Tag Archives: fiddling

In Search of Ed Haley 292

20 Sunday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

“Pop put a lot of emotions in his music,” Mona said. “He was real excited with his playing. He would put things in there that no one else would.”

She described Ed’s music as loud and lively — contrary to testimony from John Lozier and others — and told how it generated a great deal of excitement. She re-iterated that Ed had very little body movements when playing and seemed a little bothered by my energy when I played the fiddle — all the facial and head gestures, loud tapping, leg movements.

I asked her if Ed played much around home and she said, “When he was sad or when he was drinking or when he was happy he played — especially when he was happy.”

I wondered what made Ed happy.

“I don’t know,” she said. “Maybe hearing about a place to play or some money to be made. Music was his life. There wasn’t much about the family that made him happy. I mean, we was always fighting.”

In no time at all, Mona and I slipped into a familiar routine: me playing and asking things like “Did Ed play this?” or “Did Ed play it like this?” I played a lot of tunes for her — mostly ones I knew Ed played but also ones I had heard or suspected him of playing based on talking with Ugee Postalwait and Wilson Douglas and reading notes in the Lambert Collection.

When I played “Cherry River Rag”, Mona said, “I always loved that. Now that’s one that Pop put the slurs and insults in.”

Lawrence Haley had spoken of the “slurs and insults”, but I had never really figured out what they were. I had this theory that they were when Ed used tiny chromatic slides to create a modal and “slidey” note, thereby broadening and helping to achieve more of a “human voice effect” — much like vibrato does. This concept goes way back into Celtic history and may be much more a source for Blues than anything African. (Scholars have, incidentally, found no historical precedent for the Blues in the music of the continent of Africa.) I figured that Ed hit a little “dead” grace note beforehand which helped separate the notes in his long bow style. It is what the Irish call a “cut:” the finger on the grace note barely touches the string so as to give a good stop or separation.

As for the “slurs and insults,” Mona couldn’t seem to explain them either. I suggested listening to “Cherry River Rag” on Pat’s copy of Parkersburg Landing and having Mona point them out to me. We went into the living room and gathered around the record player. As “Cherry River Rag” played, Mona pointed out the slurs and insults. Basically, she described them as being when Ed slid a note for emphasis.

“Sounded to me, John, like when he was getting tired,” she said, back in the kitchen. “He was just wanting to get out of it as easy as he could.”

I asked if there were ever times when Ed would play and just slide the notes a lot and she said, “No, not unless he was drinking. He’d slide those notes a lot when he was drinking. Screech a lot when he was drinking — especially on those high keys.”

Mona loved it when I played “Man of Constant Sorrow”, saying, “Beautiful. That reminds me of Pop being sad. I love it, though. I wanted to tell you, they made a lot of requests, people on the street. They’d say, ‘Ed, play ‘Blackberry Blossom’. If he knew it, he’d play it. He had people dancing on the street, John. He could play forever.”

I played a variety of tunes for Mona that I thought Ed might have played but she only recognized one called “Wilson’s Jig”. She said her father played “Dunbar” a lot and recognized the melody for “Run Here Granny”. She said he made up the tunes “You Can’t Blame Me for That” and “Come Take A Trip in My Airship”. She said “Ragtime Annie” was one of her father’s “main attractions,” while “Birdie” sounded “very familiar.” She said Ed played “Old Joe Clark” and “Money Musk” and fiddled “Done Gone” in B-flat. She said something in my version of “Wild Hog in the Red Brush” was familiar, although she said she never heard Ed play anything with that title. When I played “Uncle Joe”, she immediately recognized the melody but not the title.

“See, I know so many of the tunes I’ve heard but I don’t know the title,” she said.

It was probably a little confusing for her to sit and listen while I assaulted her with a whole barrage of tunes, but I was so excited about picking her brain that I just kept playing.

She remembered Ed playing “Waggoner” and “Paddy on the Turnpike”, as well as the very similar “Snowbird on the Ashbank”. She recognized “Pumpkin Ridge”, “Old Joe Clark”, and “Money Musk”. She didn’t know the melody for “Brownlow’s Dream” but recognized the title, while she knew the melody for “Indian Squaw” but not the title. She said Ed never played “Orange Blossom Special” but did play “Listen to the Mockingbird” and even “made the bird sounds, too.”

When I played “Calhoun County Blues”, she said, “I’ve heard him play that lots. You put a lot more notes in it than what he did.”

In Search of Ed Haley 291

18 Friday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

After visiting Curly and Wilson, I went to Pat Haley’s and met Mona, who was waiting to see me. Mona and I sat down at the kitchen table, while Pat washed dishes. It was my first visit with Mona in some time. I told her about visiting Curly Wellman, hoping to stir a memory, but she didn’t even remember him. I pulled out his picture and she and Pat both really bragged on his looks.

“He must have been a hunk when he was young,” Mona said. “You know, I always fell in love with guitar players.”

We all laughed and things got kind of loud, which caused Pat’s two little housedogs, Shady and Josie, to bark furiously from under the table. A few seconds later, after Pat’s commands had calmed the dogs, Mona surprised me by saying that she had heard “all her life” that Curly was the person who taught her brother Ralph to play the guitar. (It was actually the other way around.)

I had a lot of questions for Mona, who was exuding an openness I had not seen up to that point. It was obvious that she was going to be more candid in Lawrence’s absence. Before I could ask anything, she apologized for having not been more helpful in my efforts to know about Ed. I quickly pointed out, though, that she had been helpful, especially in regard to “the family troubles.” That aspect of Ed’s life was really important because it likely helped to explain a lot of the rage and lonesomeness I heard in his music.

“I wasn’t really scared of Pop,” Mona said. “I loved Pop. I just didn’t like the way he done Mom. It hurt all of us kids, I guess. The earliest memories I got is of me running away from Pop fighting with Mom and that has a whole lot to do with me not getting close to him like I did my mother. I think my mother was a remarkable woman. She probably taught Pop a lot of that music, too.”

I told her what Lawrence had said about Ed and Ella getting a “bed and board divorce” and she said, “No, I remember Mom did divorce him because she got Judge Imes to do the divorce. I think she divorced him when we lived on 17th Street. I never looked at them as being divorced because they had long since stopped being man and wife before they divorced.”

