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Brandon Ray Kirk

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Brandon Ray Kirk

Tag Archives: fiddler

In Search of Ed Haley 127

11 Tuesday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley, Music

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Ashland, banjo, Bernard Postalwait, Calhoun County, Clay County, Clay Court House, Doc White, Ed Haley, fiddler, fiddlers, fiddling, Ivydale, Kim Johnson, Laury Hicks, Lawrence Haley, Minnora, music, Riley Puckett, Roane County, Steve Haley, West Virginia, Wilson Douglas, writing

In mid-summer of 1994, I was back in Ashland visiting Lawrence Haley. Lawrence, I noticed right away, was indeed in poor health. His overall appearance wasn’t good; actually, he seemed convinced that he probably wouldn’t get any better. Pat was ever so cheerful, saying that he would be back to his old self soon enough. Lawrence’s son Steve had driven in from Hendersonville, Tennessee, to serve as his replacement on any “Ed Haley trips.”

Early the next morning, Steve Haley and I left Ashland to see Wilson Douglas, the old-time fiddler who remembered Ed Haley in Calhoun County, West Virginia. We drove east on I-64 past Charleston, West Virginia, where we exited off onto a winding, two-lane road leading to Clendenin, an old oil town on the Elk River. We soon turned onto a little gravel driveway and cruised up a hill to Wilson’s nice two-story home. We parked and walked up to the porch where we met Wilson and his banjo-picker, Kim Johnson. Inside, he told me more about seeing Ed at Laury Hicks’ home. He was a great storyteller, so we naturally hung onto his every word.

“Laury Hicks got in touch with Ed Haley,” he began. “So, in them days, you come to Charleston by train and from Charleston to Clay Court House by train. All right, when you got to Clay Court House, you caught the B&O train on up to Otter, which is Ivydale. Well, the word would come out and they’d be somebody there in an old car or something to pick him up and take him about fifteen, 20 miles over to Hicks’ in Calhoun County. Well, the word’d get around, you know, and my god, it was just like a carnival a coming to town. And my dad had an old ’29 model A Ford pick-up truck. Well, gas was 11 cents a gallon. So, what we’d do, we’d take our pennies or whatever we had, we’d get us that old truck up — had a big cattle rack on it — and everybody’d load in that thing. Say, ‘Well, Ed Haley’s over at Laury Hicks’. Let’s go, boys!’ Everybody would grab their loose pennies, which were very few, and we’d get over there.

“Well, it’d be probably dark, or a little before, when he would start fiddling — about maybe eight o’clock — and last until three in the morning. And he would never repeat hisself unless somebody asked him. We just sat and never opened our mouth and he’d scare [them other fiddlers]. I’d sit there till I’d get so danged sleepy, I’d think I couldn’t make it. He’d start another tune and it’d just bring me up out of there. And that Chenneth on that banjo. And then they was a fellow, he lived down the road about seven or eight miles, a fellow by the name of Bernard Postalwait. And this man was a “second Riley Puckett” on the guitar. Well, Ed’d send for him. By god, they’d never miss a note. Ed had a little old tin cup sitting there. Everybody’d put some money in it, you know. And they was some rich feller, but I can’t think of that danged guy’s name, he liked fiddle music. He’s the only man in Roane County that had any money. Well, he’d give a few one-dollar bills, you know, and he’d mention a tune. Well, if he give him a dollar, he’d play it for fifteen minutes. Well, by the time the night ended, he’d have five or six dollars, which was equivalent to fifty now. Well the next night, we’d go over — all of us’d work that day. Next night, the same thing: we’d be right back over.”

Wilson said Ed would get drunk with Bernard Postalwait and “disappear” to some rough establishments. Bernard was with Ed when he played his fiddle at Laury Hicks’ grave.

Ed also ran around with a casual fiddler named Benjamin F. “Doc” White (1885-1973) of Ivydale. Doc was a banjo-picker, veteran of the Indian Wars, schoolteacher, midwife, doctor, photographer, local judge and dentist (he even pulled his own teeth). He took Ed to “court days” and other events where he could make money.

“I was around old Doc a lot,” Wilson said. “God, he was a clown. He had kids all over West Virginia. He couldn’t fiddle much but he tried.”

Doc asked Ed one night, “Ed, how do you play them tunes without changing keys?” and Ed said, “Well Doc, I change them with my fingers!”

Wilson said Ed wasn’t being sarcastic.

It seemed like Wilson knew a lot of stories about Ed’s “running around days” with guys like Postalwait and White — which would have been great to hear to get a better understanding of him — but he refused to be very specific. He did tell one story:

They went over to a place called Minnora. That’s over where Laury Hicks lived. Doc White and Ed. Somebody else was with them, I think that Bernard Postalwait. They went down there to a Moose Lodge or something and they had a little fiddle contest or something. Well, now, Ed said, “I ain’t gonna play in this contest.” Said, “I’d ruther be a judge.” Now Old Doc White, you know, he had quite a bit of money. I don’t know, they’s four or five fiddlers that played. Old Doc played a tune, you know. They said, “What do you think, Ed?” Well, Ed said, “Boys, I hate to say it. By God, old Doc’s gotcha all mastered.” Course Ed was wanting a drink of liquor, you know. After it was over, by God, they got drunk, all of them. Doc couldn’t play much, but Ed said, “Well, that old Doc’s got you boys bested.”

