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Brandon Ray Kirk

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Tag Archives: fiddler

In Search of Ed Haley 50

13 Sunday Jan 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, banjo, Billy in the Lowground, Blackberry Blossom, blind, Cacklin Hen, Catlettsburg, Clark Kessinger, Clayton McMichen, culture, Curly Wellman, Curt Polton, Ed Haley, Elvis Presley, fiddler, Floyd Collins, Forked Deer, Grand Ole Opry, guitar, Hatfield-McCoy Feud, history, Horse Branch, Huntington, Ivan Tribe, John Hartford, Kentucky, Lawrence Haley, Logan County, Mid-Day Merry-Go-Round, Morehead, Mountain Melody Boys, Mountaineer Jamboree, music, National Fiddling Association, Old Sledge, Poplar Bluff, Rowan County Crew, Ugee Postalwait, Ward Hollow, WCHS, WCMT, Westphalia Waltz, writing, WSAZ

I asked Curly if he remembered any of Ed’s tunes and he said, “Ah, I remember ‘Forked Deer’ and I remember ‘Billy in the Lowground’ and I remember the ‘Old Sledge’ and I remember ‘Poplar Bluff.’ ‘Blackberry Blossom.’ The longer he played a tune, the meaner he got on it. If he got the feel, it hit him. And the more he played the better he got and the more tunes come to him. He played one waltz — ‘Westphalia Waltz’ — and that’s really the only waltz that I can recall that he played. And it was all double stop fiddle.”

Curly never heard Ed sing a note — a very surprising recollection considering the way that Ugee Postalwait had hyped Haley’s singing abilities.

“I got a copy of a song from him,” Curly said. “He had somebody to write it down. Because at this time, out at Morehead, Kentucky, they had a feud out there. And they had a shoot-out there on the steps and then somebody wrote this song called ‘Rowan County Crew.’ And Ed, they tell me, would sing that at different places throughout Kentucky. At that time, it was like Floyd Collins that was in the cave and like the Hatfields and the McCoys — only this was called the ‘Rowan County Crew.’ Well, at that time it was hot as a pistol through the state. Now evidently he sang that song, but he never sang it for me.”

Curly said, “Ed could have been as great as the Blue Yodeler or any of those people. He could have been right on those records with them but under no reason did he want to record commercially. Had he been living today and with the equipment they’ve got today, he would’ve been in more demand than Elvis Presley ever was. Nobody played ‘Cacklin’ Hen’ like him. And a very humble man. I never heard Ed down anybody else, I never heard him put anybody below him and I never had him to tell me how good he was. In fact, I wonder sometimes if he knew how good he was. But I knew it. He was a brilliant man. He’d just about keep a check up on everything during his lifetime. He knew the news, he knew the political field, he knew what was going on in the state.”

I asked Curly about the first time he ever saw Haley play.

“I played with Ed when I was a kid — twelve, thirteen years old — and we lived at a place called Horse Branch. That’s as you enter Catlettsburg, Kentucky. And I was a kid carrying an old flat-top guitar — no case — trying to learn how to play. In the evening, he’d come out on the front porch after dinner and Ralph would get the guitar and the mother would get the mandolin and the neighborhood would gather because at that time radio was just coming into being. And I’d go down there and sit and bang while they were playing. And that’s where I first heard Ed Haley.”

Curly lost track of Ed when he started playing music out on his own at the age of fifteen. Throughout the mid-thirties, he played over the radio on Huntington’s WSAZ and Ashland’s WCMT with the “Mountain Melody Boys,” then made several appearances on the Grand Ole Opry and Knoxville’s Mid-Day Merry-Go-Round with Curt Polton’s band. It was during that time, he said, around 1936, that Ed got into a contest with Clark Kessinger and Clayton McMichen at the WCHS radio station in Charleston. Clayton was the National Fiddling Champion, while Clark was the National Fiddling Association’s champion of the East. The whole thing was “built up for months — it was a showdown.” In the contest, each fiddler got to play two tunes and someone named Banjo Murphy seconded every one using a three-finger picking style on a four-string banjo. First prize was a “live baby” (a little pig) and the winner was determined by a clapping meter. Curly wasn’t sure what tunes Ed played (probably “Cacklin’ Hen,” his contest specialty) but remembered the results clearly.

“Ed Haley beat the two men on stage,” he said. “McMichen was out of it in a little bit but it took several rounds to eliminate Clark Kessinger.”

Curly returned to Ashland in the early forties and found Ed living in the bottom of a weather-boarded, two-story apartment building on 37th Street (Ward Hollow). He started visiting Haley again, usually on cold days when he knew that he’d be close to home. He’d put his D-18 flat-top Martin guitar in the trunk of his car and “go pick up a pint or a half a pint of moonshine,” then head on over to Ed’s house.

I’d go in. I wouldn’t take the guitar in at all. I’d just knock on the door and go in and I’d say, “Hi, Uncle Ed.” “Hi, Curly.” He knew me by my voice. And I’d go in and sit down, you know, and say, “How’s the weather?” and “How’s things?” and “How’s the family?” and so forth and so on. We’d sit around there and talk a little bit. I’d say, “Ed, been playing any lately?” “No, I haven’t felt like it. I just haven’t felt like it.” I’d say, “Well, how about a little nip? You think that would help?” “Well now you know you might have something there.” So I’d go on to the car and I’d get the bottle and come in and we’d sit back down and I’d pass it to him. He’d hit it. He’d sit right there a little bit you know and I’d say, “Take another little nip, Ed.” “Well, I believe I will,” he’d say. “It’s too wet to plow.” And he’d sit there and he’d rock a little bit in that chair and… Being blind, he talked a little loud. “Hey, did I ever play that ‘Old Sledge’ for you?” I’d say, “Well, I can’t remember Ed. Just can’t remember.” Well, he’d get up and he’d go over and he’d lay his hand right on that fiddle laying on the mantle of the fireplace. By that time I’d be out the door and getting the Martin. I’d come back in and he’d tune ‘er up there and feel her across you know and touch her a little bit here and there. He’d take off on it.

Curly and I got our instruments out and played a few of Haley’s tunes. He showed me the type of runs he used to play behind Ed and gave me a few more tips about his fiddling. He said Ed was “all fingers…so smooth” and could play all over the fingerboard — even in second and third positions. He “put a lot of his upper body into the fiddling” and patted one foot to keep time. If he fiddled for a long time, he put a handkerchief under his chin for comfort (never a chinrest) and dropped the fiddle down to his arm and played with a collapsed wrist.

Just before Lawrence and I left, Curly said, “I’ll tell you somebody that’s still living in Charleston and he’s a hell of a fiddle player — or was. They called him Slim Clere. He’s about 82. He knew Ed. In fact, he was the man that Clere looked up to as he was learning. And he could probably give you more information than I could because he’s followed the fiddle all of his life.”

Curly also recommended Mountaineer Jamboree (1984), a book written by Ivan Tribe that attemped to detail West Virginia’s contributions to country music. It briefly mentioned Ed: “Blind Ed Haley (1883-1954), a legendary Logan County fiddler who eventually settled in Ashland, Kentucky, repeatedly refused to record, but did belatedly cut some home discs for his children in 1946.”

Parkersburg Landing 49

11 Friday Jan 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, Clark Kessinger, culture, Curly Wellman, Ed Haley, fiddler, history, John Hartford, Kentucky, Lawrence Haley, life, music, U.S. South, writing

     Not long after meeting with Lawrence Haley in Tennessee, I found myself heading toward his home in Ashland. As soon as I arrived in town, he suggested that we speak with Curly Wellman, a local musician who had often visited his parents’ home during the Depression. Lawrence had no memories of Curly’s visits but listened as he told all about them at a recent chance-type meeting at a local grocery store. “I was too young to remember him coming,” Lawrence said to me. Curly had told Lawrence to be sure and visit anytime, so we made a quick call to make sure it was okay for us to drop in, then headed out the door.