I got some paper from Pat’s granddaughter and asked Mona to describe Ed’s residence at 17th Street. In addition to serving as Ed’s home at the time of his divorce from Ella, it was also the place where he made his recordings. Mona described the downstairs, then the upstairs where “there was two bedrooms and a bathroom. Large bedrooms.”

After I’d sketched everything out based on Mona’s memory, she said, “I was gonna tell you about that living room couch that you drew the picture of with the radio on the end of it. I went in one day and I was just a teenager or young kid and I turned on some jitterbug music. Pop was laying on the couch and he said, ‘Turn that off,’ and I said, ‘No Pop, I want to hear it.’ And he said, ‘Mona, I’ll cuss you all to pieces.'”

Speaking of radios, I wondered if Ed ever listened to the Grand Ole Opry.

“No, I don’t think so,” Mona said. “He listened to mysteries, like ‘The Shadow’ and ‘The Green Hornet’ and all that kind of stuff. And ‘Amos ‘n Andy’ and ‘Little Abner.’ ‘Lone Ranger’, I remember that. And those opera singers, he called them belly shakers.”

While I had the pen and paper in hand, I asked Mona to describe Ed’s house at Ward Hollow.

“Well, they was a porch, then a living room, dining room, and kitchen — straight back — and all the way down through here was another bedroom and hallway and another bedroom. Then in through here was a bathroom and back here was another bedroom. That’s where Pop slept. And right off the kitchen was another little porch.”

Mona said she could draw it better than describe it to me, so I gave her a pen and some paper. When she was finished, she seemed pleased with her effort, saying, “I might have a good memory after all.”

Satisfied, I got out my fiddle and played some tunes for Pat and Mona. After I finished “Dunbar”, I told them how I figured it was one that Ed made up.

“See,” I said, “I’ve got all these lists of tunes at home and lists of tunes on other tapes and so I look these tunes up and try to find out where they come from. And some of them you can research and some of them just ain’t there and those are the ones I think he wrote.”

Mona figured Ed made the tune “You Can’t Blame Me For That”:

My dog she’s always fighting, in spite of what she loves.

And when her little pups was born we all wore boxing gloves.

An old hen once was sitting on twelve eggs. Oh, what luck!

She hatched 11 baby chicks and the other was a duck.

But you can’t blame me for that, oh no, you can’t blame me for that.

If a felt hat feels bad when it’s felt, you can’t blame me for that.

 I got the impression in watching Mona sing those words to me that she was able to picture Ed playing.

In Search of Ed Haley 290

17 Thursday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

Curly suggested that we visit Wilson Reeves, a local record collector, for more information about Ed. Wilson was glad to talk to us. He remembered seeing Ed and his family play on the streets of Ashland during World War II.

“This was in the early forties,” Wilson said. “I came up here to take training at the old Ashland Vocational School. I lived on Carter about 17th. There was a house there where I had a room upstairs. And every evening I’d cross over from Carter over to Winchester, go down Winchester, and on down to a little restaurant — what they call a ‘hole in the wall.’ Greasy food, but it was cheap. And she [meaning Ella] would be sitting in a chair there by the Presbyterian Church close to 16th Street. Most of the time she’d be playing the mandolin. Sometimes, I’d see her with the accordion. The little girl would stand on her side — I believe the 16th Street side — and she’d be holding the tin cup. I didn’t notice whether people put money in it or not.”

Where was Ed?

“Well, I don’t remember too much about them,” Wilson said. “I was twenty years old and other things to think about and on my way. Mr. Haley, I don’t remember whether he was sitting down or what. I’ve seen him over at the old Alphon Theater. He would sit right there. Best as I remember about him, he was by hisself. And there was times — and this is very vague in my memory — that I saw them get off the bus. They’d drag a chair out with them. Just a straight-backed chair, I believe. After the war was over, I went back to Fleming County for a while. Sometime in 1947 I came back up here, but I don’t recall ever seeing them any more.”

Wilson said he was never really acquainted with Ed or his family and was never at his home.

“Course I was in the house,” Curly said. “Poorly furnished. The family was rich in being family but very poor as far as living conditions. You might say if it was possible at that time, they would have been on food stamps.”

Curly was speaking of Ed’s home at Ward Hollow. I asked Wilson for some paper so I could sketch it out based on Curly’s memories. We started out with the living room.

“Just a square room,” Curly said. “No rug. A pine floor and a fireplace and a mantle and a little side table and his rocking chair and an old cane-backed straight chair. There was another doorway here that went into the next bedroom back. It was just an open door really. It was a shotgun house. I was never in their kitchen. They had about four rooms. But this was in a big building that there was a lot of apartments in — several apartments in this building — and Ed and his family lived downstairs in the first apartment as you went up the hollow. Big old community house — all wood — weather-boarded house. In my time, it mighta been sixty, seventy years old. They had a name for that building but it won’t come to me.”

When I’d finished my sketch of Ed’s home at Ward Hollow, I said to Curly, “Now what about his home at Horse Branch?”

“It was about a four room house — and one floor — and set up about six foot off a the ground because the creek run down through there and if they hadn’t a built it up on these sticks that it set on they woulda got flooded out every time it rained,” he said. “And you had to go up a long pair of steps to get up on their porch. Handrails down each side of the steps. Porch all the way across the front. I’d say the porch was six feet deep. I was never inside. In fact, the front room is as far as I was in the other house.”

Curly said he used to play music with Ed on the porch. Ed always sat to the right of everyone, probably so he wouldn’t have to worry about pulling his bow into them.

Wilson said Ed played with David Miller, a blind musician sometimes called “The Blind Soldier.” Miller (1893-1959) was originally from Ohio but settled at 124 Guyan Street in Huntington just prior to the First World War. He played on WSAZ, a Huntington station, with The Guyandotte Mockingbirds in the late 1920s and early 1930s. He also made it as far up the Guyan Valley as Logan where he hosted at least one fiddling contest.

“Saturday night, September 17th at 8 p.m., sharp at the court house, Logan, W.Va., David Miller, an old time recording artist, will open a real old time Fiddlers Contest, awarding three big cash prizes to contestants and one prize to best old time flat-foot dancer,” according a September 1927 article in the Logan Banner. “It is expected that this will be the season’s big meeting of old timers and lovers of old time music. See Miller at Grimes’ Music Shop Saturday afternoon.”

According to one source, Miller lost his radio job around 1933 after threatening to throw his manager through a window. Wilson heard that Ed taught Miller the tune “Rose Connelly”, as well as Red Foley’s “Old Shep”.

