rocket Plant and invited me to join them.

So, you were a rocket scientist?

(Laughs) Something like that. I worked at Douglas for a while and then ended up working on the Apollo Moon program.

Incredible!

After that, I went to work for Lockheed on a new airplane project, but eventually, I returned to Charlotte and became a full-time musician around 1970.

And what’s your wildest story from your career?

Well, I’ve played with many great musicians over the years—people like Pete Jolly and Clare Fischer. I once heard Clare playing at a piano bar, and he was so good that I had to introduce myself. We ended up playing together and became good friends.

Sounds like you had some wild times. Did you live the jazz star lifestyle?

(Laughs) I wouldn’t say I’m a star or a legend, but I’ve been fortunate to play with great musicians—like Doug Henry here.

So, Jim, after working four years in Charlotte, you moved out to California?

Yes.

We’ll come back to that, but let’s talk about you, Doug. You mentioned Clare Fischer earlier. For our audience, Clare Fischer was a big deal, right?

Absolutely. Clare Fischer not only worked with jazz artists but also arranged the horn parts for Sly and the Family Stone, as well as many other rock and roll albums. He was a brilliant arranger with an incredible understanding of harmony. Jim got to work with him and remained friends until he passed away.

Yeah, we stayed in touch, and I even sent him some of my records.

He was a legend.

Yes, let’s shift focus to you, Doug. Tell us about your musical journey. How did you get started?

Well, I have a funny story about that. I’m originally from Chattanooga, Tennessee, and band class started in the seventh grade. The band director came to our elementary school to show us the instruments. At the time, I didn’t think my dad would buy me an instrument—after all, he wouldn’t buy me a motorcycle, so why an instrument?

Back then, you could get a trumpet for $125, which was a lot of money in 1961. I didn’t sign up for band initially, but my parents encouraged me all summer to get involved in something besides study hall. On the first day of school, I found myself in this chaotic study hall with 110 kids and just one teacher. The band director came in and said, “Anyone interested in joining the band, follow me.” I thought, “I’ll do anything to get out of this zoo.”

When I got to the band room, the director asked what I wanted to play. I said, “Alto saxophone,” but since I was a bigger kid, he suggested I play tenor sax. The school owned a tenor sax that I could use, and all I needed was $2 for a band book and two reeds. I went home that night, announced it at dinner, and my dad—who was usually tight with money—pulled out his wallet right away and handed me the $2.

I joined the band, and I must’ve had a knack for it because they promoted me from the beginner band to the junior high band halfway through the year. That was a big deal for me.

So, what happened after high school? Did you continue playing in bands?

I did. I joined the Musicians’ Union during my sophomore year of high school and started gigging. I played with rock bands around Chattanooga, mostly Motown and Memphis-style music like Wilson Pickett. We played dances, fraternity parties, and eventually, I got a regular gig at a VFW. Then, I got another gig at a local dance club while I was in college.

I earned a bachelor’s degree from the University of Tennessee at Chattanooga. By then, I was married to my wife, who’s from Alabama. We both taught for a year, saved up some money, and then went to the University of Alabama to get our master’s degrees.

So, you’ve been teaching and playing music your whole life?

Yes, I’ve always taught and played music. I still play at the Cajun Queen here in Charlotte and have played with some big names over the years, like The Temptations and The Four Tops—for about 40 years, actually. I also played with the Tommy Dorsey Orchestra for eight years and toured the world with them.

Wow! Any wild stories from those tours?

(laughs) I have one from when I played with the Charlotte Symphony. They’d call me whenever they needed sax players. There were five of us playing for Carol Channing—remember her?

Yes, Carol Channing! She was a huge star.

Exactly. She was doing a variety act, and during the show, she’d change outfits behind these two screens on each side of the stage. The funny thing was, she didn’t wear any underwear, so she was completely nude behind those screens. The orchestra almost lost it! We were all just sitting there trying to keep it together.

Carol was in her mid-70s by then. She still looked great for her age, but you can imagine the shock. She’d talk to the audience while changing, and the string players were going, “Oh my!” It was hilarious. George LaCroix, a sax player who’s no longer with us, kept whispering to me, “Look at that, she’s naked!” I had to remind him to pay attention to the music.

(laughs) That’s a wild story! But the show must go on, right?

Exactly! You just keep playing no matter what happens. I also played with the Ringling Brothers Circus for years when they still used live bands. The animals would do their business right there on stage, and circus workers with shovels would follow the elephants around while we played. It was quite the spectacle.

Was it good money?

Not really. It was more of a rite of passage than anything else. Playing for the circus is probably one of the hardest gigs there is.

Wow, the circus was something, right?

But they don’t do it anymore. Same with rodeos because, well, you just played marches, reading music, turning pages as fast as you could—it was grueling.

Let’s talk about playing music. We’ll start with Jim. How do you feel when you’re playing and in the zone at the Cajun Queen? What makes you love the piano so much?

Well, you know, the piano is like an orchestra. Instead of playing one note at a time, you’ve got all these keys—there’s so much range. You can play a mood, do some real jazz—soft, pretty. When you’ve got good songs and good jazz pieces, it’s something else.