     “I used to see him on the Ralph Shannon Show years ago,” Lawrence said, as we piled into the car. Curly was still quite the entertainer. We found him more than ready for us — wearing a big grin and dressed in a fruity-striped button-up shirt with a large medallion around his neck. There was no real need for questions or prompting on our part. His memory was very clear.

     “I don’t think there was anybody that ever drawed a bow that played country like he did,” Curly said of Ed. “The biggest finger on his hand wasn’t as big as my little one. Smallest hands you ever looked at in your life. Just a natural touch. I mean everything — tone, ear, perfect pitch… The whole thing. I would carry my flat top and I’d go up to Uncle Ed’s and go in and he’d grab the fiddle. Well, all he would do was throw the fiddle under his neck and run his fingers across the strings — before he ever heard my guitar — then all I had to do was rake across it and we were together. That was Ed Haley. I’ve followed him since I was about twelve or thirteen and I’m 74 now and I’ve worked with a lot of them and, well, I think he was the greatest.”

     Curly didn’t even catch his breath in bragging on Ed.

     “The bow work is the secret to Ed Haley’s music,” he said. “All of the bow work was strictly in the wrist. More like watching an artist that plays classical stuff — the bow arm. He could get more notes out of the length of the bow than any other man I ever watched or heard in my life. It was all fingers. Just so easy. And double stops were nothing for him. I’ve heard him catch three notes on a fiddle. Terrific! Terrific! I started playing when I was about fourteen and I played for him just for pleasure and lived close to the family and knew them all personally — marvelous people. He had a boy that played the guitar pretty fair. Now there was one other fiddle player in this country that thought he was that good, but he wasn’t. His name was Clark Kessinger. Now Clark played a lot of fiddle. I have to give him credit for what he did play. But I don’t believe he could tune Ed’s fiddle. Clark’s a good imitation of Ed.”

     Curly said he’d give anything to hear Ed’s music again.

     Just then, Lawrence, who’d been sitting quiet as a mouse, pulled out some of his father’s tapes and said warmly, “Hey, put these on.”

     Curly got everything set up and stood mesmerized listening to Ed’s music. He kept saying things like, “Listen how true his notes are. The tone quality. And when this was taped, they didn’t have this stuff to work with that they’ve got today. They make you sound like what they want you to sound like. Ah, he was a fine man. Is that his wife playing the mandolin? She could do it. I used to watch that poor old soul down here in town and she’d bring one of the little girls with her to take her to and from places. She’d sit down there on a little folding stool with her mandolin and play for change and this and that. They were hard-working people.”

     Ed’s music gave Curly’s memories a boost.

     “At the time that I knew him, I was a kid. The thing between me and Ed was just love for one another, I suppose, and love for music. And he loved a guitar that could back him up. And he didn’t want no sixth-string chord — you better not strike one in his presence because he’d tell you to crawl back down on the neck. He said if he wanted a snare drum, he’d get one. He was the type of guy that said what he thought. That was his nature. And if you didn’t like it, you’d just well to get up and go out. He was a man that had the flattest delivery with speech when he said something to you. I mean it was just flat out straight. It didn’t make any difference to him.”

     Ed hated to be pitied or touched and liked to get around by himself. Because Curly had seen his “vicious temper,” he never asked him about his background.

     “I was a kid and as blunt as he was there was a lot of things I would like to’ve known that I wouldn’t even ask,” he said. “In other words, I might just say something that he would completely turn me off, me being that young. But, well, he had a big heart.”

Parkersburg Landing 47

06 Sunday Jan 2013

Posted by Brandon Ray Kirk in Ed Haley

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Blackberry Blossom, blind, culture, Ed Haley, fiddler, Half Past Four, history, John Hartford, Lawrence Haley, life, music, Steve Haley, Tennessee, U.S. South, writing

     Later that summer, I met Lawrence Haley at the home of his oldest son, Steve Haley, in Hendersonville, Tennessee. Steve was a music enthusiast and computer expert. Lawrence graciously loaned me the four Junius Martin records, which contained his father’s signature tune, “Garfield’s Blackberry Blossom”. I asked him about “Poplar Bluff,” one of the tunes on the records, and wondered if it was connected to the small Missouri town by that name. Lawrence said he didn’t know but that it sounded like Pop was mad when he was playing it on the record.

     “Well, he was either mad or they had taken some strong drink with them and Pop had got into that pretty heavy,” he said.

     I said, “What about a tune like ‘Stonewall Jackson’?”

     “No, he was playing fine music there,” he said. “I don’t think when these records was made at home he had a drop to drink. But I’ll tell you John, he done an exceptional job then because before I went into the service he would shake his left hand trying to get some of the numbness out and I guess that was from a heart problem right there. If he had any decay in his muscle reaction, it didn’t show too much. Of course, he had to go downhill at that age from what he used to be when he was a young man.”

     I played a tune for Lawrence that was unnamed on the records, then said, “This guy I know, Bruce Greene, he collected a lot of stuff, and I played it for him over the telephone and he said, ‘Oh, that’s ‘Indian Squaw’. But then it could have had another name. Like that ‘Yellow Barber’ tune that your dad plays, they call that ‘Arthur Berry’.”

     Lawrence said, “I don’t think he called that ‘Indian Squaw’. I never heard anybody request it. Pop played a piece of music called ‘Indian Nation’.”

     I’d been listening to Ed’s recordings a lot in the last few months and was focused on how he got a “real swing” in his music.

     Lawrence agreed, “That’s what I say. That’s what I was trying to tell you. When Pop was playing and enjoying it, he put a lot of drive in his music. You could see it. You could watch him and just see that he was enjoying it.”

     I asked if Ed played with his whole body and Lawrence said, “Well, yeah he’d do a little, maybe, dance on his chair.”

     Would he ever come up off his chair?

     “No, no, not like that. But you could tell that when he was playing with somebody that fit in with his style or if his accompaniment was doing their job right then he always enjoyed it.”

     Now what would his feet be doing?

     “Well, he’d just be patting his foot or his heel one or the other, most of the time. Not too loud. It was a subdued type of enjoyment, but you could see the drive that he was putting into it. I mean, he could slur a bow and pull a bow and put different pressures on the strings and you’d know that he was enjoying it, or I felt that he was.”

     I played a lot of Ed’s tunes for Lawrence, hoping to jar some of his memories. When I played “Ida Red”, he said his father used to sing, “Ida Red, Ida Red. I’m in love with Ida Red.”

     I told him I loved “Half Past Four”.

     “That’s one of my favorite tunes of all time,” I said. “I get to playing that and I can’t stop playing that tune. Now, that’s one he wrote, isn’t it?”

     Lawrence said, “Yeah, it seems to me like my mother told us that one time. That one of us, I’m not for sure which one it was, but we were delivered at about that time in the morning and Pop had been up all night, I guess. He just sat down and started playing because he was happy he had another boy, I guess. Or it might have been the girl, I don’t know.”

Parkersburg Landing 45

03 Thursday Jan 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Blackberry Blossom, civil war, Ed Haley, fiddler, history, James A Garfield, Jean Thomas, John Hartford, Junius Martin, Kentucky, Lawrence Haley, music, writing

     A few weeks after finding this article, Lawrence Haley called me with the news that he had found four more of his father’s records. These were not from the home recording sessions of the mid-forties. Instead they were from Junius Martin, a man who “ran with Pop some.” Martin had brought them to Lawrence in the late ’70s and traded them for a Parkersburg Landing album. I was extremely excited — what tunes were on these records? Were they dated? Lawrence said two of the Martin records, titled “Blackberry Blossom”/”Poplar Bluff” and “Bluegrass Meadows”/”Ox in the Mud” were dated December 1947. The other two, “Indian Eat the Woodchuck”/Unnamed and “Cabin Creek”/”Indian Eat the Woodchuck”, were undated.

     Inspired by the find, I read up on some history behind “Garfield’s Blackberry Blossom” in Jean Thomas’ Ballad Makin’ in the Mountains of Kentucky. According to Thomas, a French harpist named Christopher Columbus learned the tune from General Garfield in the Big Sandy Valley during the War Between the States. Upon returning home, he told his wife, “Americkee, I’ve learnt another tune! I ketched it from General Garfield his own self. The General whistled it a heap o’ times as he rode ahead of our troops right off yonder at the mouth of Big Sandy.”