Aside from the Blind Soldier, there were several other well-known musicians working in Huntington during the Depression. In the mid-thirties, Riley Puckett and Bert Layne (two of the famous Skillet Lickers) spent a few months there, while Hawkshaw Hawkins, Cowboy Copas (a friend to Natchee the Indian), and Arthur Smith were featured acts during the World War II era.

In Search of Ed Haley 289

16 Wednesday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

Curly said he lost contact with Ed Haley in the mid-thirties (other than seeing him on a street corner or at court days).

“When I got about fourteen, fifteen years old, I went to playing around with younger musicians and I left Catlettsburg and I come down to Ashland,” he said. “I started playing bars at fifteen.”

Curly told me all about how he “rediscovered” Ed toward the end of the decade.

Along about 1937, we were working WCMI and Mother and I was talking one day and I asked her, I said, “Well Mother, do you know anything about Ed Haley or the Haley family or where they’re at? I haven’t heard from them in years.” And my mother told me, said, “Why, they live right up there at Ward Hollow.” I said, “Well, I didn’t know that.” See, what I used to do, I’d get lonesome to hear him. And I knew him and he knew my voice and he knew my mother and my father and all my brothers and sisters and I’d get lonesome to play with him. And I’d get a pint of “moon” — bought it from old Maude Johnson down there at 29th Street — and walk all the way to Ward Hollow. The front door was never locked. And when I’d open the door — I’d know where he was gonna be, in that rocking chair — I’d say, “Uncle Ed?” “Well Curly, come in.” And I’d go in — wouldn’t even carry a guitar or nothing — and I’d go in and I’d sit down. He’d go get the straight chair when he played, but he would be sitting in there. A little old fireplace. I’d say, “How are you, Uncle Ed?” “Well, I don’t feel so good today. I’m not as pure as I should be.” And I’d say, “Well, do you think maybe a little hooter…?” And he’d say, “Well, uh, yes.” Talked loud then. I’d say, “Well, I brought one along.” Moonshine. I’d go out and get it and come in and give it to him and he’d hit it.

We’d sit there and talk a little more — about this and that and the weather and so forth and so on — and I’d say, “You better getcha another little drink there, Ed. Maybe if you got a cold it’ll help you.” He’d hit it again and he’d sit there and all at once he’d say, “Say, did I ever play ‘Blackberry Blossom’ for ya?” And while he was saying this, he was getting up… He knew exactly where his fiddle was on the mantle, he knowed where the bow was on the mantle, and he never touched a thing that was on that mantle — just them two things. I never saw him finger for the fiddle: he always picked it up by the neck and got the bow with his right hand. And then he’d throw that fiddle under there — the chin was holding it — and he never even had a chin-rest — then he’d sit down and he’d say, “Well, you brought your old box along, didn’t ya?” I’d say, “Yeah, it’s out there in the car.” I think it was a D-18 Martin. Sixty-five bucks. Go get the guitar, come in, sit down, tune up with him. And that’s another thing about that man. I often wondered how he kept the fiddle at 440 tuning. I know he didn’t use a pitch pipe.

Curly said it was during that time that Ed met Bernice “Sweet Georgia” Brown, who he called “Brownie.” He elaborated: “Brownie’s father owned a business here, which was in the making of tombstones, right down on Winchester Avenue, and his mother was from Cartersville, Georgia. And he was a tremendous old-time… The old English fiddle tunes and a lot of that stuff — the hornpipes. He was just marvelous on them. He would’ve loved to have played jazz fiddle, but he didn’t have it. Because he was from Georgia, Big Foot said, ‘I’ll teach you how to play ‘Sweet Georgia Brown’, so from then on that was his name. We had him and Big Foot playing twin fiddles. During the time that he was here, I wanted him to hear Ed Haley. Neither one of us had a car at that time, but we were in walking distance of Ward Hollow, which was just up the road from me about eight, nine blocks. We’d walk up there and take a little hooter along and finally get him started. Well, Georgia wouldn’t pull a bow in front of Ed Haley, but he would watch him awful close. Every move — even the way he tuned the fiddle with his chin and his knee mostly. He was an amazing man.”

I asked Curly if Ed played “Sweet Georgia Brown” and he said, “Never. I don’t think he woulda even rosined his bow to play a thing like that.”

Thinking back about that time in his life caused Curly to talk about his personal memories of Ed.

“I had a lot of experiences with that old man. I loved the old man. Really loved him. He was a swell old man. He was a dear friend. So timid. He was easy to be around and knew a joke as quick as he heard it. He wasn’t boastful or pushy — just a very little timid man that would sit in the corner for hours. He let everything out with the fiddle. He turned everything loose that was inside and he done it with the instrument. I think his first love really was his music.”

I asked Curly if Ed got along with other fiddlers like Clayton McMichen and he said, “I don’t think he woulda even talked to him. When Clayton mouthed off like he did — and was all mouth — I just think Ed would have set back and not taken any part in anything. Brassy and forward — Clayton was awful bad for that. I didn’t care for Clayton McMichen myself other than I appreciated the group he had together, The Georgia Wildcats.”

In Search of Ed Haley 288

14 Monday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

I wondered if Ed had other accompaniment aside from Curly.

“Most of the times that I saw Ed, why, he would be by hisself,” Curly said. “Ed played a whole lot by the church up at 16th Street and across from Lawrence Drugs. I don’t know of him ever playing in a bar. Ed was a fellow that would follow these big court days because there was a lot of people on the ground. Morehead, Kentucky, was one of the places where Ed never missed on court days and he wrote a song about Morehead, Kentucky. It was called ‘The Rowan County Crew’. ‘It was in the town of Morehead on one election day…’ It was like in English minors. And that’s the only song I ever heard him try to sing, and Ralph would be playing. Never heard him sing nothing other than that because he wrote it and because the people wanted to hear it.”

Well that was a new twist: I never heard that Ed wrote “The Rowan County Crew”. Actually, most attributed the song to Bill Day.

I asked if Ed composed any other tunes aside from “The Rowan County Crew” and Curly said he made “Catlettsburg”. He was sure of it.

“Well, Ralph and I talked, you know, later, and Ralph told me, he said, talking about ‘Dad playing so-and-so last night. Well, he wrote that tune,’ something like that,” Curly said. “I know that he wrote it without a doubt. He wrote that while he was on Horse Branch.”

