Monthly Archives: November 2012

What happened to John Fleming? 1

30 Friday Nov 2012

Posted by in Big Harts Creek, Big Sandy Valley, Fourteen, Harts

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Over one hundred years ago, John Fleming, a desperado twice sentenced to serve time in the West Virginia State Penitentiary, escaped from the Lincoln County jail and disappeared forever in the mountains of the Big Sandy Valley.

John P. Fleming was born in February 1868 to Preston and Arty (Mullins) Fleming at Upper Elkhorn Creek in Pike County, Kentucky. Nothing is known of his early life except that he had a daughter named Roxie by Lucy Mullins in 1887. In the late 1880s, John and his family migrated to West Virginia and settled in the Abbott Branch area of Logan County, just above Harts Creek. In 1891, his brother William married Luraney Frye, a daughter of Christian and Elizabeth (Hunter) Frye, in Logan County. In 1897, his sister Sarah married Squire Dial in Logan County. The next year, brother Robert, or Bob, married Lillie Dempsey, also in Logan County.

On December 25, 1892, Fleming murdered his uncle, John H. Mullins, at Big Creek, Logan County. Essentially, the story went like this: Mr. Mullins’ sons, Henry and Emory, were in a quarrel and Fleming intervened. The elder Mullins came to settle the matter and Fleming fled across a creek. Mullins pursued, knife in hand. At the creek, Fleming shot his uncle. He was immediately taken before Squire Garrett, who discharged him. When a new warrant was sworn out for him, he fled the county. In March of 1893, his wife attempted to meet him but became ill and died at Dunlow, Wayne County. Fleming was at her bedside when authorities arrested him. A Logan County jury found him guilty of second degree murder and Judge Thomas H. Harvey sentenced him to eighteen years in the West Virginia state penitentiary in Moundsville. In the 1900 census, he is listed there under the name of “J.P. Flemons,” inmate. Curiously, he claimed to have been married for one year.

During Fleming’s incarceration, his siblings continued to marry into local families. In 1900, brother Willard married Caroline Caldwell, a daughter of Floyd Caldwell, in Logan County. In 1902, sister Lucy married James F. Caldwell, a son of Hugh Caldwell, in Logan County. Around 1903, brother George married Minnie Tomblin.

After his release from prison, John married Sarah Elizabeth “Lizzie” Frye, a daughter of John Henan and Ida Cosby (Headley) Frye. The Fryes lived on Sulphur Springs Fork of Fourteen Mile Creek, several miles below Harts Creek. Lizzie, born around 1887, was roughly eighteen years younger than John. They may have become acquainted through John’s brother, William, who had married Lizzie’s aunt, Luraney Frye, in 1891.

“Aunt Lizzie was married to John Fleming,” said Willard Frye, an elderly resident of Frye Ridge, in a 2003 interview. “John was a mean man who packed two .45 pistols. He was a member of Charley Brumfield’s gang. He was mean to Aunt Lizzie.”

Fleming’s involvement in the Brumfield gang soon led to more prison time. In the summer of 1907, the “feudist,” as newspapers would later call him, became entangled in the peculiar “Adkins conspiracy case.”

A little earlier, in December of 1906, Margaret Adkins, Fisher B. Adkins, Floyd Enos Adkins, Albert G. Adkins and Fed Adkins — all associates in an Adkins general store business in Harts — took out a four-month loan for $600 from the Huntington National Bank. By April 1907, they had not paid any money toward the loan and asked for a four-month extension. In late June or July, Margaret Adkins, sister to Fed, filed a bankruptcy petition. On July 3, the District Court of the United States for the Southern District of West Virginia adjudged her bankrupt. J.P. Douglass (later a Speaker of the West Virginia House of Delegates) was appointed as receiver in the case and arrived in Hart to survey the business. A.L. Smith stood guard at the store.

On July 5, after the government had taken control of the merchandise in the store, a vigilante group called the Night Riders robbed the store and hid the various goods in neighbors’ homes and barns.

Following the robbery, detectives descended on Harts in an effort to unravel the details of the crime. The most famous of these detectives was Dan Cunningham, a one-time participant in the Hatfield-McCoy Feud. More recently, Mr. Cunningham had been employed by Governor William M.O. Dawson in Raleigh and Wyoming Counties. During his Harts Creek investigation, he boarded with locals and eavesdropped on conversations between suspects. Those involved in the store heist, meanwhile, used various means to suppress information. But as the pressure of the investigation bore down on locals, neighbors began to snitch on each other.

By December of 1907, the State had evidence against eleven men in what the Charleston Gazette called “the celebrated Adkins Bankruptcy Case” which “if proven by witnesses for the government, will equal any novel ever written by Victor Hugo.” Those accused — described by the Huntington Herald-Dispatch as “eleven brawny mountaineers” — were Fed Adkins, Charles Brumfield, Albert “Jake” Davis, Manville Adkins, John Fleming, Willard Fleming, Robert “Bob” Fleming, John Adkins, Albert G. Adkins, Floyd Enos Adkins and William “Bill” Brumfield. The state charged the gang with “conspiracy to defraud the government and to impede the administration of justice after the government had taken possession of Adkins store.”

U.S. District Attorney Elliott Northcott prosecuted the case, while Lace Marcum argued for the defendants. In opening remarks on December 5, according to the Herald-Dispatch, District Attorney Northcott fiercely denounced “the eleven men who have been a terror to the country surrounding the village of Hart, in Lincoln county, for the past six months. He stated in words burning with bitterness that the government expected to prove beyond any reasonable doubt that crimes that would narrow the very souls of every juror had been committed in the vicinity of Hart, and had the story been told him three weeks ago he would have thought it a piece of fiction pure and simple… He also alluded to the fact that the government would prove by witnesses who would tell of the horror that had been created in the neighborhood: houses burned, men shot down from ambush, houses with unprotected women had been shot up and the inmates terrorized until they were afraid to venture outdoors. It was a thrilling recital of the worst crimes that have taken place in this state in a decade.” According to the Herald-Dispatch, the eleven defendants “showed but little interest except to look at each other and smile when the crimes were talked of.”

In Marcum’s opening remarks on December 5, he stated that he would prove the goods found at the homes of the defendants were there several weeks before the Adkins store went bankrupt.

On December 6, Northcott questioned Rosa “Sis” Mullins, a sister to Emory and a resident of Abbotts Branch, who swore that she saw John Fleming’s brothers — Bob and Willard — go by her house the night of the robbery on their way to the Adkins store.

“Nearly every witness who testified yesterday,” the Charleston Gazette reported on December 7, “showed just how desperate these defendants are, and the testimony of Capt. Dan Cunningham unraveled a tale of horror that was realistic in every sense of the word.”

On December 7, Lace Marcum began his defense of John Fleming and the ten other Harts men. Bob Fleming, John’s brother, was the second witness called to the stand. He swore that he knew nothing of the robbery until the day after it happened and that he never saw any of the stolen goods. Willard Fleming, John’s other brother, said he stayed with Charley Brumfield the night of the robbery and saw no one armed. John, referenced in one newspaper account as being a “paroled prisoner,” testified along the same lines, as did all the defendants who were called to the stand. “The entire list of defendants swore to very near the same thing,” reported the Gazette.

For the most part, Marcum’s defense of the eleven Harts men had little chance of success considering the evidence against them. In his closing remarks, he was forced to put them at the court’s mercy by claiming that they had acted the way they did because they didn’t know any better. In the end, ten of the accused were sentenced to twelve- or eighteen-month terms in the West Virginia state penitentiary.

In Search of Ed Haley 12

30 Friday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , ,

I told Lawrence that I wanted to know about Ed Haley’s early life but he said he really wasn’t old enough to know much about his father’s younger days.

“My dad was 45 years old, I guess, when I was born,” he said. “He was born in 1883 and I was born in 1928. That was about 45 years. I know my mother was 40 years old and to the best of my knowledge my dad was five years older. She was born in ’88 and he was born in ’83.”

Lawrence said his father was born on the Trace Fork of Harts Creek in Logan County, West Virginia. He was the only child of Milt Haley and Emma Jean Mullins. Milt was partly responsible for causing Ed’s blindness, according to one story that Lawrence had heard on Harts Creek, which he reluctantly told.

“We was up there approximately seven years ago and we stopped over on Harts Creek and visited with my dad’s first cousin, Joe Mullins,” Lawrence said. “He told me that when my dad was very young — he couldn’t a been over two or three — he had the measles or some childhood disease. And when his father came in from working in the timbers that evening he didn’t like the whiny way my dad was acting. It was the dead of winter. They was ice on the creeks. So to make him more of a man and cut out his babyish crying, he took him out and held him by the feet and dropped him in a rain barrel through the ice.  Now according to my cousin Joe that’s partly what caused my dad to go blind.”

What? That wasn’t in the Parkersburg Landing liner notes.

“Now, I don’t know for sure about that,” Lawrence said. “That’s hearsay. I don’t want to bad-mouth anybody — my granddad or anybody — this many years after everybody’s in the ground and forgot about.”

Lawrence said Ed’s mother Emma Jean Haley was killed not too long after the rain barrel incident. “During the end of the Hatfield-McCoy feud, other families became involved. Pop’s mother Emma Jean was down at the mouth of Harts Creek visiting some feudists — seems like they were Brownings — when two or three people came to the door looking for somebody. I don’t know his name, whether he was a McCoy or Hatfield or some other person that had allegiance to one of them. And when my grandmother opened the door, they thought that he was going to answer the door so they just shot her and killed her. Now, that’s hearsay. I heard that story and that’s all I can tell you about that.”

I asked if the house was still standing and Lawrence said, “I don’t think so. It was a big two-story house. The best I can remember, it had a double porch on the front. It was standing there when I was just a little small child.”

Pat said she’d seen a picture of Ed’s mother during a visit to Joe Mullins’ place on Harts Creek several years ago. “Joe and his wife Stella had this beautiful enlarged picture and it was framed,” she said. “It was laying in some back room up there in Joe’s house. I don’t think it was on the wall, because it was very, very dusty when she brought it in to show me. And she said, ‘This is Larry’s grandmother,’ and she made a statement to the effect of, ‘We’ve no use for it.’ This lady has since passed away, but Joe should have the picture because it’s just been a few years ago.”

Already, I could see plenty of inspiration for a musician: tragic blindness — a cruel father — a murdered mother — an orphan alone in the world.

I asked Lawrence what happened to his grandfather Milt Haley and he said, “Apparently he stayed around there. Joe told me he’s buried somewhere down on Harts Creek in a cemetery. He apparently didn’t raise his child. Uncle Peter Mullins and Aunt Liza Mullins raised my dad after his mother was killed. My dad’s mother must have been an older sister to Uncle Peter.”

Uncle Peter, Lawrence said, was nicknamed “Club-Foot Peter” because one of his feet was “turned in.” He was the father of Joe Mullins, the source for many of Lawrence’s stories. “I guess Joe is about as old as my brother, Clyde. He might be around 70 now. He was a lot younger than my dad.”

Lawrence wasn’t sure when his father left Uncle Peter’s household.

“I guess he left when he got old enough to get out and start playing music,” he said. “I would say he was sixteen, seventeen, eighteen. People’d come after him to go play music.”

Lucian Mitchell recalls rafting timber in Guyandotte Valley

30 Friday Nov 2012

Posted by in Timber

≈ Leave a comment

Tags

, , , , , , , , , , , ,

     In the early decades of the twentieth century, Fred B. Lambert, a local historian and educator in southwestern West Virginia, interviewed Lucian Mitchell of Henlawson, Logan County, regarding his memories of the rafting industry in the Guyandotte Valley.

     “I was born July 20, 1885,” Mitchell began. “I ran many rafts. I worked for the Hewett Lumber Company about 1922 for 5 years and then for Jeff Gill, who bought and sold lumber. I often went on rafts and put up at Guyandotte with the Stephenson Hotel.”

     In those days, thousands of Guyan Valley logs were tied into rafts and piloted down the river by pilots to the now defunct town of Guyandotte.

     “It took two days to get out from Logan,” Mitchell said. “The man on the bow of the raft didn’t have to know much. The man at the stern knew where to go, where the shoals were and how to work up to the point on a hard bend and knew the Jordan sands at the mouth of Bear Creek.

     “Sometimes a raft would cork the river by bowing and swinging around in such a position as to get both ends foul. If another raft came down it was rulable to hit this raft in the middle and cut it in two pieces. Most raftsmen could swim so not many got drowned.”