     According to Thomas’ account, General Garfield heard Christopher Columbus play the tune on a harp one night at camp.

     “One night I was sent to his headquarters with a message and whilst I was waitin’ for orders I set down on the far end of the stoop and played a tune.  I had not played the piece oncet through till I hear-ed behind me a heavy tread and the clickin’ of sword agin’ boot top. I poked my harp in my pocket quick as I could and riz to my feet in salute. For there stood General Garfield his own self lookin’ down at me. ‘Let’s hear that tune again,’ said the General, as friendly as a private, ‘that’s my favorite tune though I can’t recall the name of it.’ With that, he [the General] let fly a stream of tobacco juice into a clump of blackerry bushes growin’ nigh the foreyard. The amber splattered all over the snow white blossoms on the bush and from then on we called the piece Blackberry Blossom.”

Ella and Ed Haley

29 Saturday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, blind, culture, Ed Haley, Ella Haley, fiddler, fiddling, history, life, music, photos, U.S. South

Ella and Ed Haley, 1925-1945

Ella and Ed Haley, 1925-1945

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John Hartford

25 Tuesday Dec 2012

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banjo, Banjo News Letter, bluegrass, fiddler, Fiddler Magazine, history, John Hartford, magazines, Mississippi River, music, Nashville, photos, Tennessee, Tennessee Folklore Society, The Devil's Box, U.S. South

John Hartford Magazines

Posted by Brandon Ray Kirk | Filed under John Hartford, Music

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When Our Lord Shall Come Again

22 Saturday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Calhoun County, Ed Haley, fiddler, genealogy, history, John Hartford, Laury Hicks, music, photos, U.S. South, West Virginia

John Hartford at the Laury Hicks Grave, 1996

John Hartford at the Laury Hicks Grave, 1996

Laury Hicks and Minnie Hicks

21 Friday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley, Music

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Appalachia, Calhoun County, fiddler, genealogy, history, Laury Hicks, Minnie Hicks, music, photos, U.S. South, West Virginia, writing

Laury and Minnie Hicks, 1930s

Laury and Minnie Hicks of Calhoun County, WV, 1920s

In Search of Ed Haley 35

21 Friday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Calhoun County, Ed Haley, fiddler, history, John Hartford, Johnny Hager, Laury Hicks, Logan County, music, U.S. South, Ugee Postalwait, West Virginia, writing

     A few weeks later, I met Ugee Postalwait at her home in Akron, Ohio. An energetic, feisty woman with a band-aid on her nose, she didn’t look nearly as old as she said she was (eighty-something). She was very anxious to talk about Ed Haley and her memories seemed sharper than when I’d first called her. She bragged about him right away.

     “He had the brain of music,” she said. “He’s one of the best I ever heard. You could name a tune and if he didn’t know it and you sang it to him one time he knowed it then, and when you heard it the next time he’d blow your stack.”

     “Now they is some people’ll tell you my dad was better — Laury Hicks,” she continued, wasting no time in bragging on her father. “He and Ed was about the same age. Both born in about 1880.”

     I asked Ugee to recall her childhood, when she first saw Ed Haley.

     “The first time I ever seen Ed Haley, I was about five years old,” she said. “Dick Joblin told him that he wanted him to hear a boy that he knowed played music and he brought him there to Dad. Ed was about — oh, he must’ve been around twenty maybe, something like that. He was a young man. Dick had my dad to play the fiddle and he played three pieces: ‘Arkansas Traveler’ and another’n I can’t remember right now and ‘Sally Goodin’. Ed said, ‘If that next’n had come up as strong as the first few I heard, I’d never pulled my bow across that fiddle as long as I lived.’ And Dad at the time had his first fiddle. My dad made his first fiddle out of a cigar box and that’s what he learned on and he had that up till I was about ten or twelve years old.”

     Ugee said, “Then the next time I seen Ed, he come there with John Hager.”

     I asked her how Ed looked and she said he had on a suit and plug hat and had his fiddle in a flour sack.

     “They stayed all winter, and they left on the first day of spring,” she said. “I’ll never forget that. There was a little narrow country road and as long as I live I’ll always see Ed, and Johnny leading him around a mud hole. We went out on the bank and watched them as they left and I stood there and cried after him and just cut a shine. Well, Ed then sent back a card — I think I still got it. ‘I love your wife, but oh your kids’ — from White Sulphur Springs.”

     I asked Ugee if she had seen the picture of Ed and Johnny at White Sulphur Springs.

     “Oh, yeah, I got that someplace in a box with a bunch of my pictures,” she said, before correcting herself. “Well, I think I give Larry all the pictures I had of Ed and Ella.”

     When I pulled out the one of Ed and Johnny, she said, “Yeah, that’s John Hager. He was a little fella. That banjo had the longest neck I ever seen.”

    She then pointed to Ed and said, “That looks just exactly like him. He wore dark glasses then. After he got married he stopped wearing dark glasses. Ed was six foot or something like that. Well Dad was a real little skinny guy like Ed Haley when he was young. He weighed about 144 pounds and then he had pneumonia fever and come near to dying. When he got over that, he gained weight. Went up to 175 pounds. But he weighed about 200 pounds. Dad was tall.”

     Ugee said Ed stopped wearing his derby and gained a little weight after marrying Ella. I was surprised to hear her describe him as a “little skinny guy” but she insisted, “Yeah, looked like you put a pair of britches up on a fence rail. Ed said to me one day, ‘Ugee, can you make a shirt?’ I said, ‘Well sure I can make a shirt.’ Well, he come back from the store with material and I made him three shirts. He laughed about it. He said, ‘I want long tails. They won’t slip out of my pants.'”

     Ugee said, “Yeah, I’ve seen these pictures.”

     “This one,” she said, pointing to the picture of Ed used on the cover of Parkersburg Landing, “I don’t remember ever seeing that one of Ed. He looks to me like he’s been on a drunk.”

     Ugee tried to describe the way things were when she was a girl in Calhoun County.

     “When I was growing up and in the cornfield hoeing corn, you could hear singing on the mountains,” she said. “There was music in that country and very few people didn’t play some kind of music. My brother Russell played the banjo. My brother Shirley played the guitar and would’ve made a good fiddle player if he’d went ahead at it. I used to pick up the fiddle and see-saw a little bit. I can’t any more. We had a string band at our house, you might say. Mom played the organ and I went to playing the guitar. Anyway, they was nobody that come in that country that played the fiddle within thirty, forty or fifty miles away that wouldn’t come to our place and play music.”

     The Hicks home took on a party atmosphere when Haley arrived.

     “When Ed Haley was in the country, they come from miles around to our house,” Ugee said. “Dad would get out and tell everybody that Ed was there or Ed was gonna be there a certain day. They’d come through the day. Everybody did. Dad and them would play music all day — half a night.”

     Ugee said she used to get up around two o’clock in the morning to see who’d be eating breakfast in a few hours.

     Some of her happiest memories were of Haley’s visits to her father’s home.

     “Dad’d go out there on the porch and if Ed was a playing music and if I was in the kitchen a cooking he’d go out and tell Ed to play ‘Carroll County Blues’,” she said. “Oh, I’d come out of that kitchen just a hitting that floor and a dancing all the way out there on the porch. I’d say, ‘Ed, don’t do that. You’ll not get no dinner ’cause I can’t hold my feet when you play that.’ Every time he played that, I’d dance. And Dad, when he played ‘Sally Goodin’, that’s when I’d dance for him. Mom didn’t want me to dance. She tried to keep me from it but I’d go out under them old oak trees out there on them old flat rocks and just dance, you know.”

     I asked how far the Hicks home was from Harts Creek and Ugee said, “I would say that’s pretty close to a hundred mile. I never was in around Logan. I always wanted to go because Nora and Aunt Rosie lived up there. Dad and the boys, they used to go see them.” Aunt Rosie, she said, was Bill Day’s wife, while Nora was her daughter. I never knew the Days lived around Logan, West Virginia.