I’d never considered that Ralph might have told Curly anything about Ed’s music. He and Curly were about the same age. I asked about Ralph. What was he like? Curly thought for a few seconds, then said, “Ah, Ralph was different from the rest of the family. Ralph was a little more… I don’t know how to put it. He wasn’t a bad person but he kindly drifted out. He wasn’t a homebody like the rest of the children, I’ll say that. I never remember Ralph being on the street with them.”

I told Curly that Ralph wasn’t really Ed’s son — that he was Ella’s by a previous relationship — and he said, “Oh, I never did know that. He left home pretty early.”

Curly didn’t remember Ed’s other kids very well, except for Mona.

“I do remember Mona but I think I remember Mona from being with her mother when she would play on the streets,” he said. “Mona was never with her father — just her mother — as far as I saw. She would stand beside of her while her mother played the mandolin. Mona held the cup but usually the cup was on the head of the mandolin with a piece of wire or something that hooked it on there.”

What about Ella?

“I used to watch Ella, that poor old soul, out here in town,” Curly said. “She always carried one of them little fold-out canvas bottomed chairs and played about every Saturday night at Jack’s Auto on the 13th Street block on Winchester Avenue. At that time Jack’s Auto handled material like Sears today. They had a variety of all different kinds of stuff and there was a lot of people on Saturday nights that went in and out of that place. And she played terrific chords on the mandolin. Her timing was good. And you know she didn’t sing or anything.”

I pressed Curly for more details about Ed’s music.

“Just about every fiddle player that I talk to — including Big Foot Keaton — they all talk about the long bow that he pulled and how many notes that he would get from the length of the bow,” Curly said. “How many notes was in there with the finger work. It’s very amazing to have watched him. It’s a shame that you didn’t get to see the man or hear him.”

I said, “Well, I stayed with Lawrence, you know, and we worked and talked and everything like that and we discovered quite a bit. I want to show you some of what we discovered and see if it rings bells.”

I got my fiddle out and started playing — holding the bow way out on the end and using the Scotch snap bowing. Curly got excited and said, “There you go. That’s it! Well, you’ve completely changed your bow arm from the last time I’ve saw you. Well now, you’ve got the bow arm down. It’s just like looking at him dragging the bow again.”

Curly added that Ed played a lot of double stops because they gave a tune “more volume, more life.”

I asked him what kind of guitar playing Ed liked behind his fiddling and he took his guitar and played something he called “Riley Puckett style.”

Curly said he remembered that Ed packed his fiddle in a case that looked like “a square box.”

His memories seemed to be right on target so I asked him very specific questions, like who repaired Ed’s fiddle.

“There was an old man here just about that time that did most of the work,” Curly said. “I don’t say that he did the maintenance on Ed’s fiddle. I’m trying to think of that old man’s name. He was supposed to have played for the king and queen of England.”

“Bill Day,” I suggested, even though I figured it unlikely.

“Bill Day worked on fiddles,” Curly confirmed. “Blind man. And there was another old man by the name of Jason Summers that made fiddles. He coulda done Ed’s work. And he lived in this area — either Coal Grove, Ohio, or over in here. That was before my time. I didn’t know Bill Day — never met him in my life — nor Jason Summers, either one.”

In Search of Ed Haley 287

13 Sunday Apr 2014

Posted by in Ed Haley

≈ Leave a comment

Tags

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

In the spring of 1996, I made my way back to Ashland where I dropped in on Curly Wellman. Curly was an old guitarist in town who grew up watching Ed Haley on Horse Branch. I hadn’t visited him since a trip with Lawrence Haley some four years earlier. Unlike last time, he was quick to comment on Ed’s poverty.

“Now this story about Ed Haley, this was during the thirties — right after the Great Depression started,” Curly said. “And of course all they had coming was, I guess, just a blind pension, which wouldn’t have been much. They had to play on the corners with the tin cups. Those people, they had to struggle for life. The winter months on Ed Haley and his family were very hard. My grandfather — he came down here with money out of the big timber country up around Louisa, Ft. Gay, Wayne — and he run a little grocery store. Well, he was fortunate enough and had money enough to be able to carry these type of people through the winter months when they couldn’t make money. And as quick as spring come and they went to work every one come right in and paid him ever dime they owed. And the Haley family a lot of winters survived under his care. A lot of times, clothes we would outgrow would be taken to the Haleys because Mother thought so much of them. They had a hard struggle to raise those children but they were good people and the kids all turned out good as far as I know.”

I asked Curly to tell me about playing the guitar with Ed on Horse Branch.

“I was just a beginner and my aunt was teaching me,” he said. “The Haleys lived just across the street from us and down maybe a couple of houses. In the evenings, there was nothing else to do; no radio, no television, no nothing like that. Well, Ed would get out on the porch and Ralph and the mother and they’d start playing. I was learning to play a little bit, so I’d sit in with the guitar. I was just a very mediocre guitar player at that time. I was so rank that he’d have to tell me when he was going into a minor. I’d say, ‘I don’t know that,’ and Ralph would say, ‘Get right in there and play it anyhow.’ Them little kids would get out there and jump up and down and dance. Quick as people heard music, they’d start coming down the hollow and off’n the hillsides and gather up. They even had horse and buggies to stop and real old model cars would stop. People would open up their windows and their doors that lived up high where I was at — they’d get out on their porch till they could hear it all.”

Later, when Curly got better on the guitar, he played with Ed at the Boyd County Courthouse in Catlettsburg. Ed sat on a wooden bench with his hat turned up on the ground.

“You could throw a dime or nickel or quarter in his hat and you could tell by the way he grinned he knew the amount that went in the hat,” Curly said. “He could tell by the way it hit.”

I asked if Ed ever talked between tunes and he said, “He told little stories behind the tunes, like where it came from. He’d say, ‘Here’s an old tune I learned in Red Jacket, West Virginia,’ or, ‘Here’s an old tune I heard down in Logan County.’ And he used to talk about Madison, West Virginia, a lot. And another town I’d hear him talk about was Man, West Virginia. Keystone, it’s right in that area, too.”

In Search of Ed Haley 286

11 Friday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

Later during the winter months of 1996, I called Wilson Douglas in Clendenin, West Virginia. I wanted to know more about Ed’s trips to Laury Hicks’ house.