     Among the many turn-of-the-century pilots, Elijah Mobley of Big Creek was memorable.

     “Elijah Mobley of Big Creek below Chapmansville was an eccentric river man — a pilot,” Mitchell said. “He went barefooted and bareheaded in summer and even went that way into Huntington — with his pants rolled up. He was killed by a C&O detective. He had been to Catlettsburg in the West Virginia prohibition days — three or four hoboes were with him — and he tried to bluff the detective by putting his hand in or near his pocket.”

     At some point, the loggers traveling downriver stopped their rafts and boarded overnight with local residents.

     “We took our lunches along and tied up at night,” Mitchell said. “I have stayed at Hubball with James Bench, with W.J. Hatfield at Ranger, with Norma Spurlock at Nine Mile and Burton Hensley at Dusenberry Dam. I stayed with a doctor who lived on the riverbank above Martha who kept about 600 to 700 game chickens. He lived some distance above the Turn Hole.”

     As these trips were often made in the winter months, raftsmen had to survive the freezing cold of river travel.

     “I have had fires on rafts in winter by closing small cracks between logs, but never knew of any cooking to be done,” Mitchell said.

     Upon arriving in Guyandotte, timbermen were paid for their logs and usually used their money to buy liquor and raise all kinds of hell.

     “I’ve seen some fancy fights in Huntington among the raftsmen,” Mitchell said. “Policemen usually didn’t interfere. Dolph Spratt of Mingo County or Paris Brumfield hit ‘Doc’ Suiter. He toned down after this.”

     At the end of his interview, Mitchell recalled the time the Cole and Crane log boom broke at the mouth of the Guyandotte River.

     “The Cole and Crane boom at Guyandotte broke once and came down and struck the piers of the suspension bridge and took it into the Ohio River,” he said.

In Search of Ed Haley 11

29 Thursday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Eight days later, I was with Lawrence Haley in Ashland looking at Ed Haley’s fiddle and holding old family photographs while he talked as if he’d just seen his father the day before. Pat was gone for the day, so it was just Lawrence and I, talking carefully in the kitchen with funeral home silence in the background. Lawrence — or Larry, as his wife called him — was a short, stocky man with thinning hair and a very straightforward manner. I could tell that he was a no-nonsense kind of guy and that it would serve me best to walk on pins and needles for a while. I also had the impression that in talking with me he hoped to correct some of the errors in the Parkersburg Landing liner notes. He was very careful with his words. Occasionally one of the Haley grandchildren would come in and sit nearby as quiet as a mouse before leaving to play in the yard.

In the initial small talk, I looked over Ed Haley’s fiddle, which appeared to be of an inexpensive Czech variety. It was stained brown and was without strings and a bridge. According to Lawrence, his father acquired it during the early 1940s. He confirmed that it was the one used to make the home recordings featured on Parkersburg Landing but was not the one pictured on Parkersburg Landing. He said Ed used “regular old steel strings — no cat-gut at all” and remembered that he always kept his fiddle on an old “pump-type” organ at home. He had the bridge somewhere around the house in a drawer, which he promised to find.

“If you ever find that bridge, we ought to rig that thing up and put some strings on it,” I said.

Lawrence reached me Ed’s bow, which he said was the same one he used the last ten years of his life. “He just used the same bow,” he said. “Whenever he got another fiddle, he’d change the bow.” I looked it over and noticed that it was as heavy as a log.

I started questioning Lawrence slowly with important but seemingly mundane questions about Ed’s music. I wondered if Ed knew what key he was playing in and Lawrence said, “Sure. Well, when my brother Ralph first started playing, Pop’d tell him which key to change to in a piece of music. He’d just lean over to Ralph and tell him.”

I asked Lawrence if he remembered the names of Ed’s favorite fiddle players and he said, “I couldn’t tell you, John. He’s mentioned a few fiddle players but I couldn’t tell you their name now.” Lawrence said he didn’t even remember many of Ed’s local fiddling buddies because he was a kid “wanting to get out and do something else.”

“I don’t even remember Doc White as far as that goes,” he said. “But I remember Laury Hicks up in Calhoun County, which is the next county right against Clay County there.”

I had read about Haley’s friendship with fiddler Laury Hicks on Parkersburg Landing. Hicks was a veterinarian in Calhoun County, West Virginia.

“One of Ed’s lifelong friends was an Ivydale physician named Laury Hicks,” it read. “Shortly before he died, Hicks requested that he be able to hear Ed Haley one more time. Ed arrived too late and it is said that he played over Laury’s grave for hours into the night.”

I asked about Asa Neal, the great Portsmouth fiddler. “Yeah, Asa Neal,” Lawrence said. “I’ve heard my dad talk about him. But I never seen the guy to my knowledge.”

He seemed to know the most about a local physician and casual fiddler named Doc Holbrook, whose name J.P. Fraley had mentioned to me. “They was long-time friends,” Lawrence said. “Doc Holbrook was a physician that practiced medicine in the county seat of Greenup County, which is also named Greenup. He was a fiddle buff and apparently a pretty good one because my dad wouldn’t a fooled with him if he hadn’t showed a lot of promise in playing the violin.”

This was a little confusing. Ed apparently had several doctor friends: Doctor Laury Hicks, Doc White and Doc Holbrook.

“They tell a tale about how Pop would come down to Greenup County and he’d go to where Doctor Holbrook had his practice. He had it in part of his home — had a riverfront home there. When Dad would go over to visit Doctor Holbrook, regardless of how many patients Doctor Holbrook had in his office, he’d shut his office up — he might have a half a dozen patients sitting out there — and him and Pop’d go in and play the fiddle half the day. That’s hear-say, but that’s what they tell me.”

I really liked that image.

Lawrence said his father made a recording for Doc one time, which he assumed was in the hands of Holbrook family descendants.

“Doctor Holbrook wanted this particular piece of music called ‘Over the Waves’ and he bundled my dad and mother up one day and, since there was no recording studios around this area, he took them to Columbus, Ohio where they had a good soundproof recording studio and had them make this piece of music. Now, whether they was other pieces of music made at the same time, I really don’t know. There probably was.”

In addition to giving Doc records, Ed also gave him a fiddle. “Pop had a real good copy of a Stradivarius, and it had a real good mellow tone and a real good solid deep resonance to it,” Lawrence said. “I think it was the one that he give to Doc Holbrook.” Lawrence said it was also still in the Holbrook family. “Doc had a son who had an office down at the Second National Bank Building and he inherited that fiddle,” he said. “J.P. Fraley was supposed to’ve taken that fiddle to the Smithsonian or at some kind of a centennial or something. But that was Pop’s fiddle.”

I asked Lawrence if his father had perfect pitch.

“Yes,” he said. “He never used a pitch pipe or anything. He tuned the fiddle by ear. One of his fiddles, I think had that little tuner on that high key. I never seen one on every string, though. It took him maybe four or five thumps on his strings to get them in tune. You know, them keys would get awful dry and squeaky in their pegs — in their holes — and they’d strip a lot of times and if it was a real dry season or something and it wasn’t holding in tune, he’d blow moist breath on them pegs to get them to hold in place.”

Lawrence had no idea where Ed got any of his tunes, except for one song.

“My dad and mother used to say they played a certain piece of music they heard from this old fella by the name of Greasy George. I won’t say his last name. Greasy George had apparently stolen a pig from somebody and had put it in a small pen close to the house. And two or three days later, he was sitting on the porch playing the fiddle and he saw the sheriff coming up the drive and he began to play a piece of music my dad plays. I don’t know the name of it, except that it went something like this: ‘Shove that hog’s foot further in the bed, further in the bed, further in the bed. Shove that hog’s foot further in the bed. Katy, can’t you understand me now?’ And his purpose in singing those words was trying to get his wife to hide that pig under a blanket, I think. Or that’s what my dad and mother inferred to me — that he wanted his wife to hide that pig somewhere. Mom was telling me about it.”

I asked Lawrence how Ed met his mother.

“I really don’t know,” he said. “Pop was either in Catlettsburg or somewhere around here close. My grandfather on my mother’s side, he moved from Morehead up here to Ashland. People followed work wherever they could get it. My granddad was an old timber man, I guess. They mighta been some work around here for him. In fact, I’m pretty sure at the time my dad met my mother, my grandfather was working at an old stave mill over here — where they make barrel staves. I guess Pop was playing and somebody heard him and told my mother that she ought to come hear him play. Somebody thought that my mother — which was supposed to be a trained musician — they wanted her to hear this old fiddle player. And they got them together that-a-way, I guess. Just a chance-type meeting. They got together and raised a family.”

Lawrence tried to describe the extent of Pop’s travels, a crucial detail in ascertaining the extent of his influence as he was primarily a non-recording, non-radio fiddler. “His travels, as far as being too enormously wide, was restricted to about a three state area, I guess. But apparently his influence got around eventually. Like you say, he might be the granddaddy of Texas style contest music. Far be it from me to dispute it. I really think if he’d been around during the sixties when old-time fiddling was coming back and everybody was wanting to hear this fiddle music, I think he could’ve been worth something. I think he could’ve made a little bit of money at that time. And he might not’ve wanted to do that, see. He didn’t want to do it back in the twenties when they was making recordings around.”

I said, “Well, he’d been on the street. He knew what was going on out there. That’s where life is lived.”

Lawrence said, “Well, that’s why he always steered away from these commercial record companies. The way I feel about my dad, if somebody wants to learn about his music or play it, maybe it might not be completely forgotten. I don’t want to make a dime out of it. If there’s any money anywhere to be made out of it that might come to Pop, turn it over to the Foundation for the Blind. I don’t want to make anything off of my dad. He brought me into this world and raised me up and I’ve had a pretty good life.”

I asked Lawrence what Ed did when he was sitting around home and he said, “He liked to chew tobacco. He’d take this old twist — Stader’s twist, they called it — and he’d take his pocketknife and cut that up and put it down in his pocket. It was picked right off a farm. In fact, that picture of him on the front of that album, I think he had a chew of tobacco in his mouth then. He always carried a vegetable can with him to spit in. Mom never did like it but it was just almost a part of him when he was around the house, except when he’d get out on the porch — then he’d spit out in the yard.”

Lawrence said his dad liked to play music on the porch.

“We lived down on 17th Street and he’d get out on the front porch with that banjo or fiddle and he’d sit on the front porch and play. He’d cross his legs and sit up on the banister where he could spit easy or he’d just sit down with a banjo and play it.”

Lawrence had no clue what happened to Ed’s banjo. “It was one of those things that left when I was in the service, I guess. And Mom’s mandolin disappeared. The accordion my mother had, she let Aunt Minnie have it because Aunt Minnie played the organ some and she wanted to try that accordion. They took it up there and she left it up there for Aunt Minnie and then the house burnt down. It was not a very expensive accordion.”

Aunt Minnie, Lawrence said, was Laury Hicks’ widow in Calhoun County, West Virginia. Lawrence mentioned that I should get in touch with their daughter, Ugee (Hicks) Postalwait, in Akron, Ohio. “I guess she must be close to 81 or 82,” he said. “She was a young woman when I was just a kid. She would dance around Pop when he played and while he was noting the fiddle she’d be up there hitting them strings that he was noting. It had a real nice little ring to it. She heard him like these people hear you right now. She heard him live, danced around it and played on it and everything else. She said all that scratch on the records didn’t sound like Ed Haley. It’s not the same.” I said I would call Ugee when I got back to Nashville.

Lawrence told me a little about his childhood trips to Harts Creek — the place of Ed’s birth. “Most of the time we’d ride the train up there and get off at Harts and then maybe walk and it seemed to me like it took us half the day to get up Harts Creek. You’d ford that creek half a dozen times and the road was in the creek half time time.”

I asked him if Ed carried his fiddle all the way up there and he said, “Most of the time he carried the fiddle. I’ve seen him carry nothing but a fiddle — not even a case a lot of times. He’d carry it out in the open.” He said Ed never played it or thumped on it while walking — “he’d tuck it under his arm and go.” What if it rained? “That’s another thing,” he said. “I can’t remember any instance like that, but I imagine he’s had instances like that. But I know he has went around with a fiddle with no case — just a fiddle and a bow. Same way with Mom. She didn’t have a case for her mandolin.”

At that point, Lawrence showed me several family photographs, including a wonderful picture of his family just before his birth in 1928.