In Search of Ed Haley 126

10 Monday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Abe Glenn, Bob Glenn, Bob Kessinger, Clark Kessinger, Ed Haley, fiddler, Georgia Slim Rutland, history, Logan County, music, Sam Virus, West Virginia, writing

At some point, no doubt at a festival, I bumped into Bob Kessinger, a mandolin-playing nephew of Clark Kessinger and a Church of Christ preacher. Bob looked a great deal like Clark and was a very jovial guy, eager to plug the family musicians. I told him about my interest in Ed Haley and he said he first heard of him about 1944 from Smokey Harless, a smooth fiddler out of Boone County, West Virginia.

“When I was about seventeen or eighteen, I was at his house one time and he asked me if I ever heard Ed Haley play,” Bob said. “I said, ‘No,’ and he said, ‘Well, your uncle says he’s the best he ever heard.’ And I went home and the first thing I asked, I said, ‘Dad, can Ed Haley play a fiddle?’ He just stopped everything and he said, ‘Can he play a fiddle? Your uncle Clark says he’s the best he’s ever heard.’ And he told me about it and then after that I never heard Clark sit down to play if he played very long that he didn’t mention Ed Haley. Well, I’ve heard Clark say, ‘I betcha Ed Haley knew more tunes than anybody I ever heard in my life.”

Bob said Clark first heard Haley play in Logan County in the 1930s.

“Did you ever hear of Abe and Bob Glenn?” he asked.

I mistakenly said no, forgetting what I had heard from Roger Cooper and others.

“They were two brothers and they were from Kentucky,” he said. “Clark was influenced a whole lot by them. They musta been good, too. And then there was a Sam Virus, a blind man that used to play in Charleston down on the levee. It was a whole lot like Ed Haley’s case: his wife played with him. Now, Clark said he was in the class of Ed Haley. Said he didn’t know as many tunes. But he musta been good because I heard Clark mention him several times.”

I told Bob I had read that Georgia Slim Rutland knew Haley.

“I first met him when I was living in Kentucky in ’63, ’64,” Bob said of Rutland, catching me a little by surprise. “I found out he’d moved back to Valdosta and I was staying with this Richard Black — he lives in Valdosta — and I asked if he knew him and he said yes. I said, ‘Well, would you introduce me to him?’ He took me over. He had two or three taxis and he started with just a little hole in the wall music store. And Richard introduced us. He said, ‘Robert, I want you to meet Robert Kessinger.’ He said, ‘Kessinger, Kessinger. Are you from West Virginia?’ I said, ‘Well, originally. I’m a nephew to Clark.’ He turned around to Richard Black and he said, ‘One of the greatest old-time fiddlers I ever heard in my life.’ But every time I’d go in that section, he’d go to church with me. The last time I was there, I was in a meeting at Jasper, Florida, and I stopped on the way down there and we played together for about an hour. He died unexpectedly. He just had a massive heart attack and he’d been dead about six months before I knew it and his wife apologized. She said she didn’t know how to get in touch with me.”

I told Bob how Mrs. Rutland had recently told me that Slim had never known Haley, which he discounted.

“Yeah, he stayed at Ed Haley’s house for a while,” Bob said. “He did. In fact, I was talking to him one day about good fiddlers that Clark didn’t like and I mentioned Ed Haley. He said, ‘He didn’t tell you that Ed Haley couldn’t play, did he?’ I said, ‘No, he thought he was the best.’ He didn’t tell me that he was there, but I’ve got it from someone. See Ed lived in Logan County, West Virginia, part of the time. That’s where Clark heard him. I think that’s where Slim spent time with him ’cause he spent some time in West Virginia back in the early thirties.”

In Search of Ed Haley

05 Wednesday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, culture, fiddle, fiddler, history, life, music, photos, U.S. South, West Virginia, Wilson Douglas

Wilson Douglas, West Virginia fiddler

Wilson Douglas, West Virginia fiddler

In Search of Ed Haley 124

05 Wednesday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Bobby Taylor, Ed Haley, fiddle, fiddler, Forked Deer, history, John Hartford, music, Webster County, West Virginia, Wilson Douglas, writing

I told Wilson about working on Ed’s long bow and the Scotch snap — about the little stops between notes — and he said, “Right, right. That’s hesitation in the notes. That is correct. He talked about ‘chopped notes.’ That’s a quick note. But you know, what I liked about Haley, whenever he would settle down and fiddle… I like to hear a fiddle drive a straight, hard, flat note. A clear note. This skipping over the notes, I don’t go for that. And Haley didn’t do that. Every note he got was clear, or he would make a ‘chopped note,’ he called it, and the hesitation was with the — well the hand was quicker’n the eye. He could make a quick hesitation with the bow.”

I was very impressed with Wilson’s memory of such details, which improved with each passing minute. Apparently, Bobby Taylor was right: after he thought about something for a while his memories became sharp as a knife.