West Virginia Fiddler 2

15 Saturday Dec 2012

Posted by Brandon Ray Kirk in Music

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Aaron Adkins, Appalachia, civil war, culture, fiddler, Harts Creek, history, life, Lincoln County, music, photos, West Virginia, writing

Aaron Adkins, Confederate veteran and fiddler

Aaron Adkins, Confederate veteran and fiddler

In Search of Ed Haley 28

13 Thursday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, blind, Cecil Brumfield, Chloe Mullins, Cleveland, Clyde Haley, Ed Haley, fiddler, Harts Creek, history, Jack Haley, John Hartford, Lawrence Haley, Liza Mullins, Logan County, Mona Haley, music, Noah Haley, Ohio, Peter Mullins, Ralph Haley, Roxie Mullins, Turley Adams, U.S. South, West Virginia, writing

Roxie seemed very interested in Ed Haley’s kids, saying, “I know now they was Mona and Clyde and Ralph and Jack.”

Lawrence said he was the “baby boy” and Roxie realized for the first time that he was Ed’s son…not me. She got real tickled and said, “I believe you was about four or five years old when you was at my house.”

He told her, “May have been, ’cause I came up here until I was about nine years old. Just about every summer, it seemed like, we come up here.”

Roxie wanted to know about the others.

Lawrence said, “Clyde is still living. He lives in California. When he quit running the country, he settled down in California.”

As for the other boys: “Jack worked as a millwright at a steel mill in Cleveland.  Noah’s in Cleveland, too. They both went up there after they come out of the service. Had a depressed time just after the war. Jack worked for a while here but that little factory closed up so about a year and a half later he went to Cleveland and got on at a steel mill up there as an electrician and worked his way up as a millwright. They say he went into work that day and he punched his card, then he had to walk to his workplace — which was a pretty good ways away — and he hadn’t even got out of the time-clock building, and he just fell over dead. Massive coronary or something.”

Roxie thought Ralph had hung himself, but Lawrence said, “No, he was out picnicking and was kinda grandstanding. You know he could take a run-a-go and do a flip-flop and land on his feet — that kind of stuff. Well, somebody was gonna take a picture of him, and he got up on this tree limb and hooked his toes over it and he was hanging straight down from his toes and he was gonna let go and flip over and land on his feet before he hit the ground. But he didn’t make it: he hit the back of his head and broke his neck. He thought he was still a young man, you know.”

Roxie’s memories of Ed went pretty far back into his life — even before his marriage. She tried to describe him for me.

“He dressed nice. Man, Ed was as clean as a pin — wore nice, clean clothes. To be a blind man, he kept hisself just as clean as a pin. I never did see him dirty. Kept his hair combed pretty and neat. Ed’s eyes looked awful bad — he wore glasses over them. We never did talk much with him. He was kindly strange to us. You see, us girls was kindly shy. We weren’t used to him. He always had a big bunch of men around him. We just listened. He wasn’t no crazy fellow, I wanna tell you that. He was smart in the Bible. He told us all about the wars, Armageddon and stuff, and about these bombs.”

I asked Roxie if she remembered the first time she saw Haley play the fiddle. She said, “Oh, I don’t know. I guess I was about eighteen years old when Ed and Uncle John played at our house. Then they left here and went off, you know, to stay awhile. They’d come back every now and then. Uncle John played a banjo and Ed played the fiddle. Boy, they could really play.”

I asked if Ed sang back then.

“Yeah, he sung,” she said. “Now, he asked Cecil… He said, ‘Cecil, I’d like to ask you something, but I don’t want you to get mad.’ He said, ‘I would like to know if you know the song about John Brumfield?’ And Cecil said, ‘Yes. I’d like to hear you.’ And Ed said, ‘All right.’ Ed played it for him. And Cecil’s daddy was the one they killed, but Cecil liked Ed. He knowed they’s just all drunk, you know, just like people now a getting dope and a killing each other.”

Roxie’s mind rolled back through the years, leaving Lawrence and I to just sit there listening to her stories. Each passing moment sent chills up the back of my neck. It was apparent that she’d known Ed very well.

“He stayed with us a whole lot, Ed did. Off and on, he stayed with Grandma and Uncle Peter and them. Grandma lived down there where Turley lives now. And they had a sheep in that field, you know? Ed kept going from Grandma’s house up to Uncle Peter’s and Aunt Liza’s house. They told him, they said, ‘Ed, that ram’s a going to kill you.’ He said, ‘No.’ He said, ‘I’ll take care of that ram.’ One day he started up through there and that ram went to bellering, you know, and run at him and butted him and he catched him by the head and slung him. He said, ‘If you don’t stay away from there, I’ll get my knife out and cut your head off.'”

Roxie laughed remembering the stories.

“Lord, he told all kinds of tales on hisself,” she said. “You woulda laughed till you woulda died if you’d heard him telling tales on hisself. He told about being at Uncle Peter’s and they was having a dance up at Jeff Baisden’s and he said he took a notion to go along in the night. He’d slept till about 9 or 10 o’clock in the night. Uncle Peter had a garden and a barn and had a lot of cattle laying out around that barn. And he went out there, he said, to that barn and aimed to climb up over a big high fence and jump out when he jumped out right astraddle of a steer. And said that thing jumped up and him on it backwards and took up that holler a flying, and said he hung right on to him till he got to the waterfall and said when he got to the waterfall, he fell off. Said he was drowning when he went on up there, and said they said, ‘Ed, what are you doing so wet?’ He said he said, ‘Well,’ said he’s riding and got in the water and couldn’t see it. He would’t tell them about the steer.”

Roxie implied that Ed took any mishaps or practical jokes in stride.

“Lord, he told all kind of tales on hisself, honey. They cut trees and put him in logs and would start him at the top of the hill and roll him into the bottom and bump to bump to bump to bump, you know, and man just skinned him all over. They played all kinds of tricks on him. Why, he’d just laughed till he died about it. He didn’t care.”

In Search of Ed Haley 25

10 Monday Dec 2012

Posted by Brandon Ray Kirk in Big Harts Creek, Ed Haley, Music, Spottswood

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Appalachia, Ashland, blind, Cleveland, Ed Haley, Ella Haley, Enslow Baisden, fiddler, fiddlers, fiddling, Harts Creek, Hell Up Coal Hollow, history, Huntington, Jack Haley, Jeff Baisden, John Hartford, John Martin, Kentucky, Las Vegas, Lawrence Haley, Liza Mullins, Logan County, Milt Haley, music, Nevada, Noah Mullins, Ohio, Oklahoma, Peter Mullins, Robert Martin, Sherman Baisden, Sol Bumgarner, Trace Fork, Turley Adams, U.S. South, West Virginia, writing

After visiting with Turley and Joe’s girls, Bum guided Lawrence and I up a nearby hollow to see his uncle Enslow Baisden. Enslow lived in a newly built single story log cabin. He said he’d gone blind recently due to sugar and cataracts. At Enslow’s, we met “Shermie”, who Lawrence indicated was the “funny boy” that chased the Haley women off of Aunt Liza’s porch in 1951.

“A lot of times I wouldn’t have no company if it wasn’t for him,” Enslow said of Shermie, who was epileptic. Shermie wasted little time in pulling out a few cards from the pocket of his overalls and sputtering toward me, even reaching for my fiddle case. I knew right then I was surrounded by “good people”: they had kept Shermie under their care all of these years as a valued member of the family in lieu of institutionalization.

When I mentioned Ed Haley’s name, Enslow said, “I was young but I can remember him all the time a coming. They was some Martins lived on top of a mountain out here — Robert Martin and John — and they fiddled all the time, and he’d go out there and fiddle with them. I don’t know how he walked from up this creek and out on that mountain and him blind, for I can’t find my way through the house.”

Enslow said he didn’t know much about Ed because he left Harts during the early years of the Depression.

“See, I lost all time, about everything nearly. I left here in ’35 and went up to the northern part of the state here and then went out in Las Vegas, Nevada, a while. Then, when I come out, I went in the Army in April of ’41. I stayed in there four and a half years and got married out in Oklahoma and we never did come back but just on visits. And Ed, he died in ’51.”