“I was born just a year before the Depression hit,” he said. “They was two of us just babies when the Depression started. Ralph, Clyde, Noah and Jack were stepped from five to fifteen. A lot of times it was skimpy eating and at other times it was pretty good. We never starved or anything. We’d go down to an old dairy just below us called Sanitary Dairy and get a big lard bucket full of buttermilk for a dime, and I could take a piece of cornbread and a glass of buttermilk and make a meal out of it. I’ve done that a lot. I’ve taken ten cents when Mom could scrape up a dime and us kids would all walk downtown to one of them ten-cent movies and stay all day and be starving to death when we came home and there wouldn’t be nothing but cold cornbread and pinto beans or something like that. That’s the way our life went, during the Depression anyway.”

There was another remarkable photo of Ed and his family just after the Depression started. “Everybody can tell you about hard times in the Depression,” Lawrence said. “I know in my second summer Mom said she fed me fresh corn and I took the trots and liked to wasted away from diarrhea. That was about 1930. We made it anyway.”

As Lawrence showed me a few family pictures, his wife Pat showed up with a few of her “bingo buddies.” Pat was a very polite English lady with dark hair and a small frame who wore large glasses. We said our “hellos” and I played a few tunes.

Once the guests left, I spoke more about Ed Haley with Pat and Lawrence in the kitchen. With Pat’s presence, Lawrence’s demeanor was a little different. I could tell that he wanted to present his dad to me in just such a way and he almost openly resented any input from Pat. There was a slight tension in the air. At one point, Lawrence said to Pat, “Go ahead Pat. You tell it. You know more about it than I do.” Pat took it all in stride. She just wanted to be helpful. In any case, Lawrence gave me the impression — and this was very important — that if I did or said anything to his disfavor I would be more than welcome to hit the road. Ironically, and contrary to what I had heard, he seemed more over-protective of his father’s story than his music. Needless to say, it took me a while to get up enough nerve to pull out my tape recorder and record his memories.

In Search of Ed Haley 10

28 Wednesday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

I spent the next two months thinking about the best way to approach Lawrence Haley. It was imperative that I made the right impression — should I call or write? Should I ease into the situation or just tell him how great I thought his father was? It was a fantastic moment — a period of time just before “contact” when I was mostly daydreaming and not nearly so swept away. In that instant, I was content to just talk with Ed Haley’s son and find out as much as I could about one of the world’s greatest fiddlers.

I finally decided to write Lawrence a letter, a perfectly natural thing to do since he was a retired postman. I had a million questions but limited myself to this:

Dear Mr. Haley,

 I am deeply inspired by your father and his music. I’ve almost completely worn out the Parkersburg Landing album and have become very interested in him. I believe him to be the best as well as the most important fiddler of our time. Through his influence on Clark Kessinger and Georgia Slim who in turn influenced Benny Thomasson he could be considered the grandfather of the present Texas contest fiddling style.

 I would have given anything to have heard him and seen him. I’ve read everything I can find and have talked to J.P. and Annadene Fraley at length for any little tidbit about him. I would love to meet you and hear you talk of him.

Yours very truly,

John Hartford

Because of my promise to Gus Meade, I was careful not to divulge the fact that I had heard any of Ed’s tunes not featured on Parkersburg Landing and had resolved that if I should be so lucky that Lawrence would at some future time play some of them I would act surprised.

A few days later, after getting the “go-ahead” from Annadeene Fraley by telephone, I gave Lawrence a call. He was extremely nice and seemed happy that I was interested in his father. He said he used to watch me on TV years ago.

“You’re the guy with the derby that danced and played the fiddle at the same time,” he said in a somewhat raspy voice.

I hesitantly asked about his father’s records. He said he had most of his dad’s original home recordings, as well as reel-to-reel copies made by the Library of Congress.

“I got four little seven-inch tapes here with some music on them,” he said, before reading the titles. I carefully wrote each title down, taking special note of the ones I had never heard of. Lawrence said his father sometimes named tunes after places where he played, like with “Catlettsburg”, a small river town near Ashland, or with “Parkersburg Landing”, a West Virginia city just below Marietta, Ohio.

“I don’t know where Pop gets all these names from,” Lawrence said, as if Ed were still alive to name them. “I think when my dad went somewhere and played, and if people liked what they heard, that’s the way he named them. Like that ‘Parkersburg Landing’, he was probably up in Parkersburg, West Virginia, playing and people liked it so that’s what he called it. I’m not sure how they got named but that’s what I’d say.”

There were other tunes like “Dunbar”, named for a small town near Charleston, West Virginia, and “Cherry River Rag”, named after a river in eastern West Virginia.

After reading Ed’s titles, Lawrence said, “Pop played quite a few more pieces than that, of course. It’s really hard to say how many of his records are out there that I don’t know about. Several years ago, this guy brought me one of his records with a tune on it called ‘Ox in the Mud’. He said he had wanted it on a record so bad he took Pop to one of these recording studios and had it made. Well, I traded him one of those Parkersburg Landing albums for it and I guess he was satisfied with that because he got quite a bit more music.”

Wow – the prospect of finding more Ed Haley records was exciting. I could just imagine digging through a box in some antique store along the Ohio River and finding Haley records mixed in with old Big Band orchestra albums and selling at a quarter each.

Putting such thoughts aside, I turned my mind back to Lawrence, who was actually holding Ed Haley records at that moment in Ashland, Kentucky. I asked him about the type of records and their general condition.

“The records are mostly Wilcox-Gay plastic records,” he said. “When I took them to the Library of Congress in Washington, some of them was in pretty bad shape. The hole where the spindle was, some of them was wore oblong and they had to put weights and everything else on them and they come up with a flutter in them. I allowed Rounder Records to make a copy of them because they said they was gonna put out a couple of albums.”

I said, “Well, I’ll tell you what. I’ve never heard anything like it. I’ve heard a lot of fiddling that was made on old records at that time and your dad was so far ahead of any of them it’s not funny. In the one sense, he’s an old-time musician. In the other, he’s modern. That knocked me out. He may be the heaviest musician I ever heard. His syncopation and his timing and his intonation… Because them old-timey notes, you know, you can’t hit them right on the head. You’ve got to shade them. And to shade them, you’ve got to really know if they’re in tune or not and not just anybody can do that. And boy, he is a master of it.”

I was obviously a little carried away and caught up in the moment.

Lawrence sort of laughed and said, “I know he was a good, fine fiddler. My dad held the fiddle out onto his left side right at the top of his bicep where his arm and chest met – the armpit, just about. It was more of a classical violinist’s stance than the old mountain fiddler holding it down towards his knee or close to his knee and right in front of him. I’ve seen him lean his chin over on the base of the violin at times. You know, like people trying to hold that fiddle up there on their shoulder and under their chin, they can’t get their fingers right if they don’t let go of the fiddle on the neck of it. Well, Pop didn’t have to dip the bow a lot of times. What he did, he’d rock the fiddle to that string to meet the bow, see? And that was tricky, too.”

I said, “I’ll tell you what, he’s got one of the best bow arms I’ve ever heard. He gets those notes out so clear.”

Lawrence interjected, “He used all the bow, too. A lot of people, they’ve got to saw the bow back and forth. My dad used every inch of the bow from one end to the other. He didn’t grab the bow up on the strings like a lot of fiddlers. You know, half way up the bow. He got right back on the bow where you tighten the string and his finger was on that tightening fret. His little finger was wrapped around that, more or less.”

I said, “It sounds like he long-bowed a lot, where he’d pull that bow down and get four or five notes on a bow stroke.”

“Yes he did,” Lawrence said without hesitation. “Pop would use every bit of that bow to get it.”

Discussing Ed’s bowing prompted me to think about Ed’s fiddle. I had looked at it many times in the Parkersburg Landing picture and wondered if it survived fifty years after his death.

“I’ve got the old fiddle,” Lawrence said, “but it’s really not playable. We lived at a place one time where we had an excess of moisture and it got to this old fiddle and it started coming apart. My son Steve took it and had some instrument re-builder to put it back together but they never could get it back together right so it’s lost all of its intonation. I’ve got it but it’s not really worth playing because it hasn’t got the resonance to it.”

I told Lawrence I was hoping to be back in Ashland in a few days and would love to visit him and see his father’s records.

“Well, if you come up and you can get a hold of some kind of portable tape player I don’t care to let you copy Pop’s records,” he said. “They will probably just set here till some kind of magnetism comes along and takes all the information off of them. But they’re here and I hope nothing happens to them.”

Well, this was an unexpected offer from someone who was reportedly so over-protective of his father’s music.

I asked Lawrence how old Ed was when he passed away and he said, “Let’s see. I was about 23 or 24. Right now, I’m an old man. I’ve had quite a bit of heart problems. I spent the biggest part of November in the hospital on a ventilator. I was having congestive heart failure. I guess you hear how my voice sounds. They rammed something down my vocal box between my vocal chords and I’ve never got my voice back right. Well, I’m more or less living one day at a time. I’m 63 now.”

I said, “Well, you’re exactly ten years older than I am.”

“Well, you’re getting up there, too, aren’t you? Not the young man we remember on TV,” Lawrence said.

Hoping to get more at the source of Ed’s music, I asked Lawrence if his dad talked about where he learned to play.

“Not to me, no,” he said. “I’ve heard some stories but just like all other legendary people whenever a story is told twice it’s been embellished quite a bit. One fella said to keep from starving to death my dad sat out and eat wild onions with a piece of cold cornbread that he’d take out of the kitchen of my great-aunt Liza’s house, who raised him. But that wasn’t true. I’ve heard Pop tell me personally that he’d take a salt-shaker and a big onion and something like that and a piece of cornbread and go out in the garden and get him a tomato and eat that. I’ve never heard him talk about eating wild onions.”

I had given little thought to Ed’s childhood and birthplace.

“Where he was raised it was kind of rough country up in West Virginia,” Lawrence said. “He come out of Logan County, West Virginia, out in a country called Harts Creek. We used to go up there quite often until I was about nine or ten years old because my dad would go back there. He’d go around courthouse days and play music out in the courthouse lawn for change and things and that’s the way he made his living. He’d go to fairs and any other activities that might draw a crowd where he could play music. That’s how him and my mother made their money and raised us kids.”

How many kids were there in the family?

“They was seven of us all together,” Lawrence said. “I was the youngest boy and then I had a sister younger than me. But I had one brother to die when he was in infancy so really there was only five boys and one girl they raised. They got us up one way or the other without jerking us too hard.”

I asked Lawrence if he remembered his father playing for dances.

“I remember one afternoon we walked from Morehead, Kentucky down to Farmers,” he said. “That’s four or five miles. At that time they didn’t have too good a roads through there so we walked the railroad tracks. I was just a kid. We went to these people’s house and they rolled back the rugs and things and Pop sat there and played all night until the sun come up. I don’t know when Pop made the arrangements. Just him and my mother.”

For the next minute or so, I really bragged on Ed’s music. I had listened to it for years and had a lot of emotion about it. Finally, Lawrence said, “Well, I’ve heard him make a sour note on a few of these records but I think he learned his violin real good.”

Lawrence said his father played the fiddle from the time he was a small child.

“The way I understood it, he become blind when he was a couple of years old and they couldn’t figure out what to do with my dad,” he said. “He was blind and living out on the farm and somebody made him a violin out of a cigar box and he started out from there and just self-taught hisself, I reckon. As he went along, he got a hold of old instruments, I guess, and showed some promise and somebody looked after him and saw that he got the right things any way.”

I was very interested in Haley’s early travels, particularly before he married and settled in Ashland.

“I guess by the time Pop was eighteen, nineteen years old — that’s back at the turn of the century — he was traveling all over West Virginia and eastern Tennessee and western Old Virginia and parts of Ohio and eastern Kentucky,” Lawrence said. “He went to White Sulphur Springs and Webster Springs — these places that were pretty well known as spas and health resorts. He went to the state capital around Charleston. I’ve heard Pop talk about when he’d be in Charleston. He said he’d guarantee if he was at the Capitol building or somewhere playing music, Clark Kessinger would be there a listening trying to learn his style. I think that’s the way that Clark Kessinger got his style of Ed Haley, just watching him around Charleston, West Virginia.”

I told Lawrence that Kessinger was a great fiddle player but that he wasn’t even close to his dad.

That seemed to delight Lawrence, who was quiet for a moment before saying, “I’m glad to hear somebody say that. That’s one reason I agreed to let Rounder Records make an album or two. I thought there might be somebody out there that would appreciate that type of music and want to preserve it some way or the other. Once bluegrass and country rock and all that took off the old mountain-type music that came over from England and Ireland and Scotland and some of the Dutch and Scandinavian countries has just about been lost.”