And how do you feel when you’re playing? What’s the emotion?

It makes me feel better if I’m having a bad day—feels like an escape for a while.

Do you think playing keeps you young because you’re doing what you love?

(Laughing) Well, it hasn’t quite done that.

(Laughing) If only you were 50 years younger or I was 50 years older…

(Laughing) Yeah, I was playing at the Cajun Queen. I remember a lady named Jennifer once said, “I think you’re pretty cool.” Almost had a heart attack! But yeah, I love playing there.

We do love the Cajun Queen. Would you say playing is meditative for you?

Yeah, kind of. Sometimes I’ll forget what I’m playing and just drift into another song. Then I’m like, “Uh-oh, gotta get back!” But I make it work.

And you’re still playing at Walnut Wood, right? How often?

Oh yeah, I play about three nights a week during dinner. They have a lovely piano there—it just needs to be played.

That’s amazing. So Doug, how about you? What do you feel when you’re in the zone at the Cajun Queen?

Well, like Jim said, we’re not exactly spring chickens, but the beauty of music is that you can keep playing as long as your fingers work. It keeps your mind sharp. When I play, there’s this zone—a little world of my own. Jim and I have a kind of musical telepathy; we can anticipate where the other is going. It’s the joy of playing together, being creative, and sharing that with others.

I feel that when I’m at the Cajun Queen, tapping my foot and feeling the energy of live music. It’s different every time, right?

Exactly. Jazz is about creativity and spontaneity. I have so many stories from the Cajun Queen, but one that stands out was when a Lufthansa flight crew came in during restaurant week. They loved what we were doing—14 of them, all around this big table, just enjoying the music.

The Cajun Queen is legendary. It’s been around since 1985 and has had music every night—except during COVID. Not many places can say that. And you guys have had little turnover in the band, right?

Yeah, we’ve had a solid crew. We even mentor young musicians like Ashlyn Parker, who’s gone on to great things in New Orleans, playing with Ellis Marsalis and leading his own band.

I remember when I first started working at the Cajun Queen back in 2000, you guys had this magical trio with Jim Lackey. You didn’t even need to talk—you just knew what the other was going to do.

It’s mutual respect and chemistry. Like a team that gels over time, you develop a connection you can’t really explain—it just happens.

Yeah, it’s like a friendship or partnership. Sometimes you click with people, and sometimes you don’t. It’s a vibe thing.

Exactly. And it always feels good when people come in and enjoy what we’re playing. We mostly stick to the American Songbook—the good, classic tunes. It’s music you can sing along to.

So, how is music now different from back then?

Back then, the lyrics and music went together in a way that stuck with you. Songs like “I’ve Got Sunshine”—you could sing them in the car. They were catchy, memorable. It’s just different now.

I love Taylor Swift! Do you listen to her?

I wasn’t a fan at first, but after learning how she treats her people—how she takes care of everyone from the roadies to the backup crew—I gained a lot of respect for her.

Have you ever listened to her albums?

No, I haven’t. But after hearing how she operates, I’m open to it.

I’ll send you some songs. (Laughing)

Alright! (Laughing)

So, Jim, if all the pianos disappeared from the world, what would you want your legacy to be?

I’d hope people remember the good songs I played and how I played them. I used to know hundreds of songs—some I’d have to brush up on now—but I hope they liked what they heard.

Have you ever written any original music?

I wrote one song once—a bossa nova—but it wasn’t great. (Laughing)

Write me a song, and I’ll sing it! We can record it together.

(Laughing) I’ll have to work on that.

Doug, how about you? What do you want your legacy to be?

I think my legacy is in my former students. I taught for 39 years, and so many of my students went on to do great things—some as musicians, some in other fields. But they’ve told me that if it weren’t for band, they wouldn’t have stayed in school. That means a lot to me.

That’s beautiful. What advice would you give to someone trying to break into the jazz scene?

Go places, sit in with experienced musicians, and take their advice.

Great advice. What about you, Jim?

Same thing—go to places with live music, listen, introduce yourself, and maybe even join a union if you want to. The musicians’ union is still around.

That’s awesome. Well, thank you both for sharing your stories and legacies. So many people have been touched by your music, especially at the Cajun Queen.

And no heart attack tonight either!

(Laughing) You made it! If only you were 50 years younger…Alright, that’s all we have for Oui Talk Raw on rBeatz Radio.

Subscribe to rBeatz today and start enjoying all of these amazing benefits!

  • The latest new songs delivered to your inbox for your Weekly Water Cooler Conversation!
  • rBeatz MERCH Special – Alerts!
  • Auto-entry into Giveaways including Concert tickets, & Mystery Gifts!
  • All Musicians, DJs, & Songwriters – Auto-entry into our Quarterly Showcase Showdown, which includes an interview, written artist and music review, social media push, and social media reel!
  • Newsletter first in line – including – Industry tips, best practices, & perceptions of our universe!
  • Behind the scenes with rBeatz Sessions live and interactive!

Share this post with your friends