Wilson said, “But now I didn’t tell you about the kind of strings he played, did I? He played the old Blue Bird. They quit making them back in ’42 or ’43. They was a steel string, something like a Black Diamond. I believe they’s a little better toned. They wasn’t so sharp. And they cost one quarter in them days, for I bought one as a kid. Now that was the string that Ed Haley played. He liked these solid bone keys in his fiddle, white bone keys. And I always thought about where he got that dang fiddle bow, but it must’ve been four-and-a-half foot long. I never will forget it: that’s the longest fiddle bow I ever saw. I’ve thought about that many a times. It looked to me like it was six inches longer than any other kind of bow, and he played it from one end to the other.”

I said, “You don’t reckon it was just the way he was pulling it that made it look long, do you?”

“No, it was long,” Wilson answered. “You know, a boy sixteen years old don’t miss nothing for he’s eager to learn, you see? I know a fiddler over here in Webster County, and he’s good, too. He’s a top fiddler. And me and him talked about that, and he said, ‘Ed Haley pulled the longest fiddle bow I ever saw.’ And he said his notes was plain. I said, ‘Absolutely.’ Now the frog on that bow was some kind of a bone, if that means anything. White bone.”

Wilson really bragged on Ed’s repertoire.

“Now the man, John, what amazed me, he would play all night and maybe not play the same tune twice,” he said. “And he told me, said, ‘I know over a thousand fiddle tunes.’ Old Ed played ‘Callahan’ out of this world. I can’t remember the key. I wasn’t far enough along. But now, Ed sometimes would put that B-flat in the ‘Forked Deer’ and sometimes he wouldn’t. He would run that B-flat in there if he was showing off, you know. He played the ‘Paddy on the Pike’ in standard tuning. ‘Paddy on the Handcar’, Ed played that cross-key. Two different tunes. And he played ‘Poplar Bluff’ and the ‘Hole in the Poplar’ and all that kind of stuff.”

In Search of Ed Haley

02 Sunday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, culture, fiddle, fiddler, history, Jack McElwain, life, music, photos, U.S. South, Webster County, West Virginia

Lewis Johnson "Uncle Jack" McElwain (1856-1938), fiddler from Webster County, West Virginia

Lewis Johnson “Uncle Jack” McElwain (1856-1938), fiddler from Webster County, West Virginia

John Hartford display at the Museum of Appalachia

02 Sunday Jun 2013

Posted by Brandon Ray Kirk in John Hartford, Music

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Appalachia, banjo, bluegrass, culture, fiddle, fiddler, history, John Hartford, Museum of Appalachia, music, Norris, photos, Tennessee

John Hartford display, Museum of Appalachia, Norris, Tennessee, 2011-2012

John Hartford display, Museum of Appalachia, Norris, Tennessee, 2011-2012

In Search of Ed Haley 121

31 Friday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ed Haley, Ella Haley, fiddler, Forked Deer, guitar, history, Kentucky, Lawrence Haley, music, Pat Haley, Ralph Haley, writing

I kept in close touch with Lawrence, who Pat said always perked up at my calls.  His comments about his father’s music were very helpful. At times, I felt as if I might be talking to Ed.

“I guess Pop learned any time he was sitting around jamming. Anytime he was just sitting around making music with a bunch of friends, they was practicing and learning new pieces. How it would sound this a way and how it would sound that a way. You try different styles and things or you just try for speed. I’ve watched Bill Monroe and some of his stuff and it seems like that’s part of his aim is to see how fast he can play sometimes. Well, that might have been my dad’s. I know in that piece of music, ‘Forked Deer’, I think there’s a certain spot in it Pop changes his speed right there at the last a little bit. And I guess that’s the way most fiddlers do to see if people can keep up with them.”

I said to Lawrence, “Well, you know, a lot of that fiddling and everything, it was a competition. I bet if somebody came along that thought they could beat your dad, I bet your dad threw them a few loops to let them know who’s boss.”

Lawrence agreed.

“Yeah, I guess he did. He’d probably set and help somebody. Say, ‘Now you’d better do it this way,’ or something. If he liked who he was with, that’s the way he’d be. He’d play with them, and if the guitar player wasn’t doing it right… I’ve heard him a lot of times when Ralph — him and Mom would be a playing — he’d tell Ralph to change chord ‘so-and-so.’ And Ralph finally got to the point where he could chord it properly, but then he wanted to make those runs between chords. Pop would tell him how to get to a certain place, or what chord to be at. He’d tell him to change chords, so I guess he told everybody that if they wasn’t getting to where they should be at the right times. He’d let them know, if he wanted to teach anybody. If he played with you for a little while and saw that you weren’t going to make it, he’d probably tell you, ‘You just might as well put it up.’ That’s the way I think about my dad. I’m maybe like Clyde: I didn’t know him enough really to know what kind of a man he was. A lot of my knowledge of him is hearsay, too.”