Easing into more musical dialogue, I told Lawrence about my theory that Haley was a grandfather of the modern Texas contest fiddling style.

“Well, I don’t know about all of that John,” he said, “but when he’d start a piece over — he’d play each piece about four or five times — he had a different variation. It would still be the same piece of music but it always seemed to vary some from the first run through to the second run through. Well, I’ve seen him vary the speed even. When he is getting toward the end — maybe the last run — he’ll speed up the tempo and things like that or make some different finger work. And that was some of the difficulties my brother had about making records with him. My brother played the mandolin or guitar and my mother played the mandolin some.”

Lawrence said his father’s blindness, as well as his distaste for the up-and-coming commercial music industry, hindered his willingness to record music.

“When radio first took off they tried to get my dad to make records, but he always felt he couldn’t do it because they had to cue him in as to when to start,” he said. “My brother had quite a bit of problems like that when he made those home-made records with my dad. And on top of that, my dad felt that recordings were just some way for somebody to take him. After so many records had been sold over a thousand, he might get two cents on the record or something like that. He felt like he’d rather get out on the street and play it for free among friends. I’ve come to the conclusion, Why not?”

I asked Lawrence if Ed played around the house and he said, “Yeah, he’d practice sometimes. I’ve seen him get out the fiddle and just play for himself. He’d listen to a piece of music… One that I can think of real good, but I don’t think he ever really come out and made any version of it for hisself was Vaughn Monroe’s ‘Ghost Riders in the Sky’. I think he figured the afterlife was about like Vaughn Monroe’s ‘Ghost Riders in the Sky’: what you did all your life was gonna be your hell if you didn’t do it right, if you didn’t enjoy it.”

While crediting some of Ed’s contemporaries, Lawrence seemed to regard his father as a highly gifted prodigy surrounded by mediocrity. He implied that his father humbly felt the same way, although it was an occasional source of aggravation, especially in his later years. “A lot of guys would get around Pop and aggravate him,” Lawrence said, “but I think he enjoyed music.”

I told Lawrence I would give almost anything to have seen his father play.

“Well, it’s a shame there’s no kind of video of Pop because he had an easy style of violin playing. It didn’t look strenuous to him.”

Ever conscious of genetics, I asked Lawrence if any of his family played music. He said his son Steve Haley — who lived just north of me in Hendersonville — was a former band instructor.

“He graduated from Morehead as a music major and taught high school band in Knoxville. His two daughters are taking violin lessons and are in whatever little junior symphony they have there in Hendersonville. They play semi-classical stuff.”

I asked Lawrence if Ed played any instruments aside from the fiddle and he said, “My dad was an old hammer-thumb banjo-picker like Pappy Jones. He played ‘Cripple Creek’ and ‘Sourwood Mountain’ — really just about anything he played on the fiddle. And he put just about as many notes in on the banjo as he did on the fiddle. I’m not a bragger about my dad but he was a good banjo player, too.”

This was a new twist: I hadn’t even considered that Haley might have been a multi-instrumentalist.

“I never seen Pop play a piano,” Lawrence said, “but he could set down and play a piece of music on our old pump organ. And he taught my older brother Ralph how to play the guitar. Sometimes my dad would be playing the fiddle and my brother would be trying to pick up a piece of music with him and he’d tell Ralph what chords to hit, how to change chords and all that. He could make a run between notes and my dad could, too. Yeah, Pop could play any instrument, or I guess a little bit on anything that was handy to him anyway.”

I wondered if there were any recordings of Haley playing the banjo.

“No, not a thing on the banjo. My brother Ralph, when he come out of the service — in 1946, I guess it was — he got a hold of one of these Army surplus machines that had a cutting needle on it that cut the grooves and that’s what he made all these records on. Some of them are paper with a plastic coat on them. Others are a solid plastic. But most of them are all scratched and some of the paper ones are wore completely through the plastic into the paper. I’ve tried to keep them here at home. Some parts of the records are good.”

Just before hanging up, Lawrence said, “It was kind of a surprise to us to have got your letter. Annadeene called here and told us that you’ve been trying to get a hold of us. Our daughter, when you was here, she’d just had her operation, I guess. I think they’re gonna give her some radiation treatment and we will be making some trips back up there to Ohio but we’ll try to be here if you come.”

At that point, Lawrence turned the telephone over to his wife Pat who said in a pleasant British accent, “I do invite you and whoever you’re bringing with you to stay with us overnight or whatever. I have a front bedroom with two double beds and it’s just Larry and I that live here and we appreciate you showing an interest.”

In Search of Ed Haley 9

28 Wednesday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Back in Nashville, I thought a great deal about Ed Haley’s place in relation to other fiddlers of his time. I’m not much on categorizing people but I agreed with Dr. Wolfe, who put Ed in a “creative” class of fiddlers that included Eck Robertson, Clark Kessinger, Arthur Smith and Clayton McMichen. These fiddlers, according to Dr. Wolfe, felt that technique was just as important as repertoire – one of the trademarks of the Texas contest fiddling style so popular today.

“I like to flavor up a tune so that nobody in the world could tell what I’m playing,” Haley once told Skeets Williamson.

For creative fiddlers, writes forensic musicologist Earl Spielman in The Devil’s Box, “a fiddle tune is not just an ornamented melody; a melody is merely the raw, undeveloped, unprocessed material out of which a tune can grow and reach maturity. In Texas, instead of playing a repetition of the melody, the fiddler plays a variation of the original material. Each new variation can be radically different from the preceding one. The object of the fiddler is to avoid duplication and to be as innovative as possible within the limits of what is acceptable. As might be expected, any regular pattern of bowing is avoided. The bowing characteristic of Texas fiddling consists of fairly long bow strokes executed very smoothly with the bow rarely leaving the strings and with the number of notes played on each stroke varying from a single note to as many as seven or eight.”

Creation of the Texas contest style is accredited to Benny Thomasson, who competed with rival Major Franklin to such a fierce degree that he started improvising tunes and adding new parts onto them.

“Back when I started they had only two part tunes, and that was it,” Thomasson said in a 1982 interview. “In the older days when I began to come up I took these old tunes and began to build different sections to them. Like there would be two parts. Well, I’d add another. It would be the same part but in a different position. The old-timey fiddling that they try and hang onto nowadays, it’s all right. It’s good to listen to but we take those same tunes and just weave a web around them and make it come out real pretty.”

Many fiddle scholars agree that Benny Thomasson got his ideas about adding onto tunes from Texas fiddler, Eck Robertson. He was inspired enough by Robertson’s multi-part version of “Sally Gooden” (recorded in 1922) to say that Eck played it “better than anyone else in the world.” Haley was also proficient at adding parts; his “Forked Deer” had four parts, while his “Cacklin’ Hen” had eleven.

While there is no documented evidence that Ed Haley ever met Eck Robertson or Benny Thomasson, there is a link between Thomasson and Ed through Clark Kessinger and Georgia Slim Rutland. Benny borrowed heavily from Kessinger’s Haley-like early records, particularly “Tug Boat”, which Kessinger had gotten from Haley’s “Ladies on the Steamboat”. Likewise, Georgia Slim Rutland – one of radio’s top fiddlers in the 1940s – “allegedly spent one year in Ashland listening to Ed Haley play,” according to Parkersburg Landing, and was personally acquainted with Thomasson.

Because of Haley’s connection to Clark Kessinger and Georgia Slim, and their subsequent influence on Benny Thomasson, I began to formulate a theory that Haley was a “grandfather” of the Texas contest fiddling style. I must have been onto something because when I later mentioned it to J.P. Fraley, he said, “Well see, I knew Benny Thomasson and he knew about Ed Haley because I was playing at the National Folklore Festival and he wanted to know about that fella.”

Aside from such speculation, I also tried to discover more about Haley’s music from Parkersburg Landing. Hearing Snake Chapman and J.P. Fraley’s account of their experiences with him made my thirst to know more about his life and music overwhelming. I hated that I would never be able to see him play or talk to him. My family kidded me about trying to make up for that impossibility by doing everything short of digging him up and screwing him back together. They were aware – even before I – that I was obsessed with his story. My wife often poked her head into my office thinking I’d gone crazy listening to his recordings over and over. To her, they were nothing more than a bunch of surface noise and static, but the music was there and the feelings and pictures it made were unforgettable.

In Search of Ed Haley 8

27 Tuesday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

As soon as my schedule cleared, I loaded my car and traveled north on I-65 out of Nashville toward the home of J.P. and Annadeene Fraley in Carter County, Kentucky. I took the Bluegrass Parkway northeast to Lexington, where I boarded I-64 and drove eastward past Winchester, Mt. Sterling and Owingsville. In a short time, I was in “Ed Haley country,” passing by Morehead — birthplace of Mrs. Ed Haley — and through the northern end of the Daniel Boone National Forest. A little later, I took the Grayson exit, where I found J.P. and Annadeene at their beautiful log home in a small settlement called Denton.

In the initial small talk, J.P. told about seeing Ed Haley play on the streets of Ashland. He specifically remembered him playing at Gallagher’s Drug Store where he sat cross-legged “like an Indian” with his back against the wall “right by the doors where you go in.” Ed kept a hat out for money and knew people by the sound of their voices. In the cold months, he played inside for square dances, Kiwanis Club events, and at local beer joints like “The Wheel.” J.P. said, “Now business people treated him good but the general public, they didn’t know what they was doing.”

At that point, we got our instruments out and squared up to play some tunes. As J.P. worked through his repertoire — “Birdie” (Haley’s version), “New Money”, “White Rose Waltz” — he sang little ditties and gave some of the history behind his tunes. He played a great tune called “Maysville” and said, “Daddy played it. What it was, they wasn’t no tobacco warehouses in Morehead or Flemingsburg so they had to haul their tobacco plumb into Maysville to sell it. When they was going there, they played the tune fast because they was happy. They were going to get that tobacco check, see? On the way back, they was playing it slow because they were drunk. They all had hangovers.”

J.P. also played “Grey Eagle”, “Black Mountain Blues” and “Bonaparte’s Retreat”. His treatment of this latter piece was somewhat unique — he began it with “Dry and Dusty” (“Daddy’s introduction”) — although he really bragged on Haley’s version. “If you listen to that record you got, you can hear… It’s just like cannons going off. I mean he was doing it on the fiddle. Man he had the best version of that. Ed Haley was colorful with his fiddle tunes.”

In between all of the fiddling and reminiscing, little comments spilled out about Haley. Things like, “His fingers was like a girls.” Then more fiddling.

Some time later, J.P. and I put our instruments away and sat down to dinner. Between bites, I asked him where he remembered Haley playing in Ashland.

“His range was right along 15th – 16th Street on Winchester Avenue. When you went down between Winchester and Greenup, there was shoe shops and a saloon or two and a poolroom where mostly a congregation of men were. Then over on Greenup the women’d be shopping. Sometimes he played on Front Street, but that was a wild part of town. I don’t ever remember his wife being over in there but I seen him there when the boy was picking with him. Down by the railroad over on Front Street, there used to be stores over there — and on Greenup. I mean, grocery stores, family stores. I can remember seeing him play in front of one — had to be down there. I guess around 14th Street on Greenup. I guess hunting season was going on because wild rabbits was hung up out there for sale…with the fur still on them. And stocks of bananas. Slabs of bacon, hams. I mean they wasn’t bound up to keep the flies off of them.”

After dinner, I played some of Haley’s music on cassette tapes for J.P. He casually told how people sometimes griped about Ella’s accompaniment being too loud. He also brought up how people occasionally complained when Haley played inside Ashland businesses. J.P.’s father once confronted a store owner who had asked Ed to leave his store. “Daddy told me he’d went in that hardware store, you know, to take up for Ed,” J.P. said. “The storeowner knowed Dad. He said, ‘Now Dick, you forget about it ’cause I’d ruther for him to be out there a fiddling as all them people to come in here that’s been a complaining about him.’ It wasn’t really a problem.” I said, “So he fiddled outside the hardware store all the time?” and J.P. said, “Right in that vicinity. If it was rainy or a real hot sun, you’d find him along there playing.”

Annadeene and I made plans to visit Ed’s son, Lawrence Haley, in Ashland the following day. J.P. showed me to a guest bedroom, presumably to turn in for the night, but we were soon playing music again. He cranked out “Goin’ Back to Kentucky”, then said, “I bet you money Ed Haley played that because Asa Neal did.”