Enslow’s recounting of his travels was sort of an interesting revelation since it reminded me that these folks on Harts Creek — like many mountain people — were not as isolated as some may think. Ed Haley himself left the creek and traveled widely with his music just after the turn of the century, while Lawrence and his siblings had lived in Ashland and Cleveland and served overseas in the armed forces. Several of the people I had met on Harts Creek had been to faraway places and lived in big cities but chose at some point to return to the grounds of their ancestors.

I asked Enslow how old he was the first time he saw Haley and he said, “Oh man I was about nine or ten years old. He all the time played that fiddle. He used to come down here to old man Peter Mullins’ and Liza Mullins’. I guess they was real close kin to him. And Ed’s daddy’s name was Milt Haley. I don’t know whether Lawrence knowed that or not.”

Lawrence said, “Yeah, I knew that. But I understood from the way Aunt Liza told me, he came from over the mountain and I think that she was talking about from up around Williamson or over in that area. My dad, he was born right down here below Uncle Peter’s, where Turley’s at now, in the old house.”

Lawrence’s mentioning of “the old house” really got Enslow going. He remembered it well.

“There used to be an old log house there he was born in and they had a chimney outside on that old house down there — just an old rock chimney. Dad all the time talked about it. He said Ed got him one of them little old homemade sleds, you know, and he got him a ladder and put it on top of that house. And he got right up by that chimney and then when he come off’n there on that sled he knocked the rocks off with him.”

What? Why would he have done such a thing?

“I’ve always heard my dad tell it,” Enslow said. “Said that rock just barely did miss him.”

I wasn’t sure what to make of such a story but before I could really ask anything about it Enslow was off on another tale.

“Dad said one time they sent Ed down there to get some milk or butter or something. When Ed got out there on his way back he got in a briar patch. Dad took a notion to have some fun out of Ed. They had an old horse they called Fred. Dad got to stomping and snickering like that old horse and Ed said, ‘Old Fred, don’t you come here, now. Don’t you come here, Fred.’ Dad said he kept stomping and Ed throwed that stuff at him and tore hisself all to pieces in them briars.”

I asked Enslow to describe Haley and he said, “Well, he just always dressed pretty nice. He was a big man, too. They used to buy him these plugs of tobacco and these guys would get this beech bark and whittle it out about the size of a plug of tobacco and let Ed have that bark and they’d take his tobacco. If he ever got a hold of you, though, he’d eat you up, see. They said you couldn’t get loose from him.”

Apparently, Ed and his wife were so self-sufficient that locals sometimes forgot they were blind. Enslow told a great story about Ella and Aunt Liza, who were sitting by a lamp together one night. “Well, Mrs. Haley, I’m going to bed,” Liza said. “Well, just blow out the light,” Ella answered. “I’m going to read a while.” Liza said, “How’re you going to read in the dark?” Ella said, “Well, I can’t see no way.”

Enslow’s mentioning of Aunt Liza conjured up a great memory from Lawrence.

“Uncle Peter liked to wore me to death one time. Me and my brother Jack went with him up there behind his house and he had a old team of oxen we was snaking logs out of a hollow with. These oxen got hot. One of them got in the creek trying to cool off. Well, Uncle Peter couldn’t get him to move, so he went over underneath a tree and sat down. Well, me and my brother Jack was a cutting up, you know. He was teasing me. I was younger than he was. And I picked up a big rock and throwed it at him and hit Uncle Peter right where it hurts. And he got up. I knowed I could outrun him. My brother — I looked at him — he took off. And I was afraid to move. Uncle Peter come up there. I thought, ‘Well, I’m dead meat.’ It looked like he pulled down a half a tree and got a hold of me and he didn’t let go until he wore that limb out.”

I asked Enslow about Ed Haley’s music.

“I used to hear him play all them old tunes,” he said. “He’d sit and play for hours and hours at a time, him and her.”

Enslow motioned toward Lawrence, saying, “His mother played a mandolin and had a thing on that sat on her shoulders there and had a harp and played them both at the same time.”

He leaned back a little, reflecting, “Yeah, he played all the old music. He’d make up songs. Be sitting around and just directly he’d write a song. Like ‘Hell Up Coal Hollow’ and two or three more he made up that way. You’d come up and say, ‘What was that Ed?’ He’d just tell them what it was.”

Enslow and Bum said Haley made “Hell Up Coal Holler” and named it for Cole Branch, a tributary of Harts Creek. I didn’t know if Ed was the source of that story but I later learned that “Hell Up Coal Hollow” (at least the title) actually predated Haley’s lifetime. As I was gradually learning, Ed wasn’t preoccupied with historical accuracy and was good at creating temporary titles and weaving stories based on coincidence.

Enslow said, “Ed had some kind of saying he always said when he played on the radio down there about ‘carbide acid and acifidity gum’ or something.”

Lawrence said he’d never heard anything about his father playing on the radio but Enslow seemed sure of it.

“He played on the radio down there at Ashland or Huntington or somewheres way back there. I’m pretty sure they said he did.”

I wondered what acifidity gum was and no one knew, although Lawrence had heard Ed talk about it. (We later learned it was an old folk remedy for treating asthma.) Enslow said Uncle Peter asked Ed about it one time and he said, “Well, you have to get a little comedy with the music.”

Wow — so Ed told jokes?

Enslow said, “I guess to draw their attention or something.”

I asked Enslow if he’d ever heard Ed play for a dance and he said, “Well, I used to go to lots of things he played for, but I can’t remember now. They’d go out there on that mountain and play all night at Robert and John Martin’s. They’d be maybe two hundred people out there. Robert Martin all the time played the fiddle and I don’t know whether John played or not.”

Enslow thought Ed and Robert played their fiddles “together,” but Bum added, “Bob played a little different than Ed did. He played newer stuff.”

Enslow thought for a moment, then said, “Yeah, my dad, he used to play the banjo all the time, him and his nephew. They used to play for dances way back years ago.”

What was his name?

“Jeff Baisden.”

Bum said, “I was telling him about Grandpaw taking them two little sticks and beating on the fiddle for Ed.”

Someone said, “He’s the one had the big old feet and he’d get up and dance and play the banjo.”

Enslow said, “They called him ‘Jig-Toe’ Baisden. He wore a twelve or thirteen shoe and he’d get up on his toes and dance. And Noah Mullins, Uncle Peter’s son, he could flat dance. He’d get on his heels and dance all over. He called their square dance about all the time.”

In Search of Ed Haley 24

09 Sunday Dec 2012

Posted by Brandon Ray Kirk in Big Harts Creek, Ed Haley, Spottswood

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Appalachia, Ashland, Ashland Cemetery, Buck Fork, Clifford Belcher, Connie Woods, Dingess, Ed Belcher, Ed Haley, Ella Haley, fiddle, fiddler, fiddling, genealogy, George Greasy Adams, guitar, Harts Creek, history, Hoover Fork, Jackson Mullins, Jeff Baisden, John Frock Adams, John Hartford, Johnny Hager, Kentucky, Lawrence Haley, Liza Mullins, Logan, Logan County, Maynard's Store, music, Nashville, Peach Creek, Peter Mullins, Ralph Haley, Sol Bumgarner, square dances, Trace Fork, Turley Adams, Violet Mullins, Weddie Mullins, West Virginia

At some point, Connie showed up with a small entourage of women toting some of Joe Mullins’ old pictures. My eyes immediately went to a large, framed photograph of two serious mustachioed men. Turley said one was Weddie Mullins — his grandfather on “both sides” of the family tree — while the other was Ed Haley’s Uncle Peter Mullins. Both men were brothers. Turley said his grandfather Weddie — Ed’s uncle — was murdered at the little town of Dingess just after the turn of the century.

Lawrence said, “Mom and Pop used to play at Dingess — just a little community over in MingoCounty.”

That got us back on the subject of Ed, although most of the commentary was choppy and mixed between looking at photographs. One of the girls said, “We’ve heard talk of Ed all our lives.” Another made the unusual remark, “He could see lightning. Some way he could feel it or something and tell it was hitting.” Someone said Ella could tell the difference between the Haley children by their smell.