In Search of Ed Haley 120

30 Thursday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Ashland, Clyde Haley, Ella Haley, fiddle, fiddler, John Hartford, Lawrence Haley, music, Pat Haley, writing

As soon as I got back from California, I got on the phone with Lawrence and told him all about meeting Clyde. He took issue with some of the things his brother had told me. As for what Clyde said about him holding the fiddle down at his lap: “Well, he might have done it. I’ll tell you, if he did, he wasn’t playing the fiddle like he should. He wasn’t a fiddler then. He was just making music, probably at a square dance. They fed him too much liquor or something and he was about to pass out on them. That’s the way I’d look at that ’cause Pop had a lot of pride in his music. I don’t think he’d done that intentionally. He wasn’t no show-off with the fiddle. He might show some enthusiasm when he was playing a piece exceptionally good. He was enjoying his own talents right then.”

Lawrence got back on the subject of what Clyde had told me about Ed’s drinking and abuse.

“If he tells you that my dad made him drink or caused him to be a drunkard or an alcoholic, then Clyde was fibbing to you ’cause Clyde did that on his own. He might not have been around it as much if he hadn’t went with my dad, but he did it on his own. I don’t think Pop would have given him… Like he said, he’s sitting there at the table up on Horse Branch feeding it to him while Mom was sitting there across the table from him — I don’t think he done that. Maybe he might have been different with some of us, but he never struck me or never offered me anything to drink like that.”

I asked Lawrence how his health was holding up and he said, “Well, since I’ve talked to you, I been on the backside. My intestinal system ain’t working right and nobody seems to know anything about it. I don’t know whether I’m ever gonna get over this, John. Seems like I get to go forward for a day or two and then drop back for three or four. It wears you down after a while.”

He paused: “Other than that, I’m getting along all right.”

I told Lawrence I was planning to come see him in Ashland in the next few months — that maybe we could run around and he’d start feeling better.

“Okay,” he said, “I don’t think I’m gonna be able, John. You’re just gonna have to take Pat with you or one of the kids.” He laughed. “Take one of them along instead of me because I haven’t got the strength really. They’ve just drugged me right on down to where I can walk through the house and I’m ready to lay down. Right now, I thought, ‘Well, I’ll just be that way. I’ll just stay in a rested position as much as I can and just lay like I’m in a hospital bed and see if that don’t help me. Just pure rest.’ So, I’m gonna give that about another week, then I’m gonna find me a specialist I reckon and find out what’s the matter with me.”

In Search of Ed Haley 119

28 Tuesday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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California, Clyde Haley, Ed Haley, Ella Haley, fiddler, history, John Hartford, life, music, writing

While on tour in California, I visited Clyde Haley at what he kept reminding me was his “hospital.” Clyde, I noticed, had his mother’s nose and those piercing blue eyes that Pat Haley told me about. We were allowed some privacy in a sun-drenched courtyard, where he encouraged me to “ask away” about his father. At first, his memories were fuzzy, but when I played the fiddle for him, he got very excited — “You’re playing my dad’s tunes!” — and started calling out the names of songs, places, and people. He told me quite a bit about Ed, although the historical accuracy of our conversation deteriorated fairly quickly. Clyde said his father played with the fiddle positioned at his groin — a remarkably different location than anywhere I’d seen before. He also said that when Ed played for a long time at dances, he straightened his right leg and rested his left forearm and the fiddle on his left leg, which he propped up on a chair. He held my fiddle to better show me what he meant, but it looked so bizarre that I just wasn’t sure about it.

Talking with Clyde was great in that he offered a completely different slant on Ed’s character and personality than what Lawrence gave me. He was very adamant about Ed being an angry, abusive drunk, and even went so far as to blame his failures in life on him. He said the first time he ever tasted moonshine, Ed slipped it to him at the dinner table and he got so drunk that he fell off of his stool. Ella bent over to help him up and smelled alcohol on his breath. “Moonshine whiskey,” she said to Ed. “What are you trying to do, kill him?”

In Search of Ed Haley 118

26 Sunday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, blind, Ed Haley, fiddler, genealogy, history, Josie Cline, Kermit, Mont Spaulding, music, U.S. South, West Virginia, writing

Later that night, I got back on the phone with Grace Marcum. I just had to know more about Josie Cline.

“She was a little round-faced woman…a little short, chubby woman,” Grace said. “And she wore her hair twisted up on top of her head, a little roll, you know, in a pin. Seem to me like she was blue-eyed, as good as I can remember. Josie Cline’s been dead for years. She collected bridge toll on this here… Well, it’s a free bridge now. They freed it, but when it was first built, they let Josie collect the toll. And she lived there in that little house, her and her husband. Her husband was a paralyzed man, and he couldn’t talk. I don’t know what happened to him.”

I asked Grace if Josie was supposed to be Ed’s older or younger sister and she said, “I guess she was an older sister. She was a funny old woman. She could make anybody laugh. Fine person.”

I asked her again about Josie being a fiddler and she said, “Oh yeah, her and Mont both.”

     Who?

“Her and her brother Mont.”

So she had another brother?

“Oh yeah. Seemed to me like — Mont Spaulding. He wore colored glasses. He wasn’t very tall.”

How could Josie be a sister to Ed and Mont Spaulding when everyone all had different last names? Was she a half-sister?