The next morning, Annadeene and I hopped onto US Route 60 and made the thirty-minute drive into Ashland, the place where Ed Haley lived the last thirty years of his life. In those days, Ashland was a somewhat affluent industrial town on the Ohio River. Today, its population has dwindled to around 20,000 and its once prominent river culture seems long gone. It is best known as the hometown of country music stars, Naomi and Wynonna Judd, as well as movie actress Ashley Judd. It was clear that the place seemed to be somewhat depressed in the way most river towns are in this section of the Ohio River, outside of a budding shopping center to the northeast.

Annadeene and I drove around town for about an hour. She pointed out all the places she remembered Ed playing and told me all about his relationship with Jean Thomas, the late Ashland folklorist. I had heard of Jean Thomas and was roughly aware of the arguments for and against her work in Ashland to preserve and perpetuate mountain culture. She was the creator of the American Folksong Festival, an annual production held at the “Wee House in the Wood.” The central character in Thomas’ festival was Jilson Setters, a blind fiddler character “from Lost Hope Hollow” who Annadeene said had been inspired by Haley. She was sure of this, having served as Thomas’ personal secretary years ago.

In The Singin’ Fiddler of Lost Hope Hollow (1938), Thomas gave an account of her first encounter with ‘Jilson’ at a local courthouse: “There under the great leafy oak in the court house yard, the sun gleaming on its wet leaves, stood an old man, tall, gaunt, with a hickory basket on his arm, a long oil cloth poke clutched in his hand. It was the poke that caught my eye. Already a crowd was gathering about him. He put down the basket, then took off his dilapidated wide-brimmed felt and placed it, upturned, on the wet grass at his feet. Carefully he untied the string on the oilcloth poke and – to my surprise – took out a fiddle! In another moment, fiddle to chin, his sightless eyes raised to heaven, he swept the bow across the strings with masterly ease…and sang in a strong, a vibrant voice for one so old. While he fiddled a measure, before starting the next stanza, I fairly flew across the road. I wanted to be close at the old minstrel’s side, lest I lose a word that fell from his lips. When the song was ended I clapped loud and long, like the rest, and like them, too, tossed a coin into the old fellow’s hat.”

Annadeene said Thomas first offered Haley the opportunity to role-play Jilson Setters but he refused. He likely agreed with writer John F. Day, who offered a scathing criticism of Thomas in Bloody Ground (1941). “The trouble with most ballad-pushers, as well as of the other ‘native culturists,’ is that they’re seeking their own exultation under a guise of working for the benefit of the mountain people,” Day wrote. “One wonders as he watches the American Folksong Festival whether it’s all for the glory of God, art, and mountain balladry, or Jean Thomas, Jean Thomas and Jean Thomas. After reading one of Jean Thomas’ books I feel ill. Everything is so lovely and quaint; so damnably, sickeningly quaint. Writers like Jean Thomas would have one believe that every-other mountaineer goes around singing quaint, beautiful sixteenth-century ballads as he plunks on a dulcimer. The people of Kentucky laugh at Miss Thomas’ stuff, but the people outside the state are willing to lap it up. Now in the first place thousands of hill dwellers know no old ballads and other thousands know the old ones but prefer the newer ones. In the second place 90 per cent of the ballads and 90 per cent of the ballad singers stink. Further, the only dulcimers left in the hills are gathering dust on the walls of the settlement schools. The mountain people found out long ago there wasn’t any music in the damned things, and so they discarded them for fiddles, banjos, and guitars.”

After Haley refused to play the part of Jilson Setters, Thomas chose Blind Bill Day, a left-handed fiddler and migrant to Ashland. At some point, she took him to play his fiddle for the Queen of England. Based on Thomas’ book, Ballad Makin’ In The Mountains of Kentucky (1939), Day met his future wife “Rhuhamie” (actually named Rosie) on Horse Branch in Catlettsburg, Kentucky.

I went to Ed Haley’s the day it was bright

I met with a woman I loved at first sight.

I asked her some questions about her past life.

She told me she was single – but had been a wife.

 In deep conversation I studied her mind,

She had come down to Brushy to wait on the blind;

The labor was hard and the wages was small,

I soon saw that she did not like Horse Branch at all.

Needless to say, the entire concept of Jilson Setters went a long way in destroying Thomas’ credibility as an authentic folklorist. John F. Day wrote: “The mountaineers had to be quaint. Such determination led to hoaxes like the one Jean Thomas perpetrated with ‘Jilson Setters, the Singing Fiddler of Lost Hope Hollow.’ She took this ‘typical representative of the quaint mountain folk of Kentucky’ to New York and to London and made quite a name for herself and him. But though he might have been Jilson Setters to the New Yorkers and the English he was James William Day (nicknamed ‘Blind Bill’ Day) to the people of Kentucky who knew him. There may be a ‘Lost Hope Hollow’ – they name them everything – but nobody in the Kentucky mountains ever heard of it. There was no particular harm of course in changing Bill Day’s name to Jilson Setters if the latter sounded more poetic – or something. Names are changed every day in Hollywood. The harm came in pawning off Bill, well-coached in quaintness, as a representative of the Kentucky mountain people. But the most laughable part of the whole affair was that Bill Day had lived for years in Ashland and Catlettsburg, and of all the sections of the Kentucky mountains, that in which the two cities lie is the most modern. Ashland is an industrial city of more than 30,000 population, and Catlettsburg is almost a suburb. The Big Sandy Valley was opened up years before southeastern Kentucky, and thus if one is to find any ‘quaintness’ at all he must get out of the Big Sandy country.”

Annadeene and I drove around Ashland for about an hour discussing such things before heading to nearby Catlettsburg, Kentucky on US Route 23. According to J.P. Fraley, Catlettsburg — a former boomtown for loggers who rafted timber out of the Big Sandy River at the turn of the century — served as Ed Haley’s place of residence during the twenties and early thirties. Today, its historic and interesting downtown area — featuring the Boyd County Courthouse and other buildings that attest to its short prosperous history — is almost hidden from view due to a railroad to the south and a large floodwall to the north. Its most visible section is a modern strip along US Route 23, consisting of a slow-moving four-lane road dotted with gas stations, old dwelling houses and fast-food restaurants. A sign proclaims Catlettsburg as a town of 6000 residents and maps show it situated across the Big Sandy River from the town of Kenova, West Virginia and across the Ohio River from South Point, Ohio.

After looking over the place, Annadeene and I drove back to Ashland on Winchester Avenue and turned onto 45th Street at a large, brick Presbyterian church. We drove up a narrow and curvy street until it crested at Gartrell Street, where Annadeene pointed out the home of Lawrence Haley, an unpretentious white one-and-a-half-story residence. We parked on the street and eased out of the car toward the Haley porch. As I stood there preparing to ring the doorbell, I noticed the original picture of Ed Haley featured on Parkersburg Landing hanging just inside a window on the living room wall. I had goose bumps in realizing how much this experience meant to me. After a few rings of the bell, it was clear that no one was home.

Just as we were ready to step off of the porch, a young girl with a wonderful smile came up from next door and said that her grandparents had gone over into Ohio. I realized just then that she was Ed’s great-granddaughter and was instantly as impressed as if I’d just met the daughter of the President of the United States. A stocky man with a dark mustache followed her over and introduced himself as her father, David Haley. Annadeene and I talked with him briefly, then said we’d come back some time when his parents were home. I walked out of the Haley yard wondering if the girl or her father had inherited any of Ed’s musical talent.

Later in the day, after parting ways with the Fraleys, I drove south through the Big Sandy Valley on US Route 23 to see Snake Chapman, the fiddler who remembered seeing Ed Haley so often during his youth in Pike County, Kentucky. At Pikeville, I took US Route 119 to Snake’s mountain home up Chapman Hollow near a settlement called Canada. Snake was a retired coalminer who spent most of his time caring for his sick wife. He was very mild-spoken — almost meek — and had what seemed like hundreds of cats all over his yard (even on the roof of his house). Once we began playing music, it was clear that he was a great old-time fiddler. I had a blast with his buddies, Bert Hatfield (a relative of the feuding Hatfields) and Paul David Smith.

Snake told me a little about his father, Doc Chapman. “He was an herb doctor, Dad was. Everybody knowed him by Doc Chapman. He knowed every herb that growed here in the mountains and what they was for and doctored people all around.” Doc was also a fiddler.

Snake took up his fiddle and played several more tunes, including Haley’s version of “Birdie”. Snake was a man of few words, so most of my visit consisted of playing old-time tunes. I spent the night at Bert Hatfield’s, then left eastern Kentucky on US 119 and US 25E via the Cumberland Gap.

In Search of Ed Haley 7

26 Monday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

A few days later, while re-reading the liner notes for Parkersburg Landing, I focused in on the name of J.P. Fraley as one of the informants for Ed’s biographical information. Encouraged by my success in contacting Snake, I got J.P.’s telephone number from a mutual friend and just called him up. He lived near Grayson, Kentucky, a small town southwest of Ashland and roughly mid-way between Ashland and Morehead on Route 60. I could tell right away that Ed Haley was one of his favorite subjects.

As soon as I mentioned Haley’s album, J.P. just took off. “You know, he never did make a commercial record. Those little old things, they had a cardboard center. They was home recordings. At the time, Rounder was a making the record that I did, The Wild Rose of the Mountain, and I told them about Ed Haley. And we was lucky with Lawrence, one of his boys…”

J.P. stopped.

“John, I’ll tell you quickly the story of it. Lawrence was really proud of his daddy, but people around Ashland would say, ‘Aw, he was just a bum.’ Well, he wasn’t a bum. Anyway, I got a hold of Lawrence and he was dubious about even letting us make an album of the records. He was pretty well put out because his daddy never did get recognition, but I told him Rounder was legitimate. He said, ‘I’ll go with you and take them records.’ He insisted on it. He was on the verge of being a retired postman. So he went to the Smithsonian and finally come out with the album. It tickled me to death that they did it.”

J.P. paused and then said, “Well, so much for that. I’m on your nickel,” – as if what he’d just told me was something I didn’t really care to hear.

I asked him to tell me more, specifically about his memories of seeing Haley on the street. He said, “You know, he fascinated me. When I was just a kid learning to fiddle, my daddy was a merchant. He’d take me into Ashland and stand me on the street just to listen to this blind fiddler and his boy play. I was about twelve or fourteen. Well, even earlier than that I was listening to him on the street – watching him – and I swear to god, his fingers, when he played the fiddle just looked like they was dancing. It was out of this world. Now, I don’t know which world’s fair it was, but they picked him up – I think it was Mr. Holbrook, the doctor – and took him to the world’s fair and the critics in New York – might have been ’35 or somewhere in there – wrote about him. Said he was a ‘fiddling genius.’ Just what I already knew, and I was just a kid.”

In the 1940s, one of J.P.’s friends, Clovis Hurt, had a run-in with Haley at Murphy’s Ten Cent Store in Ashland. “Clovis Hurt played fiddle in a band. He discovered Ed playing on the street and it just had him washed away. So Clovis told Ed that he was a fiddler. Ed said, ‘Have you got a fiddle?’ He said, ‘Yeah.’ Ed said, ‘Where’s it at?’ He said, ‘It’s in the car.’ Ed said, ‘Get it and play me a tune.'” J.P. chuckled. “Now, this happened. They was several of us around there when this took place. Clovis never did like Ed after what happened. He got his fiddle out and he played a tune called ‘Grandmaw’s Chickens’. It sounded like a whole flock of them – scared chickens. Ed said, ‘Listen, I wanna tell you something. Don’t you play the fiddle in public anymore. You’re just a learning it a little bit.’ Clovis hated him. Well, I mean he didn’t hate him, but he said he didn’t like him. Said he didn’t have any personality. I said, ‘Well, Clovis, he didn’t have to have. He made it with the fiddle.’ But he was nice enough.”

So Ed wasn’t afraid to speak his mind, even though he was blind?

“Oh, no,” J.P. said. “I’ve heard him get loud. He would actually try to fight if somebody bothered him. He’d tell them, ‘Come around here.'”

Haley apparently had a cranky side: according to Parkersburg Landing, he “was known for his irascible moods and anyone who did not properly appreciate music was liable to his scorn.

I asked J.P. about Haley’s fiddle and he said, “Well, Ed wouldn’t fool with a cheap instrument. Over the years, he had several fiddles. This doctor I told you about – Doc Holbrook – he had one of Ed’s fiddles and I got to keep it for two or three years.”