“Now what we done, John,” Wilson said, “he’d come to Calhoun County, West Virginia, about twice a year. And it depended on the money: sometimes he’d stay three weeks, sometimes he’d stay a month and a half. Well now, we all had to work like dogs to keep from starving to death. We’d send him word by that mail carrier that they was a gang of us a coming. We’d load up in that old ’29 Model-A Ford truck — a whole truck load of us — cab full, the bed full — and all of us together mighta had four dollars. Well, by the time we’d get there — especially in the fall of the year — it’d be maybe 4:30, 5:00, 6:00, and he’d say, ‘Well, we’ll move inside. It’s getting damp out here.’ And I’d pull my chair right up in front of him and I’d sit right there till he quit at three or four o’clock in the morning — and I’d give him all the change I had. Well, I’d sit there by God till I just got paralyzed on them old hard-bottom chairs.”

I asked Wilson, “Well now, would people suggest the names of tunes to Ed and he’d play them, or would he sit there and if nobody said something he’d say, ‘Well now, here’s an old tune,’ and play something?”

“Aw, he wouldn’t say stuff like that,” Wilson said. “They was always somebody had three or four in line requested ahead. Now my dad mentioned one tune to him, he said, ‘No, I don’t know it.’ Said, ‘Arthur Smith plays it.’ And that was ‘Sugar Tree Stomp’, you know. And that’s the only tune that ever I heard the man say that he didn’t know. People didn’t know about hornpipes then. They didn’t ask him to play no hornpipes. I’m sure he could have, you know.”

I asked Wilson about Ed playing “Getting Off the Raft” and he said, “Seems like he played that up around Parkersburg.”

I wanted to know about Laury Hicks, like whether or not he played with Ed, and Wilson said, “He’d sit there and never open his mouth. Sometimes Ed would talk him into playing two or three tunes, but he was as far behind Ed Haley as I was. Laury Hicks didn’t turn them on.” I told Wilson what Ugee said about Ed and her father playing tunes together and he said, “Haley couldn’t touch him on the ‘Blackberry Blossom’ – the old one. Haley’d get him to play that. He said, ‘Now, nobody can beat Laury Hicks on that, or nobody can beat him on the ‘Arkansas Traveler’. But he was rough. I can remember him well. He played a good rough fiddle, but he didn’t put any skill in it.”

Wow — that was something I just couldn’t picture based on Ugee’s memories.

I asked Wilson if Ed ever heard him play and he said, “Well, I’d saw around with it. Now Haley was a funny man. It didn’t matter how good you played or how bad you played, he’d sit and listen and work his fingers and not say a word. I heard him commend two men: Clark Kessinger and French Mitchell. French played a lot of fast fiddle tunes and he handled a waltz pretty good and Haley liked his waltzes. And he liked Arthur Smith, but he said Arthur Smith didn’t know over thirty tunes. But he said he was hell on them Blues.”

I asked Wilson if any of these old fiddlers ever competed in contests and he said, “Now in the old days when I was young, Carpenter and all them there fiddlers over in Calhoun County, now they’d call it a convention. They wouldn’t play against each other and they’d laugh and it was jolly. They’d say, ‘Now I believe they’s a note in there that you’re not a gettin’.’ It didn’t offend them. It was just a big get-together. One a seeing how lonesome he could play against the other. No, they wouldn’t contest against each other.”

In Search of Ed Haley 285

10 Thursday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

About two weeks later, I called John Lozier, the harp player in South Portsmouth, Kentucky. I wanted to hear more about his memories of Ed in Portsmouth, Ohio.

“That there’s where I met Ed Haley at — sitting on Market Street back in about ’28 or ’29 playing for nickels and dimes,” he said. “And his wife had a banjo-uke of some kind. It was about an eight-stringed instrument, but it wasn’t a ukelele and it wasn’t a banjo. And she was blind. They raised five children.”

I had some very specific questions about Ed’s fiddling, which John answered in short measure. I wondered, for instance, if he was a loud or soft fiddler.

“When Ed played, he played so soft and so low that you had to listen,” he said. “It was just like pouring water through a funnel.”

Where did Ed Haley put the fiddle?

“He put it up under his chin.”

Did he play a long bow or a short bow?

“I think he used all of his bow. In other words, he didn’t waste any of it. He played an awful lot of hornpipes.”

I asked John about Asa Neal, the great Portsmouth fiddler whose skill was preserved only on a few cassette tapes floating amongst an “underground” network of old-time music enthusiasts.

“Asa Neal was a good fiddler and he copied after Clark Kessinger,” John said. “He lived over here in Portsmouth and worked on a section on the N&W. I don’t know how he played as well as he did — fingers clamped around them old pick handles all day long. He was kindly rough and a little loud, but he could play a lot of fiddle. Lord, I’ve eat at his house many a time.”

I asked John if Ed knew Asa Neal and he said yes, then added, “Ed Haley and them used to get in a contest when they used to have the West End Jubilee down on Market Street in Portsmouth and Clark Kessinger would come down. Someone asked Charlie Fry one time, said, ‘What are you gonna play?’ and he told him. He said, ‘Well, Clark Kessinger’s gonna do that.’ He said, ‘That’s all right — I’ll use that rolling bow on him.’ Charlie Fry, he had a boy that was a tenor banjo player and he was good. His name was Harry Frye.”

John seemed to regard the Keiblers — who were apparently his kinfolk — as the best among local fiddlers.

“I remember Uncle John Keibler,” he said. “Uncle John Keibler was the best fiddler they was in the country. He was another Ed Haley — he played all of his life. ‘Winding Down the Sheets’, now there’s an old Keibler tune. Did you know there’s one of the Keibler boys up here yet left that plays? Abe Keibler. Lives right above me about four mile in a housing project up here at South Shore. He’s got sugar awful bad, but he’s one of the younger ones of the old set. He’s one of the boys of the seven I told you about and they all played. Now one of them has got the old fiddle that Grandpa brought over here from Germany. Made in 1620 or 1720. A Stradivarius. Abe’s boy’s got it.”

I asked John if Ed knew the Keiblers and he said, “I don’t know whether he did or not. He knew the Mershon boys that lived over on Pond Creek and around over in there. They was a bunch of Mershon boys that played fiddle and banjo there. Some of them were pretty good and some was rough. They was good for a square dance, but they couldn’t play with Ed Haley.”