Turley, who had been fairly quiet throughout our visit, said to Lawrence, “Bernie Adams used to play a lot of music with your dad.”

Violet said, “Bernie’s the one took him in the chicken house for the toilet. They stayed all night up at our house. Robert Martin and Bernie and Ed and them played music all night. I can remember it. I was just a little girl. Mother said Ed played many a time where she was raised up over in the head of Francis Creek.”

Lawrence said, “You know, these different places like Hoover and places like that don’t ring a bell to me. I can remember going down here to the end of Trace, and maybe down to Smoke House, and up to George Adams’ who lived on up this way, and up to that store — Maynard’s Store — and buying candy, but that’s about the limit of my travel, except coming up from the mouth of Harts.”

Basically, the next half-hour or so was a giant “get to know everybody session” — mostly between Lawrence and the locals. I sort of hung back a little, taking it all in, while Lawrence spoke of and listened to stories about his father. There was a glow about his face that had been absent in Ashland.

At one juncture, he told Connie how her grandparents, Peter and Liza Mullins, raised his father.

“Oh, really?” she said. “I didn’t know that. Now I remember Granny. They wanted me to stay all night with her and I was always afraid she’d die in her sleep or something. That’s terrible.”

She asked Lawrence if he remembered Uncle Jeff — “he was Granny’s brother and he was kinda slow.”

Violet said, “He liked to go to all these dinner meetings they’d have out in the country. He’d walk for miles and miles.”

Connie asked Lawrence if Ed ever played at Logan — the seat of government for Logan County — and he said, “Yeah, he used to play around Logan quite a bit and Peach Creek. He’d play up there during court days especially. Back in them days, the town would load up. I’ve been there with him during those times. The old courthouse, I think it faced toward the river. One side of it was on Stratton Street.”

Connie asked where Ed was buried and Lawrence said, “He’s buried in the Ashland Cemetery in Ashland. Mom’s buried in the same cemetery but not with him. By the time my mother died — she died three years after Pop — they’d filled that section up.”

I’d never really thought about that. Ed and his wife were not buried together, the kind of seemingly minor detail tossed out randomly that took on somewhat of a greater meaning at a later date. I made a note to myself right then that I would visit Ed’s grave in Ashland before heading back to Nashville.

Violet wondered about Lawrence’s older brother, Clyde.

“Clyde’s out in Stockton, California,” he said. “He’s what I call the black sheep of the family. Never married. He just followed the sun for work. When it was summertime, he’d go north; when it was wintertime, he’d go south.”

Just then, an old man called Bum showed up at Turley’s. Bum remembered Ed and his family well. He asked Lawrence about the Haleys. It was hard to focus on their conversation — everyone in the room seemed to be talking at once — but I heard Bum mention something about how Lawrence’s brother Ralph used to hang from tree limbs by his “sticky toes” and would “do anything.”

“That’s exactly how he got killed,” Lawrence said. “He was hanging by his toes and he was gonna let go with his toes and flip over and land on his feet but he didn’t make it. He was just active like that. See, Ralph danced around these carnivals and fairs and places.”

A few minutes later, things quieted down a little. I moved over near Bum to ask him about Haley. His answers seemed to come through his nose more than his mouth and were usually followed by a little chuckle. He was great. Bum said he was 67 years old and first saw “Uncle Ed” in the thirties.

“He lived down in Ashland and he’d come up pretty often,” Bum said. “People come from everywhere to listen at him play whenever they’d have them big dances and stuff. He’d play half the night. Yeah, I’ve been right there.”

I asked Bum about Ed’s tunes and he said, “Ah, he played so many… There was one religious tune he’d put the bow under the fiddle, and the hair, he’d turn it right over and slip his fiddle between it, and play that. I forgot what it was.”

Bum told me all about the old dances.

“They used to have a big working,” he said. “About every family on this creek and Harts Creek down here, they’d all gather up and hoe one man’s field out and then move to the next one. And they’d all go to each other’s farms that way and help each other, and when they got done one man would have a big dance. They’d have a dance on Saturday night. They’d have them at just about every home, mostly at Uncle Peter’s up here, in the house. Like one room in there, they’d gather everything up and take it outside and they’d have a dance in there, and when they got through they’d put the furniture all back in. Anybody that wanted to come was invited. They’d have food right in the house. There were usually three or four around to call the reel: ‘Dosy doe and here she comes and there she goes.'”

“It’d just be Uncle Ed and John Hager playing?” I asked.

“Well, Ed mostly,” Bum said. “Uncle Johnny, he played some with him. Uncle Ed, he played by himself most all of these dances. Mrs. Haley played with him a lot. She played the mandolin, guitar or accordion.”

“Did Johnny Hager play the banjo about like Grandpa Jones?” Turley asked Bum.

“Yeah, over-handed they call it,” Bum said. “Molly O’Day, she played that way. My grandpaw would whittle out two little sticks and he’d sit and beat on them strings and Ed a playing the fiddle.”

“Ed played with Ed Belcher,” Turley said.

“Yeah, I’ve heard Pop talk about Ed Belcher,” Lawrence said.

Now who was Ed Belcher?

“He played the guitar,” Bum said. “He could play the piano, too. They’d get together at times and play together. They’d go up Buck Fork.”

Bum said he last saw Ed Haley “over here on that mountain yonder” at Clifford Belcher’s beer joint.

“He’d go down there and play and people’d give him beer and stuff. That’s about all he wanted. I run into him over there one night. I said, ‘Uncle Ed, where you been?’ He said, ‘I ain’t been no where but right here. I come up here to sit around and play music a while.’ I bought him a beer and he sat there and played music. Well, a Conley boy run in and went to playing and thought he was better than Ed and everything. Ed finally told that boy, said, ‘Why don’t you quit playing that music? You can’t play. You’re cutting my music up too much.’ That boy come back at him, you know, and aimed to fight him. He said, ‘Shut up, old man. You don’t know what you’re a talking about.’ I was standing there and I told him, I said, ‘Now listen. If you jump on that man, you’ll have me to fight and him both.’ And Ed took his fiddle and hit that feller right down over the head with it and busted that fiddle all to pieces.”

Lawrence laughed.

Turley said Ed Haley was high-tempered, as well as strong, and hinted at his mean streak.

“Dad said Peter had a dog that Ed couldn’t get along with at all. Ed told Uncle Johnny, ‘You get me close to him and I’ll hit him in the mouth. I’ll knock him out.’ And he said Ed hit that dog and killed him with his fist. Hit him in the ear and killed him. That’s what my daddy told.”

Bum was very familiar with Ed Haley’s family on Trace. He said Uncle Peter Mullins was “pretty bad to get out and get drunk and get into it with people.” He knew all about Ed’s uncle Weddie Mullins’ murder at an election in Dingess. “There used to be a train come in there and they’d bring flour and stuff over there and people’d go over there to Dingess and get it,” he said. “They’d take wagons and go through these hills, like up Henderson and all them places and they got into it over there.” Bum wasn’t sure who shot Weddie but knew that his killer survived the fracas. Once the news reached Harts Creek, John Adams got a pistol from Jackson Mullins and rode to Dingess where he found Weddie’s killer laid up in a bed clinging to life. Someone told him the guy probably wouldn’t make it so (like something out of a Hollywood Western) he pulled out a .38 pistol and said, “I know he won’t,” and shot him in cold blood.

I wasn’t exactly sure who any of these people were — Jackson Mullins, John Adams — but I had the impression that they were some relation to Ed Haley. At that juncture, I just let the tape recorder roll and tried to take notes and absorb everything, figuring that what seemed like unimportant details would perhaps later develop into major items of interest.