“Well, she could’ve been, yeah,” Grace said. “But I know they was awful close. Yeah, they had a time. Mont was a pretty good fiddler, and Josie was, too. I couldn’t say which one was the best, but now they played at square dances and everything. Yeah, my dad hired them to play a many a Saturday night down there at the hotel.”

I asked Grace how often Ed came through the area and she said, “Oh, I don’t know. You know, I was just a small girl, and I couldn’t tell you nothing like that ‘cause my father had a grocery store on this side of the railroad — between the railroad and the county road — and I worked there with Dad. He put us all to work. Raised a big family of us, so we all worked, you know, we all helped out.”

After hanging up with Grace, I formulated a theory that maybe Milt Haley had Josie Cline by another woman before coming to Harts and marrying Ed’s mother. It was just a hunch, like the “Emma Jane Hager-Emma Jean Haley” thing. I also wondered if Grace hadn’t partially confused Ed with Mont Spaulding or if Ed was in fact a boyfriend to the widowed Josie.

In Search of Ed Haley 116

24 Friday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Ed Haley, fiddler, Grace Marcum, history, John Hartford, Josie Cline, Lucian Muncy, Milt Haley, Pat Haley, Rush Muncy, Sammy Muncy, Tug River, writing

For reasons I can’t quite explain, although perhaps related to my belief in genetic memory, Ed Haley’s genealogy remained a real source of interest to me. I knew virtually nothing about his father’s background, although I had a strong suspicion that Milt Haley’s roots were somewhere along the Tug Fork at the West Virginia-Kentucky border — that same section of country made famous by the Hatfield-McCoy feud. Taking a tip from Pat Haley, I called Grace Marcum, a woman of advanced age who was somewhat of an authority on the old families in her section of the Tug Valley. I first asked Grace if she remembered a fiddler named Ed Haley.

“Oh, I did know Ed Haley years ago when I was a girl,” she said. “He played a fiddle and he was blind. He had a sister named Josie and she married a Cline and he stayed with her.”

What?

“Oh, Lord,” Grace laughed. “I was just a young girl. I’m 80 years old now.”

I said to Grace, “Now, we’d understood that the Muncys were related to the Haleys,” and she said, “They was. Ed visited Loosh and his wife pretty often. He stayed with Loosh a while and then he stayed with Rush a while. They was old Uncle Sammy Muncy’s boys. They used to live here. My daddy sold him the store. He bought our grocery store out, Loosh did. Yeah, they always kept a grocery store a going, both of them did.”

In Search of Ed Haley

21 Tuesday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Clayton McMichen, culture, fiddle, fiddler, Georgia, Georgia Wildcats, history, life, music, photos, Skillet Lickers

Clayton McMichen of Georgia

Clayton McMichen of Georgia

In Search of Ed Haley 113

19 Sunday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Abe Keibler, blind, Catlettsburg, Ed Haley, fiddler, Greenup, history, Kentucky, music, New Boston, Ohio, Portsmouth, writing

A few days later, I called Abe Keibler, “last of the old Keibler fiddlers” in the Portsmouth area. The Keiblers had been top fiddlers in that part of the country according to Roger Cooper.

“I didn’t play with him, but I heard him play all the time,” Abe said of Ed. “That was back in the twenties when I was a hearing him. I’m 86. I was about eighteen or nineteen year old the first time I heard him. I saw him at Greenup, the county seat of Greenup County, on Labor Days and Fourth of July. He was on the courthouse ground playing around there. I remember one time he was playing on one side of the courthouse and they was a church group started up right behind him and he just stopped right then. He said, ‘I ain’t got nothing again’ the church, but this fiddling don’t go with church.’ And he went around on the other side away from them, you know. He was a nice old fella.”

I asked Abe to describe Ed and he said, “He dressed comely like. He had to wear a suit of clothes. He wore a hat. He was blind, I guess, about all his life. He knowed your voice if he’d ever talked to you. I remember one time a doctor up there came around and asked Ed to play ‘Turkey in the Straw’ and he said, ‘Hello, Doc! I ain’t seen you in a long time.’ Yeah, he was a good old man. He had the fiddle under his chin and held the bow back down there on the end. He was all over that neck a playing. And if you asked him to play a tune – I don’t care, maybe half a dozen – he’d play what you asked for. His wife played the mandolin and sung with him. They sung a lot of them old tunes back there. ‘Big Rock Candy Mountain’ was his main tune – he sung and played it on the fiddle. He played them old-time fiddle tunes. He mostly played down in the standard and in the ‘C’. He played ‘Sally Goodin’ and all them old tunes back there. ‘Turkey in the Straw’. He played some hornpipes, like ‘Big Indian Hornpipe’ and ‘Grey Eagle’.”

I had a lot of detailed questions for Abe about things Ed might have said when he was playing on the street, but he said Ed never got time to talk much.

“When I was around him, they was a crowd there and they kept him busy,” he said. “Quick as he could play one, somebody else had one in. They just kept him a playing all the time. He’d have a big crowd around him. Over there at New Boston, he had big crowds over there. He lived in Catlettsburg but he come down to New Boston when the mill was a running full and played there on them waiting stations and a lot of them mill-men come out there and they give him lots of money. He always had a cup on the neck of his fiddle and they dropped dollars. Back there then, why, they’d just throw their money in to him – five dollars, tens, and everything – and they was big money there then. He made a lot of money back in them days.”

