Wilson’s memories seemed to be flowing, so I tried not to interrupt him with questions.

“You know, Ed would talk to me after he figured out I was gonna try to play the fiddle,” he said. “He’d say, ‘Now, play your fiddle with some soul about it. Don’t start these trembling notes. That’s for some violinist in Germany.’ And another thing he would do, you can’t fiddle with the other man’s tricks. There’d be some little old chicken fiddlers around and come over and play about like I do. They’d rear back. Ed would listen at it and never criticize them and then when he started to play he would drop them to the floor. The man would come down on the fingerboard, playing half way down on that neck. It was so clear I couldn’t get over it. But the bow was as smooth. It must have been an imported bow. That danged bow was six inches longer than any bow I ever saw. But I didn’t want to ask him about it. You couldn’t interrogate him no way. And don’t ask him to show you how to play a tune. He didn’t show nobody nothing.”

I asked Wilson if Ed ever heard Bill Monroe and he said, “He talked about all them guys. Now John don’t get me wrong. He said Monroe was a pretty good singer. He said pretty good. Well I’d say Monroe was a A-1 singer, but I wasn’t gonna disagree with Ed. He liked the Carter family. And he said, ‘That old A.P. Carter and Mother Maybelle and them they got the soul about it.’ And he said, ‘Wilson, you know I don’t trust none of them Nashville people. I don’t wanna get involved with them.’ He said, ‘They’ll knife you. They’ll play your tunes, then walk somewhere and make a lot of money out of it.'”

What about banjo-pickers, like Earl Scruggs?

“Oh, no. By god, you’d push the wrong button. He didn’t like Scruggs. No, he liked the clawhammer banjo. He said they could get in and they could get out where it belongs. But I didn’t say nothing. I claimed the Fifth Amendment. I liked both of them, but I wasn’t gonna tell him nothing. I learned Ed Haley. I knowed when to talk and when not to talk. Now he’d cuss you out, don’t you think he wouldn’t.”

Wilson said he only heard Ed compliment a few Nashville musicians over the years. He said Georgia Slim Rutland, who stayed a lot with him in Ashland during the winter of 1937-38, was great on “Southern tunes” and couldn’t be beaten on “Billy in the Lowground”. He felt that Arthur Smith was “hell on them Blues,” complemented his versions of “Bonaparte’s Retreat” and “Katy Hill”, and even played his “Blackberry Blossom”.

“And now he did say a little something about Chubby Wise,” Wilson said. “He liked a few of Wise’s tunes, but he didn’t go in excess about it. But now that was it. Them Possum Hunters and them Fruit Jar Drinkers, he couldn’t stand them.”