In Search of Ed Haley 22

08 Saturday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Big Sandy River, Ceredo, Clifton Mullins, Connie Mullins, culture, Ed Haley, fiddler, genealogy, Guyandotte River, Harts, Harts Creek, Hatfield-McCoy Feud, history, Huntington, Imogene Haley, John Hartford, Johnny Hager, Kenova, Lawrence Haley, Logan County, Loretta Mullins, music, Pat Haley, Peter Mullins, Trace Fork, U.S. South, West Virginia, writing

Early the next morning, Lawrence and I boarded my Cadillac and drove out of Ashland across the Big Sandy River into West Virginia. We drove past little towns named Kenova and Ceredo on I-64 then turned off onto Route 10 just south of Huntington. For the next hour, we weaved our way on this curvy, two-lane road toward Harts, cruising past small settlements named Salt Rock, West Hamlin, Pleasant View, Branchland, Midkiff and Ranger — all situated on the Guyandotte River. Finally, after what seemed like an eternity, we saw a tiny green and white sign planted to the right of the road reading “Harts, Unincorporated.” Just past it was a beautiful two-story white home, which Lawrence quickly pointed out as the place where Ed’s mother was murdered in the Hatfield-McCoy Feud. Excited, I quickly pulled over and took a picture, then took off in a cloud of gravel and dust.

Lawrence and I turned right onto a narrow paved road and snaked our way up Harts Creek, bypassing a high school, trailers, Depression-era framed houses and newer brick homes. It was beautiful country. Cold weather was barely gone and the hillsides were a faint blush of green buds. Lawrence motioned toward the creek — which was up somewhat due to spring rains — and told again how difficult it was to get up Harts Creek in his younger days.

“Biggest part of the time, you was down in the creek bed there, if the weather was right. If it was times like this you had to take to the hillside but the road usually followed the creek bed. It seemed like it took us all day walking up here, but they didn’t have the roadway up on the side of the hill like this.”

After a ride of some fifteen minutes, we reached Trace Fork, the place where Ed Haley was born over one hundred years ago. We drove a short distance up the branch to the site of Peter Mullins’ cabin, which had burned or been torn down about fifteen years earlier. Lawrence pointed out the only remaining relics from the original farm: a lonely tree and an old smokehouse.

After taking in the sights and smells, we went to see Joe Mullins, who lived in a small white house just down the bottom. We first met Joe’s daughters, Connie and Loretta, who said Joe had gone to Chapmanville and would probably be out for most of the day. Lawrence introduced himself as “Ed Haley’s son,” which caused Connie to giggle and say, “Oh, yeah. Don’t we have a picture of him?”

Loretta said, “We got a lot of pictures.”

“The old fiddle,” Connie said. “Remember the old fiddle that used to be up there in that old house?”

What old house?

“That old smokehouse up there at the old house,” Connie said. “There was an old fiddle up in the top of it.”

There was more giggling, as if the two had just shared a secret joke.

I said to Connie, “You don’t think you could find that do you, just to see it?”

She said, “No, I doubt it.”

Loretta said, “We could probably find the picture.”

Boy that would be great.

“I don’t know about right this minute. How long are you gonna be around?”

“Long enough for you to find that picture,” I said.

The next thing I knew, Connie walked us to Uncle Peter Mullins’ old smokehouse and flung open a door. I took a few steps inside — past old furniture and piles of God-knows-what — and quickly spotted a decorative metal lid with Ed and Johnny Hager’s picture on it. In the picture, a copy of which I had first seen at Lawrence’s, Haley was slim and decked out in a suit with a derby and dark glasses. Hager stood beside him with a banjo. Lawrence said it was taken at White Sulphur Springs in eastern West Virginia.

At some point, Connie showed us a large, framed portrait of a woman she identified as Ed’s mother, Emma Jean Haley — the same picture Pat Haley had seen on her visit to Harts Creek several years ago. Connie said Lawrence could have both pictures.

In Search of Ed Haley 20

07 Friday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Arkansas Traveler, Ashland, Blackberry Blossom, blind, Chillson Leach, Ella Haley, fiddler, fiddlers, fiddling, Fisher's Hornpipe, J P Fraley, John Hartford, Kentucky, Lawrence Haley, Mt. Sterling, music, Ralph Haley, Turkey in the Straw, U.S. South, Virgil Alfrey, West Virginia, Williamson

Later that evening, Lawrence and I went to see J.P. Fraley. On the way, he told me more about his father’s recordings.

“Well, he depended on my brother Ralph to tap him on the shoulder when he wanted him to start, and when he was getting near the end of the disc he’d tap him again, see? And Pop, sometimes he’d stop right then, cut it off real short, and then sometimes he’d go to the end of that run and hit that shave and a haircut at the end of it. Sometimes it sounded like he was gonna quit, see? Ralph hadn’t give him the signal that they was close to the end of the recording, so you can hear a little bit of hesitation at times. I thought Mom was getting ready to stop, too.”

Lawrence figured the records were made in the daytime but wasn’t sure of the time of year. “I guess the good part of maybe one spring or something because I was in the service and I wasn’t home.”

At the time of the recordings, Ed was no longer playing professionally. “He’d go out, like I say, a few times. Somebody’d come and get him, take him somewhere. He thought, ‘Well, if they’re gonna have a good time, I’ll go up and play for them and have a good time with them.’ As time went on, the older he got, the harder it was to get him to go. I guess he was having more trouble with his circulatory system.”

At J.P.’s, we met Virgil Alfrey and Chillson Leach, two old-time fiddlers from around Ashland. Virgil began playing the fiddle as a boy of twelve in the early thirties, around the time he used to see Ed in Williamson, West Virginia. The last time he saw him there he reached Ed a dollar and requested “Fisher’s Hornpipe”. Haley recognized his voice, played the tune then tried to give his dollar back because he liked him.

Chillson Leach, an 83-year-old retired rigger from Mt. Sterling, Kentucky, had been playing the fiddle since he was nine years old.

“Uncle Ed was one of the best fiddlers in this country,” he said. “He would get an audience in front of him and he kinda knowed that they was a lot of people by the sound of the money they throwed in his cup. And he’d say, ‘People, they’s a mental strain and a physical strain on playing the violin.’ Now that’s what he would tell them. He wanted them to know that he was earning his money when he was a playing that violin. And lord, when he would pull that bow across that fiddle he’d get some of the prettiest notes that ever you heard in your life. His fingers was long and slim and as nimble right up I reckon till he died.”

Lawrence, who was taking all of this in, said, “Pretty close. He slowed down the last five or six years.”

Chillson said, “Yeah but when I knowed him, my goodness, he’d get way down on that neck. Any position you wanted him to play. He was wonderful. It’s a shame that a person has to die. I’d give him a quarter and I’d say, ‘Play that ‘Blackberry Blossom’ and he played that for me and man he could just make your hair stand on your head. And then he played a lot of reels, you know. He could play anything you’d ask him: ‘Turkey in the Straw’, ‘Arkansas Traveler’.”

Chillson was obviously a fan.

“I just thought the world of him because he entertained everybody in Ashland,” he said. “He had a blind fellow that played the guitar with him and this blind fellow would sit there and man they’d make some pretty music.”

On the way home, Lawrence told me that his father hated to play “Turkey in the Straw”.

West Virginia Fiddler 1

07 Friday Dec 2012

Posted by Brandon Ray Kirk in Music

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Appalachia, Bill Adkins, culture, fiddler, Harts Creek, history, life, Lincoln County, music, photos, West Virginia

Bill Adkins, West Virginia fiddler

Bill Adkins, West Virginia fiddler

In Search of Ed Haley 19

06 Thursday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, blind, California, Clyde Haley, culture, Cumberland Gap, Ed Haley, fiddler, fiddling, Halbert Street, history, Ida Red, John Hartford, Kentucky, Lawrence Haley, life, music, Pat Haley, square dances, Stockton, U.S. South

On the way home in the car, Lawrence told a story about his father getting drunk and trying to find his way home one winter night.

“We lived on Halbert Street,” he said. “The Prices down the street took Pop off somewhere or brought him back to their house and turned him loose after he got real good and drunk. Well, he was coming home by himself. It might have been two or three city blocks. He was walking on this blacktop street but he was so drunk and it was pretty cold weather, too, and he just fell over in the ditch and went to sleep. They found him the next day at daylight. They said if he hadn’t been drunk he would’ve froze to death. That was way back I guess when I was a baby.”