Clifford Dalton, James Browning, and Jake Dalton

18 Saturday May 2013

Posted by Brandon Ray Kirk in Big Harts Creek, Music

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banjo, Clifford Dalton, culture, Ezra Jake Dalton, fiddler, Harts Creek, history, James Browning, life, Lincoln County, music, photos, West Virginia

Clifford Dalton, James Browning, and Ezra "Jake" Dalton of Harts Creek, Lincoln County, West Virginia, 1935-1950

Clifford Dalton, James Browning, and Ezra “Jake” Dalton of Harts Creek, Lincoln County, West Virginia, 1935-1950

In Search of Ed Haley 112

18 Saturday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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fiddler, harmonica, history, John Harrod, John Hartford, John Lozier, Kentucky, music, Ohio, Portsmouth, South Portsmouth, U.S. South, writing

A few days later, I called John Lozier, a harpist in South Portsmouth, Kentucky. I could tell right away that he was feisty. When I mentioned Ed’s name, he said, “Ed Haley played so soft and so smooth you had to listen when he played. Well, that’s about all I can tell you ol’ buddy.”

Of course, I wanted more.

I pressed John by asking where he first saw Haley.

“Sitting on Market Street over here in Portsmouth, Ohio, playing for nickels and dimes back in the twenties or early thirties,” he said. “That’s the way he made a living. Raised five children. Then after that him and his wife separated. Now, can you imagine that?”

John seemed so sure of his memories that I asked him about Ed’s repertoire.

“John Harrod always had me to play one tune — nobody else played it,” he said. “My grandfather knew it, called ‘Portsmouth Airs’. I play all the fiddle tunes on a harp. My grandfather made fiddles and played fiddles but he never would allow me to pick it up. He’s afraid I’d drop and break the neck out of it. So when I was three years old I started playing fiddle tunes — so they tell me. I’m 85…or will be.”

I wondered what the secret was to getting that old and being as healthy as he sounded to be and he said, “Ah, boy. I work every day at something. I got a garden here. I’ve got out a hundred pounds of taters and I planted some beans and my cabbage is out and I move around a little bit every day.”

I had more questions.

Did Ed play a lot of waltzes?

“He could play anything,” John answered immediately.

Did you ever hear him sing?

“If he ever sung a song, I never knew it.”

How did he hold his fiddle?

“Very loosely,” John said, confirming Mona’s memory.

John asked me if I ever got up to his part of the country, then said, “Well, old buddy, I’m fixing to go to church and it’s good talking to ya. I live at South Portsmouth. If you’re ever up in here come around and let’s take a look at one another.”

In Search of Ed Haley 111

17 Friday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Abe Keibler, Asa Neal, Charley Keibler, fiddle, fiddler, Germany, Henry Keibler, history, John Keibler, Kentucky, music, Portsmouth, writing

After listening to the Lozier tape, I played a 1992 interview/jam session with Abe Keibler, last of the old fiddling Keiblers in South Shore, Kentucky.

“The first Keibler to come into this area was my grandfather, Henry C. Keibler,” Abe said. “He come here when he was 21 years old from Germany. I don’t know whether he played any music or not but they was some good ones in the uncles that raised me. The fiddlers was John and Sam and Henry and Charley but Uncle John Keibler, he was the best fiddler in the whole bunch. He won contest after contest. [When he was young and learning to play a fiddle,] his dad wouldn’t let him bring it into the house. My aunt told me he didn’t want to hear him screeking around on it, you know, so he took it out in the cornfield. My grandpap said, ‘Well, them boys is into something. I’m gonna slip out there to see what they’re into.’ And he sneaked out there and the old son was a picking the banjo, and him the fiddle and some a dancing. Then he said to him, ‘Well John, you can bring your fiddle in home now.’ Then he brought it in and it didn’t bother him no more. He was playing then good.”

Abe said, “Then I had an uncle, Charley ‘Shorty’ Keibler — they said he was an awful good left-handed fiddler, but I never heard him, see. Uncle Charley died young. He’s the one bought that old fiddle that I was raised with. Uncle Charley lived over in Portsmouth. Back then, they had old saloons and my other uncle John he tried to buy [this fiddle from a man there]. But [this man, he wouldn’t sell it to John. He] told Uncle Charley, he said, ‘Now, Charley, if you want that fiddle I’ll sell it to you for ten dollars.’ Well, he bought it [from the man] and Uncle John give him the money and he kept it over the years. He wouldn’t let me touch that fiddle though ’til I was sixteen years old. He didn’t want to hear me jigging around on it. He thought you ought to already know how to play, I guess. [Uncle John], he had a stroke and he tried to tune it up one day and he couldn’t tune it. And he told his nephew, said, ‘Take that fiddle and give it to Henry.’ Uncle John died on September 6, 1932. Then in ’55, I think it was, Uncle Henry said to his sister, ‘I’m gonna give old Abraham this fiddle. Next time he comes down I’ll give it to him.’ I went down and he said, ‘There’s the fiddle. She’s yours. Now, do whatever you want with it.’ He couldn’t play much then. He was sick. Henry died in 1959.”