John was on a roll: “At one time, they was more good musicians around Portsmouth — during the Depression — and they wasn’t no work and they just sat around and played cards and drank a little moonshine and got good. None of them ever went anyplace. And they was just some great fiddlers. Sam Cox, he was a banjo player. You know Natchee the Indian? He lived down around Blue Creek somewhere in Adams County. He’d play the bow over the fiddle and under and upside down and lay down… But Ed Haley never did do that. Ed Haley would just sit and roll it out just as smooth — just spit it right out on the street for ya. Smoothest fiddler I ever heard.”

In Search of Ed Haley 281

05 Saturday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

I got my fiddle back out to play more for Ugee. When I finished “Going Across the Sea”, she said, “I’ve heard that. ‘Blackberry Wine’, that’s what he called it. They got ‘high’ on it. Dad and Ed would play it and say, ‘Boy you got a little high on that wine that time, didn’t ya?’ That meant they was getting smoother on the playing.”

I played more tunes for Ugee, who said, “You’re better on that there ‘Ed Haley playing’ than what you was the last time I heard you.”

A few tunes later, she said, “That makes me think of Dad’s fiddling.”

Harold said, “You ought to hear him play your dad’s fiddle.”

I said, “Do you want to hear me play it?”

Harold disappeared into another room and returned with Laury’s fiddle. It was in great condition. I tuned it up and played for Ugee, who just sat there quietly. I could see her emotions churning as she thought back to happy memories of her father. She was almost in tears.

“I didn’t know I’d ever hear my dad’s fiddle played again,” she said. “Last time I ever heard it played was in my dreams.”

I played Ugee a few tunes on her father’s fiddle and she said, “You like to play the fiddle. It’s hard to find good fiddlers. But since you went and loosened up on that bow down there, you’ve really got better on that. I don’t know music, but I can tell it when I hear it ’cause I was raised in a house where Dad played the fiddle, and Ed Haley.”

I played another tune for Ugee and she said, “Can you picture two fiddlers playing like that on the porch? Maybe play all day. You couldn’t play an old tune that I haven’t heard my dad and Ed Haley play ’cause they knowed them all. And it didn’t take them but a second to learn them. I’d have to learn the words to sing a song and Dad — maybe I would sing it to him about twice — and then we’d go someplace and he’d sing it. Now that’s just how quick he could catch on. Then he’d sit down and practice and smooth it out.”

Ugee told me about Laury’s final years. She said when he started feeling ill, he visited his sister Rosie Day in Ashland and his niece Nora Martin in Logan. It was his farewell tour, in a way. Ugee said he located Ed at Nora’s in what was maybe their last visit together. Once Laury made it back to Calhoun County, he slept in a chair because he was afraid he might never get up from bed. Eventually, though, he “took to his bed,” where he remained for a few years. He didn’t have a lot of company — he didn’t want Ed to see him in such poor condition. He purchased a radio and listened faithfully to the Grand Ole Opry. Every now and then, he’d get inspired to play.

“Ugee, come here,” Laury said during one of those times.

“What do you want, Dad?” Ugee answered, walking in to the room.

“Get behind me,” he said. “I’ve got to set up.”

“Okay,” she said, getting behind him.

“Now hand me the fiddle,” he said.

“I can’t and you there leaning again’ me,” she said.

“Ida, bring me my fiddle,” he told her.

Ugee said he sat there and “see-sawed and played that fiddle for me. I never got so tired in all my life. I thought I’d die.”

“Honey, I know I’m heavy on you,” he said.

“It ain’t hurting me a bit Dad,” Ugee fibbed.

When Laury was done playing, he looked up and said, “I want this fiddle give to Harold. I want Harold to have my fiddle.”

“That was the last time I seen him play the fiddle,” Ugee said. “He told me, ‘Wait till I get better and we’ll have some good music in the house.'”

In Search of Ed Haley 279

01 Tuesday Apr 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

Ugee also remembered French and Sol Carpenter coming to her father’s house. They were regarded by many as two of the best fiddlers in central West Virginia, so I had to ask, “How did your Dad and Ed regard the Carpenters?”

“There wasn’t nobody as good as Ed and Dad,” she said quickly. “They’d say, ‘Oh, you’re good,’ to the Carpenters and brag on them. Then get away from them and Ed’d say, ‘They didn’t come up with you, Laury,’ and Dad’d say, ‘They didn’t come up with you, either.'”

Ugee said a lot of fiddlers wouldn’t play in front of Ed. When they did, he would usually “listen a while, chew that tobacco and spit and wouldn’t say a thing” — then “cuss a blue streak” after they left. If the fiddler was really bad, though, or “if somebody was a playing something and they butchered it up a little bit — one of his tunes — he’d jump on his feet and stand straight up and say, ‘Goddamn! Goddamn!,'” Ugee said. “You knowed right then that there fella wasn’t playing it to suit him.” Laury would just die laughing over it and say, “Boy, he’s good ain’t he, Ed?”

I wondered if any fiddlers ever asked Ed for tips on how to play and Ugee seemed shocked. “Why, he wouldn’t a showed one how to play,” she said. “He learned music like I did — just a fooling with it.”

I asked Ugee about Johnny Hager, the banjo player she remembered coming with Ed to her father’s house when she was a small girl. I wondered if he was a good banjoist and she said, “Well, he was good for then, about like Grandpa Jones. Dad had a first cousin, Jasper McCune. Me, Dad and Jasper used to go and play music at pie suppers.” Banjos provided most of the second back then, she said. Some of the better players were Willie Smith of Ivydale and Emory Bailey of Shock. Guitars were rare.

I pulled out some of the Haley family photographs, which caused Ugee to ask about Pat Haley, who was coping with Lawrence’s death, her own poor health, and her daughter Beverly’s kidney cancer.

“Well Beverly is in a coma now,” I said. “Pat said she’ll wake up a little bit in the evening and she’ll kind of recognize them a little bit. So in other words, they’ve lost her but she’s still alive. The doctor thinks she’s got about two more weeks. Pat says, ‘We’re taking it one day at a time.’ And Annadeene Fraley, the one who introduced me to Pat, she’s got cancer.”

Ugee said she didn’t know how Pat was making it through all of the grief.