As for Haley’s technique, J.P. said he “leaned” the fiddle against his chest when playing and held the bow at its end. I wondered if he played long or short bow strokes. “He done it both. I know when he played for his own benefit he used more bow. But he played a lot for dances and as they used to say they had to play ‘quick and devilish.'”

Did he play in cross-key?

“Oh Lord, yeah.”

What about bluegrass music? Did he like it?

“I honestly don’t think Ed woulda fooled with it. He didn’t do a whole lot of double-stopping or too many minors and stuff.”

Being an avid collector of fiddle tunes, I was very curious about Haley’s repertoire. J.P. said, “Oh, Lord. I play some of his tunes: ‘Birdie’ and ‘Billy in the Lowground’. And he played tunes like ‘Old Sledge’. He played all the standards like ‘Soldiers Joy’ and ‘Forked Deer’ and all of that. ‘Wagner’. He didn’t call it ‘Tennessee Wagner’, but he called it ‘Wild Wagner’. He played a tune that I woulda loved to learned – one called ‘Flannery’s Dream’. He was limited but now he would play hymns, too – especially on the street, on account of this is the whole Bible Belt. He played some waltzes. They were crudely pretty. I don’t remember him a singing at all, but now I have heard his wife sing and him backing her on the fiddle.”

I asked J.P. if he remembered Haley playing the eastern Kentucky version of “Blackberry Blossom” and he said yes – that he played it, too. He knew a little bit about the tune’s history: “Well, General Garfield was a fiddler. A lot of people didn’t know it. I guess it had to be in the Civil War. The ‘Blackberry Blossom’ – the old one – was General Garfield’s favorite tune. Ed – I never will forget it – he told me that that was General Garfield’s ‘Blackberry Blossom’.” This “Garfield’s Blackberry Blossom”, J.P. said, was a different tune entirely than the one made famous by Arthur Smith. J.P. said local fiddler Asa Neal also played the tune. “He was from around the Portsmouth area. He’s dead, and he was quite a fiddler. Now, he knew Ed. Fact of the matter, he learned a lot from Ed, but he was about Ed’s age.”

J.P. said Haley never talked about where he learned to play. “I have an idea that it was probably a lot like I learned. See Catlettsburg was a jumping off place, I call it, for loggers and coal miners and rousters and so forth, and they was always some musicians in them. And Ed had this ability – he couldn’t read – but he had an ear like nobody’s business. If he heard a tune and liked it, he’d play it and he’d just figure out his own way to do it.”

J.P. was on a roll: “See, Ed has become more or less of a legend now…and rightfully so. His range was from, say, Portsmouth, Ohio to Ashland, Catlettsburg, and up to Charleston, West Virginia. I think he was at Columbus, Ohio, and then he went to the world’s fair. He played consistently up and down the river. He made good money on the boats.”

I asked J.P. how Haley got around to all of those places and he said, “What he would do, especially when that boy was living… He drank all the time and it was easy for him with his cronies. Somebody would move him here or yonder in a car. But now, like if he was a going to Portsmouth or someplace, usually Mr. Holbrook – he lived down at Greenup – he’d take him anywhere he wanted him to. And doctored him. I mean, if he got sick or anything, he took care of him.”

Doc Holbrook “was a pretty famous doctor in the area. He was known pretty well for a pneumonia doctor, which was hard to find then.”

J.P. kept mentioning “that boy” – meaning one of Haley’s sons – so I asked him about Haley’s family, particularly Lawrence. He said, “Fact of the matter, I didn’t know Lawrence at all. I had done something. I don’t know what it was. I think I’d played at the Smithsonian and had given Ed credit for some of the tunes and Lawrence read about it. And he called me and he almost cried thanking me for recognizing his daddy for what he could do. You see, when it comes to his daddy, he’s got up like a shield. He’ll say, ‘You can come this far, but you ain’t gonna go no farther.’ But once you know him, well, he became a good friend of mine. Now Annadeene, my wife, she worked with his wife a little while at a sewing factory and she broke a lot of ice, too. They’re on good terms with us.”

I told J.P. how much I’d like to meet Lawrence and his family sometime and he said, “Well, I’ll tell you, John. You’re welcome to yell at us anytime you want to and we’ll get you in contact with them.”

In Search of Ed Haley 6

26 Monday Nov 2012

Posted by in Ashland, Big Sandy Valley, Ed Haley, Matewan, Music, Pikeville, Williamson

≈ 1 Comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Back in Nashville, I was knee-deep in Haley’s music, devoting more time to it than I care to admit. I talked so much about it that my friends began to tease me. Mark Howard, who was producing my albums at the time, joked that if Ed’s recordings were of better quality, I might not like them so much. As my obsession with Haley’s music grew, so did my interest in his life. For a long time, my only source was the liner notes for Parkersburg Landing, which I had almost committed to memory. Then came Frazier Moss, a fiddling buddy in town, who presented me with a cassette tape of Snake Chapman, an old-time fiddler from the Tug Fork of the Big Sandy in eastern Kentucky. On the tape, Snake said he’d heard Haley play the “old original” version of “Blackberry Blossom” after he “came in on the boats” at Williamson, West Virginia.

The boats?

This was making for a great story. I was already enthralled by Haley’s fiddling…but to think of him riding on “the boats.” It was the marriage of my two loves. I immediately immersed myself in books like Captain Fred Way’s Packet Directory 1848-1983: Passenger Steamboats of the Mississippi River System Since the Advent of Photography in Mid-Continent America (1983) to see which boats ran in the Big Sandy Valley during Haley’s lifetime. Most of the boats were wooden-hulled, lightweight batwings – much smaller than the ones that plied the Mississippi River in my St. Louis youth – but they were exciting fixtures in the Big Sandy Valley culture.

“I have seen these boats coming down the river like they were shot out of a cannon, turning these bends, missing great limbs hanging over the stream from huge trees, and finally shooting out of the Big Sandy into the Ohio so fast that often they would be nearly a mile below the wharf boat before they could be stopped,” Captain Robert Owens wrote in Captain Mace’s River Steamboats and Steamboat Men (1944). “They carried full capacity loads of sorghum, chickens and eggs. These days were times of great prosperity around the mouth of Sandy. Today, great cities have sprung up on the Tug and Levisa forks. The railroad runs on both sides, and the great activity that these old-time steamboats caused has all disappeared.”

During the next few weeks, I scoured through my steamboat photograph collection and assembled pictures of Big Sandy boats, drunk with images of Haley riding on any one of them, maybe stopping to play at Louisa, Paintsville, Prestonsburg and Pikeville, Kentucky on the Levisa Fork or on the Tug Fork at Ft. Gay, Kermit, Williamson, and Matewan, West Virginia.

Finally, I resolved to call Snake Chapman and ask him about his memories. It was a nervous moment – for the first time, I was contacting someone with personal memories of Ed Haley. Snake, I soon discovered, was a little confused about exactly who I was and why I was so interested in Haley’s life and then, just like that, he began to offer his memories of Ed Haley.

“Yeah, he’s one of the influences that started me a fiddling back years ago,” Snake said, his memories slowly trickling out. “I used to go over to Molly O’Day’s home – her name was Laverne Williamson – and me and her and her two brothers, Skeets and Duke, used to play for square dances when we first started playing the fiddle. And Uncle Ed, he’d come up there to old man Joe Williamson’s home – that’s Molly’s dad – and he just played a lot for us and then us boys would play for him, me and Cecil would, and he’d show us a lot of things with the bow.”

Molly O’Day, I knew, was regarded by many as the most famous female vocalist in country music in the 1940s; she had retired at a young age in order to dedicate her life to the church.

“And he’s the one that told me all he could about old-time fiddling,” Snake continued. “He said, ‘Son, you’re gonna make a good fiddler, but it takes about ten years to do it.'”

I told Snake about reading in the Parkersburg Landing liner notes how Haley reportedly wished that “someone might pattern after” him after his death and he totally disagreed. He said, “I could have copied Uncle Ed – his type of playing – but I didn’t want to do it because he told me not to. He told me not to ever copy after anyone. Said, ‘Just play what you feel and when you get good, you’re as good as anybody else.’ That was his advice.”

I didn’t really know what to make of that comment. I mean, was Haley serious? Was he speaking from personal experience or was it just something he told to a beginning fiddler for encouragement?

After that, my conversation with Snake consisted of me asking questions – everything from how much Haley weighed to all the intricate details of his fiddling. I wondered, for instance, if Ed held the bow at the end or toward the middle, if he played with the fiddle under his chin, and if he ever tried to play words in his tunes. I wanted to know all of these things so that I could just inhabit them, not realizing that later on what were perceived as trivial details would often become major items of interest.

Snake answered my questions precisely: he said Haley held the bow “up a little in the middle, not plumb on the end” and usually played with the fiddle at his chest – “just down ordinarily.” He also said Haley “single-noted” most of his bow strokes, played frequently in cross-key, hated vibrato and used a lot of “sliding notes.” He seldom got out of first position, only occasionally “going down and getting some notes” that he wanted to “bring in the tune” and he definitely tried to play words in his music.

“The old fiddlers through the mountains here – and I guess it’s that way everywhere – they tried to make the fiddle say the words of the old tunes,” Snake said.

“Uncle Ed, he was a kind of a fast fiddler,” he went on. “Most old-time fiddlers are slow fiddlers, but he played snappy fiddling, kindly like I do. Ah, he could do anything with a fiddle, Uncle Ed could. He could play a tune and he could throw everything in the world in it if he wanted to or he could just play it out straight as it should be. If you could just hear him in person because those tapes didn’t do him justice. None of them didn’t. To me, he was one of the greatest old-time fiddlers of all time. He was telling me, when I was young, he said, ‘Well, I could make a fiddle tune any time I want to,’ but he said he just knowed so many tunes he didn’t care about making any more. He played a variety of tunes that a lot of people didn’t play, and a lot of people couldn’t play. He knew so many tunes he wouldn’t play one tune too long.”

I asked Snake about Haley’s repertoire and he said, “He played an old tune called ‘Old Sledge’ and it was one of his good ones. He played tunes like ‘Trouble Among the Yearlings’, but when he was gonna play it he called it ‘Fox in the Mud’. He made that up himself. One of the favorite tunes of mine he played was the old-time way of playing ‘Blackberry Blossom’ and he played it in G-minor. Ed could really play it good. They was somebody else that made the tune. Uncle Ed told me who it was – Garfield. He said he was a standing fiddling near a big blackberry patch and it was in bloom at the mouth of the hollow one time and this fella Garfield played this tune and he asked this fella Garfield what the name of the tune was. He said, ‘Well, I ain’t named it, yet,’ and he turned around and spit in that blackberry patch with a big bunch of ambeer and said, ‘We’ll just call it ‘Blackberry Blossom’.”

Snake laughed.

“Yeah, Uncle Ed, he had tales behind every one of them like that, but that’s where he said he got the name of it. He said he named it there…spitting in the blackberry blossom.”

Snake only remembered Haley singing “Stacker Lee”, a tune I’d heard him fiddle and sing simultaneously on Parkersburg Landing:

Oh Stacker Lee went to town with a .44 in his hand.

He looked around for old Billy Lyons. Gonna kill him if he can.

All about his John B. Stetson hat.

Stacker Lee entered a bar room, called up a glass of beer.

He looked around for old Billy Lyons, said, “What’re you a doin’ here?

This is Stacker Lee. That bad man Stacker Lee.”

Old Billy Lyons said, “Stacker Lee, please don’t take my life.

Got a half a dozen children and one sweet loving wife

Looking for my honey on the next train.”

“Well God bless your children. I will take care of your wife.

You’ve stole my John B. Stetson hat, and I’m gonna take your life.”

All about that broad-rimmed Stetson hat.

Old Billy Lyons said, “Mother, great God don’t weep and cry.”

Oh Billy Lyons said, “Mother, I’m bound to die.”

All about that broad-rimmed Stetson hat.

Stacker Lee’s mother said, “Son, what have you done?”

“I’ve murdered a man in the first degree and Mother I’m bound to be hung.”

All about that John B. Stetson hat.

Oh Stacker Lee said, “Jailor, jailor, I can’t sleep.

Old Billy Lyons around my bedside does creep.”

All about that John B. Stetson hat.

Stacker Lee said, “Judge, have a little pity on me.

Got one gray-haired mother dear left to weep for me.”

All about that broad-rimmed Stetson hat.

That judge said, “Old Stacker Lee, gonna have a little pity on you.”

I’m gonna give you twenty-five years in the penitentiary.”

All about that John B. Stetson hat.

It was one awful cold and rainy day

When they laid old Billy Lyons away

In Tennessee.  In Tennessee.