On the tape, someone asked Abe about the Glenn Brothers, who I had heard about in connection with Clark Kessinger.

“Abe Glenn, I was named after him,” he said. “Bob Glenn, they said he was a real fiddler. I never heard either one — that was before my time. They said he was really about as good as you could find.”

Abe also remembered Asa Neal.

“When he first come here to play, he couldn’t play a hornpipe nor nothing — just them old blues. When I was about sixteen year old, he come there to my uncle’s and he learnt to play all of these old tunes. He used a lot of slip notes but he could get them in there, boy. He learnt to be a good fiddler, ol’ Asa.”

On the tape, Abe mostly played old standards — “Sally Goodin”, “Turkey in the Straw”, “Liza Jane” — but every now and then he came out with some obscure tunes, like “Portsmouth Airs”, “Headwaters of Tygart” and “Old Coon Dog”.

In Search of Ed Haley 110

14 Tuesday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Clark Kessinger, Dinky Coffman, Ed Haley, Ella Haley, fiddler, history, John Harrod, John Lozier, music, Ohio, Portsmouth, Portsmouth Airs, writing

One morning, in one of those unexpected surprise moments, I received in the mail from John Harrod, the Kentucky folklorist and musician, two cassette interviews regarding Ed Haley. One tape featured John Lozier, the harmonica master from South Portsmouth, speaking at a 1992 workshop in Berea, Kentucky. His memories were much more detailed on the tape than when I’d talked with him a few months ago and went a long way in helping me to understand more about Ed Haley’s Portsmouth experience.

“I started playing when I was three and a half, or so they tell me,” he said. “Well I had an uncle Walter Lozier that played a little harp. We lived in an old log house in Lewis County and he and I was sitting in this old door facing the railroad and he was playing and he handed me the harp and, so they tell me, I played ‘Red Wing’. I learned to play fiddle tunes on a harmonica from my granddad.”

John told about some of the better musicians around Portsmouth during the Depression era.

“At one time in Portsmouth, Ohio, during the thirties, there was no work,” he said. “You couldn’t get a job. And at that time, there was more good musicians in Portsmouth. They just sat around and drank a little moonshine and got good, but nobody ever made anything out of it. We had a group of fiddlers up home by the name of Keibler. They came from Germany. The old father brought the old Stradivarius fiddle and they have still got that in the family. They used to play one they called ‘Headwaters of Tygart’ and then they played one they called ‘Windin’ Down the Sheets’, then they played one they called ‘Nigger Hill’, played one they called ‘Rye Straw’, ‘Gettin’ Upstairs’, ‘Old Coon Dog’. And I learned to play fiddle tunes from the Kieblers, Ed Haley, Clark Kessinger, Harry Fry, the Mershons…”

John told about his experience with Ed.

“I met Ed Haley about 1929 or ’30,” he said. “He was a little old winked up fella with a little ol’ plug hat on. His wife sitting over here. Both blind. She played a banjo-mandolin. And he was sitting on Market Street in the lower end of Portsmouth, Ohio, playing for nickels and dimes in a hat box or whatever he had thrown down there. He had one of the boys with him. He was a fella that had little slim fingers like a woman and he played real soft and low. He wasn’t a loud fiddler. But he played so smooth and so soft you had to listen when he played. In other words, if he didn’t kindle your fire your wood was wet. I played several concerts with him and his wife. We had a fella by the name of Dinky Coffman that was on the entertaining committee at the Portsmouth N&W YMCA where people come in off the trains and slept and bought their meals. You could buy a meal for fifty cents, you could stay all night for fifty cents, and then they’d go back to Columbus or either to Williamson, West Virginia — and I’d worked there with him. I’d worked at Russell yards, one of the biggest railroad yards in the world.”

One of the tunes John said he’d learned from Ed was ‘Garfield’s Blackberry Blossom’, which he played almost note for note on the tape (minus the little ornaments and some of the “deeper” stuff that would be hard to get on a harp). He also played “Portsmouth Airs”, which he said was a Haley tune.

At that point in the tape, someone asked John about putting a lot of notes in a tune.

“Clark Kessinger could put more notes in a fiddle tune than any man I ever heard in my life and he played fast,” he said. “He was a big, tall, slim, skinny fella. Lived in Three Maples, West Virginia — right this side of Charleston, just off of I-64. I met him one time at a fiddlers’ contest back in the thirties at Portsmouth, Ohio.”