“‘Aunt Ugee,’ she calls me. She’s a fine woman. She’s a strong woman. Well, she had to be strong. She come over to this country married to Lawrence and he didn’t tell her his parents was blind until she got to New York. He said, ‘Well, I’ve got something I’ve got to tell you. My dad and mother is blind and if you want to go back I’ll pay your way back.’ She said, ‘I’ll stay.’ He went to Ed and Ella’s and Lawrence said he was starving to death for a mess of pinto beans. She said she never tasted beans. She didn’t know what they was. They cooked the beans and she tasted them and she thought they was brown mud. Said it tasted just like mud to her. Said they was just eating them beans and bragging on them and she wouldn’t touch them. They made fun of her over it.”

In Search of Ed Haley 277

30 Sunday Mar 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

I said, “Now when they played, would they play at the same time?”

“Oh yeah,” Ugee said. “Sometimes they played at the same time. Then one time maybe one would be a playing and the other would be a listening. Say, ‘Oh, you pulled that bow the wrong way.’ ‘Now that didn’t sound right to me. Go back over that again.’ They’d sit maybe not for ten minutes but for hours at a time when I was a growing up. Trying to out-beat the other. Which could make the best runs and which could do this. They never was mad at each other or anything like that, but they’d argue about it. ‘I know I beat you on it.’ ‘Well, you put that run in it at the wrong place.’ But Ed Haley is the only man I ever heard in my life second the fiddle. Dad’d play the fiddle and he’d second his with the fiddle. Like if you’re playing the ‘fine,’ why he might be playing the bass. That’s the prettiest stuff ever you heard. I heard Dad try to do it but Dad never got that good on it.”

I asked her if Ed ever played “Flannery’s Dream” and she said, “Oh, yeah. I’ve heard that.”

When I played “Wild Hog in the Red Brush”, she said Ed definitely played it, although she didn’t remember it having that title.

Just before I played another tune, Ugee said, “This is my birthday gift. My birthday’s the 19th. I’ll be 88 years old. Oh, I do pretty good, I reckon, for the shape I’m in. I remember pretty good but I’ve got trouble on this here voice box.”

“You remember pretty good, like your mother,” Harold said. “She was a hundred years old and she remembered when every kid was borned in that part of the country.”

Ugee said, “Mom delivered over five hundred children. She knowed every one of them and their name.”

Harold said, “And where they come from and up what hollow she had to walk and everything else. She never forgot nothing, that woman.”

Ugee said, “I don’t want to be that old. It’s all right if you can walk and get around. But if you’re down sick in the nursing home, let the good Lord take me away. I don’t wanna be there. My dad had leukemia and cancer of the stomach when he died. And it’s hard to see someone suffer like that.”

I told Ugee what Wilson Douglas had said about people gathering at her father’s home and listening to music on the porch and she said, “Sure, you ought to have seen my home. We had one porch run plumb across the front of the house. Ed and Dad just sat right along behind the railing.”

She pointed to the picture of John Hicks’ house and said, “Our house was even bigger than that. It was plank. But I remember when they all come over there and they’d gang around on that porch. Everybody. When Ed Haley was in the country, they come from miles around to our house. Word would get out that Ed was there or Ed was gonna be there a certain day.”

Inspired by Ugee’s memories, I got some paper from Harold and tried to sketch the Laury Hicks place. Ugee said things like, “It didn’t have no fireplace — we had gas then. And over on this end the steps went plumb down the hill to the road. That’s after they put the paved road down there, you see. Our house sat almost in a curve. Garage is down there at the road.”

I said, “So people gathered in front of the porch to hear all the music?” and Harold said, “They didn’t have much room. The yard only went out there maybe thirty or forty feet and then it dropped off down to the road. A pretty steep bluff — fifteen-, eighteen-, twenty-foot drop. On this side of the house was the garden spot and out the other end the yard didn’t go very far.”

Were there shade trees around the house?

“Yeah, three or four big oak trees over to one side and then we had apple trees on the other side,” Ugee said.

I asked if the crowds came at day or night or only on weekends and Ugee said, “They’d come through the day and Dad and Ed would play music all day and half the night. Weekends, why, it was always a big crowd. I’ve studied about them so much, about how good a friends Ed and Dad was. And always was that way. And they’d have the most fun together.”

Ugee said Ed never put a cup out for money.

“I never seen him put a cup out in my life. Maybe they’d be somebody to come around and put a cigar box to the side and everybody would go through and put money in it. Course when he was playing in the city — Cincinnati or some place like that — why he’d make quite a bit of money there. Whenever he played them religious songs, the hair’d stand on your neck. You’d look at two blind people sitting and singing.”

I interrupted, “Did he play Cincinnati a lot?”

Ugee said, “He played Cincinnati a lot. He went to Cincinnati to make records one time, too. That’d a been in the thirties. He fell out with them. They wanted to pick the tunes. Ain’t nobody picked tunes for Ed — Ed picked his own tunes. When he found out what they was trying to hook him on, he quit right then. Ed went down to Nashville once. I don’t know that he went to the Grand Ole Opry but he went to Nashville. When he found out what they done, he didn’t have no use for that.”

In Search of Ed Haley 276

29 Saturday Mar 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

I took my fiddle out of the case and played for Ugee. A few tunes later, she said she liked my bow hold.

“Him and Dad both held the bow down there on the end,” she said. “Dad and Ed neither one never had no use for anyone that took hold of the bow way up toward the middle. They didn’t like that at all. And Ed and Dad neither one didn’t like for someone to put their fiddle down against their chest.”

Ugee paused, then said, “You’re with the fiddle like I was with the guitar after I got it. I set and fooled with it all the time — any time I had time away from dishes or anything, I’d set on the porch and play that guitar. I wanted to learn it and nobody to learn me and I learned it myself. I done the same thing with the banjo. Of course, Dad could thump the banjo some and play it a little bit. But when I got that guitar and changed over to it, then I wanted to learn that guitar.”

When I played “Yellow Barber” for Ugee she got choked up and said, “That sounds so good, John. You don’t know how good that sounds. I’ve been thinking about my dad and them all morning. I’d just have given anything if we’d had tapes of Dad.”

I told her that I’d been researching some tunes I suspected of being in Ed’s repertoire (many from the Lambert Collection) and she said, “Ed knew a lot of them. I’ve heard so many of his pieces, now I’m getting to where I’m forgetting a lot of pieces.”