Snake said Haley used to play on the streets of Williamson, West Virginia where he remembered him catching money in a tin cup. In earlier years, he supposedly played on the Ohio River and Big Sandy boats and probably participated in the old fiddlers’ contests, which Snake’s father said was held on boat landings. These impromptu contests were very informal and usually audience-judged, meaning whoever got the most applause was considered the winner. Sometimes, fiddlers would just play and whoever drew the biggest crowd was considered the winner.

I asked Snake if he ever heard Ed talk about Clark Kessinger and he said, “Skeets was telling me Ed didn’t like Clark at all. He said, ‘That damned old son-of-a-gun stands around and tries to pick up everything he can pick up from you.’ And he did. Clark tried to pick up everything from Uncle Ed. He was a good fiddler, too.”

Snake said Clayton McMichen (the famous Skillet Licker) was Haley’s favorite fiddler, although he said he knew just how to beat him. This made me think of the line from Parkersburg Landing, “In regard to his own fiddling, Haley was not particularly vain, although he was aware that he could put ‘slurs and insults’ into a tune in a manner that set him apart from all other fiddlers.” (I wasn’t exactly sure he meant by slurs and insults.)

Snake could tell that I was really into Haley.

“Try to come see me and we’ll make you as welcome as we possibly can,” he said. “I tell you, my wife is poorly sick, and I have a little trouble with my heart. I’m 71. Doctors don’t want me to play over two or three hours at a time, but I always like to meet other people and play with them. I wouldn’t have no way of putting you up, but you can come any time.”

Just before hanging up, I asked Snake if he had any Haley recordings. He said Skeets Williamson had given him some tapes a few years back and “was to bring more, but he died two years ago of cancer.” Haley had a son in Ashland, Kentucky, he said, who might have more recordings. “I don’t know whether he’s got any of Uncle Ed’s stuff or not. See, most of them old tapes they made, they made them on wire recordings, and I don’t know if he’s got any more of his stuff than what I’ve got or not.”

I told Snake I would drive up and see him in the spring but ended up calling him a week later to ask him if he knew any of Ed’s early influences. He said Ed never talked about those things. “No sir, he never did tell me. He never did say. Evidently, he learned from somebody, but I never did hear him say who he learned from.” I felt pretty sure that he picked up tunes from the radio. “Ed liked to listen to the radio, preferring soap operas and mystery chillers, but also in order to hear new fiddle tunes,” the Parkersburg Landing liner notes read. “A good piece would cause him to slap his leg with excitement.” I asked Snake if he remembered Haley ever listening to fiddlers on the radio and he said, “I don’t know. He must have from the way he talked, because he didn’t like Arthur Smith and he liked Clayton McMichen.”

What about pop tunes? Did he play any of those?

“He played ragtime pretty good in some tunes,” Snake said. “Really you can listen to him play and he slides a little bit of ragtime off in his old-time fiddling – and I never did hear him play a waltz in all the time I ever heard him play. He’d play slow songs that sound old lonesome sounds.”

Snake quickly got into specifics, mentioning how Haley only carried one fiddle around with him. He said, “He could tune right quick, you know. He didn’t have tuners.  He just had the keys.”

Did fiddlers tune low back in those days?

“I’d say they did. They didn’t have any such thing as a pitch-pipe, so they had to tune just to whatever they liked to play.”

Haley was the exception.

“Well, it seemed like to me he tuned in standard pitch, I’m not sure. But from hearing his fiddling – like we hear on those tapes we play now – I believe he musta had a pitch-pipe at that time.”

I wondered if Haley spent a lot of time messing around with his fiddle, like adjusting the sound post, and Snake said, “No, I never did see him do that. He might have did it at home but when he was out playing he already had it set up the way he wanted to play.”

Surprisingly, Snake didn’t recall Haley playing for dances. “I don’t think he did because I never did know of him playing for a dance. He was mostly just for somebody to listen to, and what he did mostly was to make money for a living playing on the street corner. I seen him at a fiddling contest or two – that was back before I learned to play the fiddle. That’s when I heard him play ‘Trouble Among the Yearlings’. He won the fiddling contest.”

What about playing with other fiddlers?

“Well, around in this area here he was so much better than all the other fiddle players, they all just laid their fiddles down and let him play. The old fiddlers through here, they wasn’t what I’d call too good fiddlers. We had one or two in the Pikeville area over through there that played a pretty good fiddle. Art Stamper’s dad, he was a good old-time fiddler, and so was Kenny Baker’s dad.”

After hanging up with Snake, I gave a lot of thought to Haley reportedly not liking Arthur Smith. His dislike for Smith was documented on Parkersburg Landing, which stated plainly: “Another fiddler he didn’t care for was Arthur Smith. An Arthur Smith record would send him into an outrage, probably because of Smith’s notoriously uncertain sense of pitch. Cecil Williamson remembers being severely lectured for attempting to play like ‘that fellow Smith.'”

Haley probably first heard Smith over the radio on the Grand Ole Opry, where he debuted in December of 1927. Almost right away, he became a radio star, putting fiddlers all over the country under his spell. His popularity continued to skyrocket throughout the 1930s, during his collaboration with Sam and Kirk McGee. In the late thirties, Haley had a perfect chance to meet Smith, who traveled through southern West Virginia and eastern Kentucky with the Tennessee Valley Boys. While unlikely, Haley may have met him at fiddling contests during the Depression. “In the thirties, Haley occasionally went to fiddle contests to earn money,” according to Parkersburg Landing. At that same time, Smith was participating in well-publicized (usually staged) contests with Clark Kessinger, Clayton McMichen and Natchee the Indian. Haley, however, tended to avoid any contest featuring Natchee the Indian, who “dressed in buckskins and kept his hair very long” and was generally a “personification of modern tendencies toward show fiddling.”

In the early 1940s, Haley had a perfect opportunity to meet Smith, who appeared regularly on WSAZ’s “Tri-State Jamboree” in Huntington, West Virginia. Huntington is located several miles up the Ohio River from Ashland, Kentucky and is West Virginia’s second largest city.

In the end, Haley’s reported low opinion of Smith’s fiddling was interesting. Arthur Smith was one of the most influential fiddlers in American history. Roy Acuff regarded him as the “king of the fiddlers,” while Dr. Wolfe referred to him as the “one figure” who “looms like a giant over Southern fiddling.” Haley even had one of his tunes – “Red Apple Rag” – in his repertoire. Maybe he got a lot of requests for Smith tunes on the street and had to learn them. Who knows how many of his tunes Haley actually played, or if his motives for playing them were genuine?

In Search of Ed Haley 5

25 Sunday Nov 2012

Posted by in Ed Haley, Logan

≈ 2 Comments

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

In the early days of my interest in Ed Haley, I did locate one enthusiast of his music. Dr. Charles Wolfe, a foremost country music historian at Murfreesboro, Tennessee regarded Haley as “a misty legend – perhaps the most influential of all the early eastern Kentucky traditional fiddlers…whose contributions [to country music has] been little known or appreciated.” Of the Haley recordings he had written: “The quality of the fiddling comes through even on these scratchy home recordings, and makes us wonder what this man might have sounded like in his twenties or thirties.”

Dr. Wolfe said Clark Kessinger, the famous fiddler from Charleston, West Virginia was a huge fan of Haley’s music. “Ed Haley, an old blind fellow, he was from over around Logan, close to the Kentucky-West Virginia line,” Kessinger said in an interview several years before his 1975 death. “Yeah, he was a great fiddler…he was a smooth fiddler. Oh, that Haley I thought was the best. Him and Tommy Magness used to play around Nashville, Grand Ole Opry.” There was a reference on Parkersburg Landing to Haley liking Kessinger’s fiddling, although he “once complained that Kessinger always shied away from playing in front of him.”

Clark Kessinger, born in 1896, was only slightly younger than Haley. He took up the fiddle at the age of five and was playing for dances when he was ten. By the twenties, he was a local radio star and recording artist. His career fizzled during the Great Depression, although the National Fiddlers Association declared him as the “fiddling champion of the East” in 1936. All of these accolades were in sharp contrast to Haley, who refused to make a commercial record for fear of having his music “stolen” and who sometimes shied away from contests because they were often rigged.

“Ed was always afraid the companies would take advantage of a blind man,” Parkersburg Landing claimed. “This suspicion also kept him from the folklorists recording in Ashland.”

In time, Kessinger was rediscovered. During the folk music revival of the sixties and seventies, he made appearances on the Today show, at the White House and even at the Grand Ole Opry.

Dr. Wolfe also mentioned Dick Burnett, the blind minstrel of Monticello, Kentucky. Burnett traveled extensively through the South with Leonard Rutherford during the early decades of the twentieth century. Haley played Burnett’s “Man of Constant Sorrow”, while Burnett credited him as his source for “Ladies on the Steamboat” and “Blackberry Blossom”.

“Ed Haley was the first man to play that in the State of Kentucky that I know of,” Burnett said, referencing the latter tune. “He was a blind fiddler in Ashland, Kentucky. I played in Ashland different times. He’d go down every day to meet the crowds comin’ in at the river. He was a good fiddler. He played that, and Bob Johnson of Paintsville, Kentucky, he learned it. I never heard any words to it. It’s just an old time hillbilly piece.”

Dr. Wolfe told me about Mark Wilson and Gus Meade, the two scholars who had produced Parkersburg Landing in the mid-seventies. He said they first heard about Haley from older fiddlers in the Tri-State region of West Virginia, Kentucky and Ohio. Inspired by stories of his greatness, they located Haley’s son Lawrence in Ashland, Kentucky. Lawrence Haley had most of his father’s home recordings and he agreed to allow the Library of Congress to copy them. This led to the release of Parkersburg Landing in 1976 by Rounder Records. Since then, Lawrence had made it clear that he wanted to keep his father’s records only in the family. Dr. Wolfe suggested I contact him for more information on Haley’s life and music.

The next time I was in Washington, DC, I visited Gus Meade at his home near Alexandria, Virginia. Gus had spent years of his spare time at the Library of Congress making lists of fiddle tunes, fiddlers, and old-time recordings, scanning newspapers, documenting fiddlers’ contests, studying the evolution of tunes, and going on expeditions with fiddle-buffs John Harrod and Mark Wilson. I spent much of my visit looking through various manifestations of his research, most of which was congested in the basement of his home. He had more copies of Haley’s recordings than what was used on Parkersburg Landing, which he agreed to share with me so long as I didn’t tell anyone about it.

I next went to the Library of Congress to access its complete archive of Haley’s home recordings. I initially spoke with Alan Jabbour, head of the American Folklife Center. Alan had supervised the original copying of the records with Lawrence Haley. Within a few minutes, I was given a mimeographed list of Haley’s recordings, which included the following introductory notes:

Three 10″ reels of tape double-track at 7.5 ips.  Copy of 54 original discs of Ed Haley, fiddle and vocal, Mrs. Haley, mandolin, accordion, and vocal, and their son Ralph Haley, guitar. Recorded April and September 1946 and (probably) other occasions by Ralph Haley. Lent for duplication by Lawrence Haley (son of Mr. and Mrs. Ed Haley), May 23-25, 1973. An interview of Lawrence Haley by Alan Jabbour (May 25, 1973) concludes the B-side of tape 3. The interview concentrates on the musical life of his parents, who were traveling professional musicians throughout eastern Kentucky and southern and central West Virginia during the first half of the 20th century. They were both blind and relied upon music for their livelihood.

     Just before giving me access to the recordings, Alan warned me of their poor sound quality. He said the Library had secured the best copies possible by playing them on a special turntable with weighted tone arms and hi-tech filters and equalization but had been unable to overcome their general overuse and fragility.

A few minutes later, I was lightly searched – no recording equipment was allowed – and placed in a booth with a volume knob, where I communicated with an engineer on the other side of a wall by use of a talkback switch. Referencing the mimeographed list, I called out the names of Ed’s tunes one by one: “Forks of Sandy”, “Money Musk”, “Salt River”, “Fire on the Mountain”… As they played back to me, it seemed like they were coming through the radio on a distant station during a rainstorm.

In Search of Ed Haley 4

25 Sunday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , ,

     When Haley was about thirty years old, he married a blind musician named Martha Ella, from Morehead, Kentucky. “She had been educated as a piano teacher at the Louisville School for the Blind,” according to Parkersburg Landing. “They were married in 1914 and settled in Ashland, which was to be their homebase for the rest of their lives. Mrs. Haley learned to accompany Ed on the mandolin and the two traveled widely together. They would play to incoming arrivals in Ashland or take day trips to Portsmouth or Charleston. Once or twice a year Ed returned to Logan County for an extended stay since he kept many friends in the area and was always assured of a place to stay.”