In Search of Ed Haley

12 Sunday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, culture, fiddler, history, life, Morris Allen, music, Ohio, photos, Portsmouth

Morris Allen, fiddler from Portsmouth, Ohio

Morris Allen, Portsmouth-area fiddler

In Search of Ed Haley 109

12 Sunday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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Asa Neal, Boneyfiddle District, Covington, Ed Haley, Ella Haley, fiddler, Greenup, Kentucky, Maysville, Ohio, Portsmouth, South Portsmouth, writing

               Portsmouth, Ohio — the fiddler-rich city where Ed Haley frequently played during the Depression — is now a fiddlers’ graveyard. Historically, it was settled some two hundred years ago and has been the seat of government for Scioto County since 1808. For most of its existence, Portsmouth has been an industrial town comparable to Huntington or Ashland in that section of Ohio River country, although in recent years it has focused on tourism. It is accessed by Route 52 in Ohio or, more commonly, by Route 23 from Ashland. This latter route, also known as Country Music Highway (a real “speed trap”), runs northwest across the Boyd County line past the Flatwoods exit (hometown of Billy Ray Cyrus) and to Greenup, home of the late Jesse Stuart, Eastern Kentucky’s most famous writer. At Greenup’s 124 Front Street, the former home of Doc Holbrook still stands facing the mighty Ohio River. Beyond there, for a short distance, exists a stretch of rolling hills with the mighty Ohio flowing just out of view and almost no economic development in sight. Eventually, if traveling west on Route 23, South Portsmouth presents itself. South Portsmouth is connected to its mother city of Portsmouth by a bridge over the Ohio. Portsmouth is a beautiful river town. Its Boneyfiddle district, which basically includes Front and Second Streets between Market Street and the campus of Shawnee State University, showcases Victorian era buildings with a few antique stores and cafes and a series of well-painted city historical murals on a nearby floodwall. It is depressed economically but has a strong river heritage, which seems to be nearly forgotten in Ashland and Huntington.

     Traditionally, Portsmouth has been a major stopping point for folks traveling in the Ohio Valley west to Cincinnati — whether it was loggers in Milt Haley’s day or musicians in Ed Haley’s day. Portsmouth was home to Asa Neal, a fiddler I ranked as second only to Ed Haley. Ed was very familiar with Portsmouth, as well as the nearby town of New Boston, where he played on sidewalks and in contests. Portsmouth had also been important in the life of his wife Ella, who had lived there at least twice before her marriage: at 913 10th Street and later at 1124 Gay Street (each address being in close proximity of each other).

     Traveling west from Portsmouth, after a considerable distance through the northeastern Kentucky countryside, is Maysville, a former tobacco center and home of the late Rosemary Clooney, famous actress and singer. Beyond there is Augusta, the hometown of actor George Clooney, and beyond there still is the well-known metro area of Cincinnati, including Covington.

In Search of Ed Haley 108

11 Saturday May 2013

Posted by Brandon Ray Kirk in Ed Haley

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blind, Clyde Haley, Ella Haley, fiddle, fiddler, Harts Creek, John Hartford, Kentucky School for the Blind, Lawrence Haley, Mona Haley, music, West Virginia, writing

I asked Lawrence if he knew anything about his brother Clyde supposedly trying to play the fiddle.

“Well, he never said anything about it to me and if he ever played the violin I never saw him, John,” he said. “But he did sit around and play a little on the guitar. Then he got away from home and got in some kind of industrial accident working in a woodshop or something and a band saw got his fingers. Mona, she’d take off with Pop a lot of times up into West Virginia and they’d be gone a week or two. She went with him as much as any of the rest of us did. Most of the time whenever I’d go, there’d be my mother, too.”

I told Lawrence what Wilson Douglas had said about Ed being able to get around extremely well on his own.

“I can remember, just like going up Harts Creek,” he said. “Remember where you turn off to the Trace Fork they got a big new church and stuff? They wasn’t anything in there then. They wasn’t even a road. People made their own footpaths around close to the hillside. Most of it was just pathways. And that’s how Pop could go from one house to another, I guess. He’d know when he was on that path — how many steps or something it was from his place to anybody else’s he wanted to go to. It’d be like if somebody could count the streets in succession — if they’re numbered streets… Mom could get around Ashland here anywhere she wanted to by herself, but Pop wasn’t too good at that. He couldn’t keep track of how many blocks he’d walked or where he’d started from a lot of times. He just didn’t have the training, I guess, to learn how to handle hisself as a blind man. Mom went to that Louisville School for the Blind. She was there about twelve or thirteen years, I reckon, and they taught her piano music.”

Lawrence told me more about his memories of his father’s appearance.

“He walked fairly fast and upright as a fence post with his shoulders throwed back,” he said. “He was no slouch. He set in his chair upright. A lot went through his mind, I know that. He used to tell me, ‘Son, if a man can think it up and imagine it, then it’s possible.’ In later years, he was always having some problems with his arms and hands. I remember him shaking his hand real vigorously, like he was trying to get circulation going back in it. He’d walk through the house a lot. ‘Course he’d go up and down the street some. If he felt like he wanted a beer or something, he might get out and go and play down at Russ’s Place half a day and drink what beer he wanted to and then he’d come home. I’ve seen Pop get pretty high at times.”

Lawrence said, “Well, I’ve tried to think and tell you everything I know my dad did. If I’m helping you at all, I’m tickled to death. I didn’t know him that long. He was about 44 or 45 when I was born. I went into the service when I was about eighteen and I wasn’t out of the service maybe a year and a half and he was dead.”

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