A hard picture began to emerge: alcohol, music, meanness and the desolation it produces. Lawrence, however, emphasized that his father was actually a happy person who lived an eventful life.

“These people that put these jackets on these albums and things, they take a tune like ‘Man of Constant Sorrow’ and make it out like my dad should play a piece of music like that because that was his place in life: being a poor old down-and-out blind man — that he lived the life of ‘constant sorrow,'” he said. “That’s the way they make these tunes seem: that should be maybe my dad’s signature tune or something, playing a dirge like that. When really he enjoyed life and had a good time whenever it could be had. If he had somebody to carouse with, he’d carouse as long as they would and probably wear three or four people out.”

I said, “I get the feeling that as well as he played the dirges, that his favorite stuff was like ‘Cumberland Gap’ and ‘Ida Red’.”

Lawrence agreed, “Yeah, and he enjoyed people dancing. My brother Clyde, I guess he stayed around Pop a lot and he could call any of those ‘birdie in the cage’-type clogging square dance. The old hoedown square dance. He lives in California. He’s in Stockton somewhere out there, or was the last time I heard.”

I wondered if it would be okay to call him.

“Yeah,” Lawrence said, “if Pat has his number at the house.”

Ed Haley with eyes closed

06 Thursday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley, Music

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Appalachia, Ashland, blind, culture, Ed Haley, fiddler, history, John Hartford, Kentucky, life, music, photos, U.S. South

Ed Haley (1885-1951)

Ed Haley (1885-1951)

In Search of Ed Haley 18

05 Wednesday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, blind, Charleston, Clark Kessinger, Ed Haley, fiddler, fiddlers, fiddling, history, John Hartford, Kentucky, Lawrence Haley, music, U.S. South, West Virginia

Lawrence and I drove to an Ashland restaurant where I asked more about Haley’s background between bites of seafood. I was desperate for clues about his early musical experience.

Just where did he learn to play?

Lawrence said his dad was like other mountain folks: music “absolutely come freely to these people.” He said, “A lot of people think old-time music is a simple art form because so many people that play it have a poor educational background. These people think, ‘If they can learn to play it, it has to be a simple thing to do.’ But it’s actually a complicated business.”

A little later, I asked him about Clark Kessinger and Charleston, West Virginia.

“I been to Charleston with Pop a few times, but if Clark Kessinger was around he never let Pop know,” he said. “He’d probably request a tune from him. Of course, Pop was pretty sharp on voices, too. He recognized a lot of people just by their voice. If Clark come up and requested a piece of music from him, Dad probably knew it. He never said anything to me about it. We were just kids.”

I said, “Well, Clark Kessinger studied your dad close. Of course, he knew what good fiddling was.”

“You have to give him credit for that,” Lawrence said, taking a bite of fish.

In Search of Ed Haley 17

04 Tuesday Dec 2012

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Ashland, banjo, Chapmanville, Charley Gore, East Tennessee Blues, Ed Haley, Ethel, fiddle, fiddler, fiddling, Fire on the Mountain, Great Depression, Harts, Harts Creek, Hell Among the Yearlings, history, Ira Gore, John Hartford, Johnny Hager, Kentucky, Lawrence Haley, Lee Trick Gore, Liza Mullins, Logan County, Mag Gore, Mona Haley, music, Ode Curry, Peter Mullins, Stoney Ferrell, The Dying Californian, U.S. South, West Fork, West Virginia, Wild Horse

Later in the evening, Pat put me in touch with Lee “Trick” Gore, an Ashland preacher and musician who remembered Ed Haley from his childhood days on Harts Creek. We met Gore the following day at his home in what was my first meeting with someone from Ed’s birthplace. He was a polite man with a loud clear voice, somewhat thick in stature and decked out in a tie and button-up sweater.

“I understand what you’re trying to do,” Gore said right away.

It wasn’t long until he and Lawrence were in a deep discussion about the people and places in and around Harts.

“We used to spend a week or two with Aunt Liza or Uncle Peter,” Lawrence said, prompting Gore. “Most of the time we’d ride the train up there and get off at Harts. They run passenger trains up into coalfields then. We’d get off there at the mouth of Hart and walk up and it was nothing but creek. You’d ford that creek a dozen times trying to stay close to the road and the road was in the creek half the time. You had to wade the creek half the way up through there. It’d take us half the day it seemed like.”

Lawrence said his father spent some time in Chapmanville, a town upriver from Harts about nine miles.

“I remember staying in Chapmanville, too. There was a beer joint or something that Pop wanted to stop at. They was some guy in there got to down-mouthing Pop. Stoney Ferrell, that’s exactly who it was. This guy kept aggravating him and Pop just edged toward his voice, you know. Instead of carrying a blind man’s cane, Pop carried a big heavy cattle cane. He got pretty close to him and he reached out and grabbed him around the neck with that cane.”

Gore said Ed used to come see his uncle Charley Gore at Ferrellsburg, a settlement about two miles upriver from Harts.

“Uncle Charley was a fiddler,” he said. “Charley was the principal of the school and Ed stayed with him. Well, once a year he’d happen by. That was right on the heels of the Depression. I was twelve. I was just learning to play the guitar then.”

Gore looked at Lawrence and said, “Either you or Mona was leading him.”

I asked Gore what Ed looked like at that time and he said, “He just dressed ordinary. He never dressed up, but he wasn’t dirty looking or nothing like that — just old-fashioned.”

He stopped for a moment, lost in thought, then said, “He was just something else. He was far ahead of a lot of fiddlers, buddy. There wasn’t none of this grinding on that violin. When he played it, it was just as smooth in that bow hand. I know he played ‘Hell Among the Yearlings’, ‘Fire on the Mountain’ and ‘The Wild Horse’. Uncle Charley played those tunes, too. I guess he learned them from Ed Haley.”

“I wish my daddy was alive,” Gore said. “Boy, he could tell you about Ed Haley because he loved him. Uncle Charley loved him dearly. And Ed knew that he was welcome at our house and that’s where he hung his hat buddy — where he was welcome. Do you know how I think of him? I think of him as kind of a mountain poet. He sung religious songs and them old mournful mountain tunes. It seems to me like he sung a song called ‘The Dying Californian’. I can’t remember the poetry to it, but it was a mile long.”

Ed sang while fiddling it.

Gore said Ed sometimes traveled with “Little Johnny” Hager, a banjo player who used to stay weeks at a time with his family when he was a boy. Lawrence Haley had shown me a picture earlier of Ed with Johnny Hager in Webster Springs in 1914.

I asked Gore if he knew that Ed could play the banjo and he said, “Seems like I heard him play it when him and Johnny was together. No doubt he could play it.”

Gore asked Lawrence if he remembered a man his father used to play with named Ode Curry (he didn’t), then said, “Ode Curry was just a fella that played the banjo and sang and he had a big nose, as well as I remember, and it’d vibrate when he’d sing because he sung through his nose. But let me tell you something: they would give him all he could drink to play and Ode knew some of the lonesomest, heart-breaking songs you ever listened to.”

Gore got his guitar and sang several songs for me, then whistled the melody for “East Tennessee Blues” and named it as one of Haley’s tunes. He said, “That’s funny how things come back to you when you sit down and get to talking about it, and reminiscing.”

I encouraged him to “play another tune and see what it stirs up,” so he strummed and whistled out a few more melodies.

At some point, Gore’s wife said she remembered seeing Haley play at Logan Court House and in a nearby coal town named Ethel.

Just before Lawrence and I left, Gore called his 85-year-old aunt, Mag Gore, about Haley. “Mag was a singer,” he said. “She married Ira Gore, her third cousin. She couldn’t get out of the Gore family.” He spoke with her briefly on the phone, then told us: “The only thing she remembers was that her husband Ira went to town one day and Ed Haley come home with him because Ira had a little bit of that good ol’ ‘moon’ they make over on the West Fork. They was a sipping that a little bit.”

West Fork, Gore said, was a tributary of Harts Creek with its headwaters in Logan County.

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