     I tried to imagine Haley and his wife, two blind musicians, making their way between towns during the Roaring Twenties and gloomy Depression. I could picture them walking in the darkness, feeling for those familiar spots to stop and play the music.

     “It was an event of major importance when the Haleys came to visit an isolated mountain town,” according to Parkersburg Landing. “Someone would invariably offer them lodging and to take them where they needed to play. Virtually every evening a dance would be scheduled at someone’s house. Ed had great endurance and would often play continuously all night, without even pausing between sets. If someone gave him a dollar to play a special tune, he might play it for ten minutes or more. Before the depression, Ed made as much as twenty dollars a day. Tips grew leaner as times got harder but the Haleys managed to put all of their six children through school and to maintain a stable home in Ashland.”

     The fact Haley traveled so frequently partially explains why he was able to play so many different fiddle styles and had such a large repertoire of tunes. “He traveled extensively in West Virginia and eastern Kentucky, ranging north to Parkersburg, east to White Sulphur Springs and south to Harlan County,” according to Parkersburg Landing. “Within this region, there existed a large variety of local styles and Ed seems to have adapted his playing to the preferences of each locale. Informants from different regions offer surprisingly different responses as to what were ‘Ed Haley’s tunes.'”

In Search of Ed Haley 3

25 Sunday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , ,

     These thoughts and pursuits filled many hours of my time. At home, in my studio or on my porch overlooking the Cumberland River, I supplemented what little I knew about Haley’s background with any related material I could find. When I was out on the road in my bus, I kept a small selection of Haley-related reading selections. In The Man With a Bull Tongue Plow (1934), Jesse Stuart (easily the most esteemed eastern Kentucky writer of his time) memorialized Haley as a fictional character named “Blind” Frailey. Stuart watched Haley play in Greenup, Kentucky. “I’ve seen country people reach into their pockets and give him their last nickel or quarter just to hear one more song,” he said. There was this passage in Man With a Bull Tongue Plow:

When old “Blind” Frailey starts his magic fiddle

And a Plum Grove man is there by chance,

You ought to watch this man step out and dance.

Of course he has some patches on his pants

And by his side the old men jig a little

And laugh and listen to the talking fiddle.

“Blind” Frailey stops for resin on his bow

And when he starts to fiddle up he cries:

“‘Girl With the Blue Dress On!’ Boys, let’s go!”

And then coarse shoes like mauls thug on the ground

Until they nearly drown the fiddle sound,

And soon a jolly crowd is gathered there

With the best of drink upon the courthouse square

And talk about dancing and the fiddling there!

The boys give freely to “Blind” Frailey here, – 

Nickels, dimes and quarters that the boys can spare,

The boys pay freely for good drinks of booze,

And they pay dearly for new soles on shoes;

But it is dance and drink these countrymen choose.

And of all days first Mondays are the best

Of each month when the boys come in to rest,

Come in to town to rest and buy and sell –

This day of all the merchants wish them well.

But fiddler Frailey takes the boys by spell,

They dance and let all business go to hell,

Under the maples on the courtyard square,

And all you have to do is venture there

And listen to “Blind” Frailey play the fiddle

Where a crowd is parted under the maple tree

And dancing men step up and down the middle.

      But as much as I was curious about Haley’s life, it was his music that mostly held my attention. I was very interested in his motivation to take up music, as well as to know about his early musical influences. The reason for his playing, I surmised, was connected to his blindness as many blind children have been encouraged take up an instrument throughout history. According to Parkersburg Landing, “a neighbor made him a cornstalk fiddle for a toy [when he was young], but he soon graduated to a full-sized violin. He followed the old-time fiddlers of his vicinity [by] resting the fiddle against his upper arm and chest, supported solely by his left hand.” Who were these fiddlers, I wondered, and what else did they contribute to Haley’s playing?

     From the outset, I also wanted to know how Ed Haley played the way he did. From Parkersburg Landing, I could glean this one hint which served as a source of interest and amusement for me: “Holding the fiddle against his chest allowed Haley to develop an unusual skill, apparently unique to him and a few of his followers. Instead of moving his bow, Ed would often rock the violin body underneath the bow as he played. This device allowed him to execute many difficult transitions from low to high strings as well as facilitating his particular approach to syncopation.”

     I remember sitting in my office trying to replicate that technique and laughing about it.

In Search of Ed Haley 2

24 Saturday Nov 2012

Posted by in Ed Haley

≈ Leave a comment

Tags

, , , , , , , , , , , , , ,

     It was only natural that I would want to know more about this man who had such a strong grip on me. I first turned to a brief biography written on the Parkersburg Landing album cover. Right away, his life interested me almost as much as did his music.

     “James Edward Haley was born in 1883 on Hart’s Creek in Logan County, West Virginia. When he was quite young, his mother was killed in an altercation with the Hatfield and McCoy feud. He was subsequently raised by his Aunt Liza. An attack of the measles when he was three left him completely blind. He received no formal schooling [and] on occasion food was so scarce that his dinner would consist of nothing but a bunch of wild onions washed in a nearby stream.”

     Like most Americans, I was somewhat familiar with the Hatfield-McCoy feud. I knew the names Devil Anse Hatfield and Randolph McCoy. I remembered hearing about some kind of trouble over a pig. But after looking through a few books about the feud, I could find no reference to any Haleys killed in it. Actually, maps showed Harts Creek – the place of Haley’s birth – situated a significant distance from feud sites. Haley was born in the Guyandotte Valley of northern Logan County, while the Hatfield-McCoy Feud occurred primarily in the Tug Fork Valley of western Logan County (now Mingo County).

     I wondered about Haley’s family life. What happened to his father? How old was he when his mother was murdered? And what influences did either parent have on his life? Did he have any siblings? And who was “Aunt Liza”?

     I was also fascinated by Haley’s blindness. There is a long history of blind musicians, from Turlough O’Carolan, the famous eighteenth century Irish harper, to Doc Watson, the legendary guitar player from North Carolina. Surely, the optic perception and visual hallucinations of a blind man is much more intense and interesting than what sighted people see. There’s no telling what incredible pictures Haley saw in his mind when he played music, when he was in the “zone,” seeing the colors and smelling the smells. I found it interesting that Haley, unlike most of the blind musicians I knew, had not been born blind. According to Parkersburg Landing, he lost his eyesight at the age of three. It was possible, then, that he possessed faint memories of sight. Did he remember his mother’s face? His father’s hands?

     Parkersburg Landing revealed that measles caused Haley’s blindess. In the late nineteenth century, measles constituted a serious childhood disease. Its initial symptoms, as per Household Cyclopedia of General Information (1881), were “inflammatory fever, drowsiness, pain in the pit of the stomach, pain in the back. [and] vomiting.” On the third day, little red points resembling flea bites appear on the face, neck and breast. Two days later, “little round vesicles filled with a transparent fluid appear on the top of each pimple. The eruptive fever now declines. On the ninth day the pustules are perfectly formed, being round and filled with a thick, yellow matter, the head and face also swelling considerably. On the eleventh day the matter in the pustules is of a dark yellow color, the head grows less, while the feet and hands begin to swell. The secondary fever now makes its appearance. The pustules break and dry up in scabs and crusts, which at last fall off, leaving pits, which sufficiently mark the cause.”

     Ed Haley likely contracted a particularly terrible case of measles, called “the confluent.” In that case, according to Household Cyclopedia, “all the symptoms are more violent from the beginning. There is delirium, preceded by great anxiety, heat, thirst, vomiting, etc. The eruption is irregular, coming out on the second day in patches, the vesicles of which are flatted in; neither does the matter they contain turn to a yellow, but to a brown color. Instead of the fever going off on the appearance of the eruption, it is increased after the fifth day, and continues throughout the complaint. The face swells in a frightful manner, so as to close the eyes; sometimes putrid symptoms prevail from the commencement.”

     While there were various treatments for measles, Household Cyclopedia recommended the victim be placed “in a cool, airy room” and “lightly covered with bed clothes. Purge him moderately with salts, and give him thirty drops of laudanum every night. The diet should consist of panada, arrow-root, etc., and his drink consist of lemonade or water. If from any cause the eruption strikes in, put him into a warm bath, give a little warm wine whey, or the wine alone, and apply blisters to the feet. Obstinate vomiting is to be quieted by the effervescing draught, with the addition of a few drops of laudanum. If the eyes are much affected, it will be necessary to bathe them frequently with warm milk, and to smear the lids with some simple ointment.”

     Measles can cause corneal blindness through several mechanisms, including acute vitamin A deficiency, exposure keratitis, herpes simplex keratitis, secondary infection and harmful traditional remedies. Vitamin A deficiency, a common condition today among poor people of the world, begins with night blindness. If untreated, it causes the conjunctiva, the mucous membrane lining the inner surface of the eyelids and extending over the forepart of the eyeball, to dry. Thereafter, the cornea shrivels up and becomes ulcerated. Triangular gray spots may appear on the white of the eye. Finally, total and irreversible blindness results due to inflammation and infection in the interior of the eye.

     I could just picture little Ed Haley, suffering from measles, stumbling and grasping in an ever-darker world without the words to express himself. And all he may have needed to save his sight was a strong diet of liver, eggs, milk and carrots.

In Search of Ed Haley 1

24 Saturday Nov 2012

Posted by in Ed Haley, John Hartford, Music

≈ 2 Comments

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

In 1981, roughly thirty years after Ed Haley’s death, my search to know everything about his life and music began at a second hand music store in Boulder, Colorado. While thumbing through a box of records by early radio stars and bluegrass artists with such familiar names as The Skillet Lickers, Bill Monroe and Flatt & Scruggs I saw this certain green and yellow album cover. On its front was a picture of a blind fiddler buttoned up in an overcoat. On its back was a drawing of a steamboat landed at a wharf. Nearby the drawing was a brief note: “This album consists of home recordings made in 1946 by Ed Haley, a blind Kentucky fiddler who never made a commercial record. The original discs were prepared by his family in order to preserve some of their father’s music and were never intended for public use.”

The album was titled Parkersburg Landing, an apparent geographical reference to the small city by that name on the Ohio River. “Even twenty-five years after his death, anyone researching fiddle music in West Virginia or eastern Kentucky is certain to learn of Ed Haley,” the album cover proclaimed. I had never heard of anyone named Ed Haley, but I bought the album and mailed it home to Nashville anyway. I knew that part of the country was a traditional hotbed of great musicians.

Some time later (I forget exactly when – it’s difficult to recall now), I rediscovered Parkersburg Landing filed away on one of the crowded shelves in my office. I put it on the record player and as soon as the title track started, I thought, “Uh oh. This is pretty good.” I turned up the volume knob and slumped down in my chair. I sat there stunned for the next twenty or so minutes listening to Haley plow through tunes with names like “Humphrey’s Jig”, “Cherokee Polka” and “Cherry River Rag”. By the time I reached out to flip the album to Side 2, my fingers were trembling and I was almost breathless. I tried to focus on every nuance as Haley played “Flower of the Morning”, “Man of Constant Sorrow” and “Dunbar”. Then, when he took off on “Forked Deer”, I almost fell out of my chair. It was a profound experience…the kind that pulls you away from everything you’ve done up to that moment and sends you off into another direction. I don’t even remember listening to the rest of the album, although I’m sure I did.

Where did these recordings come from?

“The present recordings were made by Ralph Haley, who also plays guitar on several selections,” I read in the album liner notes. “Ralph had served in the Signal Corps during the war and used a home disc-cutting machine of the Wilcox-Gay type. After Ralph’s death in the late forties, the collection of discs were evenly divided among the five remaining children. It is estimated that the 106 sides presently accounted for represent approximately one third of the original total. Most of these records were preserved by Lawrence Haley of Ashland, who kindly gave us permission to issue them here. The discs were transferred at the Library of Congress under the supervision of Larry Haley and Alan Jabbour and were remastered at Intermedia Studios in Boston.”

I spent the next several years glued to Parkersburg Landing. I talked about Haley constantly. Every now and then I would call up friends and play some of the album, saying, “Now, that’s how it’s supposed to go.” No one had a clue who Ed Haley was; most seemed unimpressed. But to me, the scratchy recordings were like old faded photographs and I was so excited by what I heard that the imperfections in recording technique quickly disappeared to my ear.