When I played “Girl With the Blue Dress On”, she said, “I can’t get that one in my head. Some part of it sounds natural. Yeah, I’ve heard that song. There’s words to that: ‘She come down from Arkansas with a blue dress on. Prettiest girl I ever saw, she came down from Arkansas.’ Who was that old man that used to come and play that on the banjo? I believe it was Carey Smith from around Euler.”

I next played “Flying Cloud” for Ugee, who said, “Ed didn’t call it that. I can’t remember what he called it but he never called it ‘Flying Cloud’. Course Ed was pretty good to change names on you, too.”

I told her that Lawrence and I had always figured Ed’s “Catlettsburg” had another name, and she agreed.

“Well in fact he almost said he put the name on that piece ’cause they lived down there, you know,” Ugee said. “You see, most of them old fellas, if they’d hear a tune and they learnt to play it, then they’d change the name. Just like ‘Carroll County Blues’, we called it ‘Calhoun County’. Just whatever county you was a living in.”

I started playing “Calhoun County Blues”, fully aware that it was one of Ugee’s favorite tunes. She watched me quietly with an excited expression on her face.

“That’s my piece,” she said to Harold. “I could crack my heels to that.”

The next thing I knew, she rose out of her chair and started dancing.

I stopped and said, “Now, wait a minute. Don’t hurt yourself.”

She told me to go on, though.

“I didn’t think you could get your feet up that high,” Harold joked her.

Ugee said, “I was a dancer at one time. Never got tired.”

I continued playing the tune for a few minutes, then asked if Ed ever danced.

“I never seen Ed dance, but I’ll tell you what,” she said. “He could keep time with his feet. I can remember so well that foot coming down and then when he got older he’d pat his feet. He’d keep both of them going. He didn’t make a big noise with them or anything. Just give him a drink of whiskey or two and then he’d come down on that there fiddle and you ought to hear Ella then.”

I asked Ugee if Ed was pretty good at making up parts to tunes.

“Oh, yeah,” she said, not quite understanding my question. “He made up a lot of his tunes and then give them a name. And Dad would do the same. They was sitting around and they’d try different things. ‘Listen to this’ and ‘Put that note in there.’ I always did think they made up that ‘Hell Among the Yearlings’. Ab Moss lived down below us — very religious man — and he was there with his wife and Homer, the oldest boy, and Abner looked over to Ed and said, ‘That’s a pretty piece. What do you call that?’ and they said ‘Hell Among the Yearlings’. I always did think they made that up to aggravate him. Then they just cackled and laughed after they left. ‘Hell Among the Yearlings’, said, ‘That’s a pretty good name for it.’ I can see them yet a sitting on the porch laughing about it.”

In Search of Ed Haley 275

28 Friday Mar 2014

Posted by in Ed Haley, Music

≈ Leave a comment

Tags

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

Early one fall morning, I loaded up the Cadillac and drove south to the home of Harold Postalwait in Rogersville, Alabama. Harold, I knew, had a very special visitor — his mother, 88-year-old Ugee Postalwait of Akron, Ohio. Ugee remembered Ed Haley as far back as the Bull Moose era when he used to visit her father in Calhoun County, West Virginia. I hadn’t seen her since a visit to her home four years earlier and was anxious to pick her brain for new stories or tunes and show her what I had learned about Ed’s fiddling. Not long after my arrival, after we’d all said our “hellos,” Harold pulled out the picture of Laury Hicks and his family at John Hicks’ in Douglas, West Virginia.

“That’s my dad,” Ugee said, pointing to her father’s image. “I can remember when he wore the mustache.”

I wondered if the picture was taken before Ed was acquainted with Laury.

“Dad met Ed before I can remember,” Ugee said. “I don’t know whether that was before Mom and him was married. It was after Grandpap died, they said. Dad musta been about eighteen or something like that. Josh Joplin brought Ed into that country and told him they was a boy down there he wanted him to hear play the fiddle. Said, ‘He thinks he can play but he can’t play,’ and went in and had Dad to tune up his fiddle and played them two pieces. He played ‘Sally Goodin’ and I think it was the ‘Cacklin’ Hen’. Ed said, ‘Boy he’s showin’ me off.’ That was all they was to it. And that old man you know had told him a lie.”

I asked Ugee, “So Ed was coming to Ivydale before you were born?” and she said, “I have an idea he was because I wasn’t quite old enough to go to school when I first remember him. The first time I ever remember seeing him was when him and John Hager was there. I bet he wasn’t over 27 years old, when I think about it. I would say that was — I was born in 1907 — that was about 1913 or something like that. He was tall, slender. I can remember back when I was four years old real good and I remember him just as plain as if it was yesterday. We had a dirt road to the house and when he went to leave in the spring — they stayed all winter — he was walking behind John Hager and me and my brother Harvey run right to the bank and waved by at him. We’d been crying after him. I can see him walking along… But he carried that there fiddle in a flour bag. I never seen Ed with a fiddle in a case till after him and Ella was married. He always carried it in a flour poke.”

I told Ugee that I had worked a lot with Lawrence Haley in his last days trying to find out about Ed’s technique. Before I could show her what I had come up with, she started telling me what she remembered along those lines. She said Ed played with the fiddle under his chin — he hated when musicians “put the fiddle down low” — and turned it occasionally. He held the bow way out on its end, she said, and played a lot smoother than her father, a tremendous concession for a daughter to make. I asked if Ed played smoothly when she first saw him.

“Oh naturally he got better as years went by, but he was good then,” she said.

She gave me the impression that Ed’s fiddling had a lot of Irish-style “ornaments” in his early days (in the older, more European tradition), which gradually disappeared over the years — probably due to artistic peer pressure from radio fiddlers like Arthur Smith and Clayton McMichen. Smith and McMichen were extremely popular during the last few decades of Haley’s life.

In Search of Ed Haley 272

24 Monday Mar 2014

Posted by in Big Harts Creek, Culture of Honor, Ed Haley, Lincoln County Feud

≈ 1 Comment

Tags

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

Either way, Milt Haley and Green McCoy were paid a side of bacon and some money to eliminate Al Brumfield. Maude Dingess said Milt and Green ambushed Al and Hollena Brumfield as they rode down Harts Creek on a single horse. Hollena’s brothers, Harvey and Dave, followed behind them on separate horses.

“I guess they thought he was gonna have trouble or they wouldn’t a been doing that,” Maude said, somewhat logically.

As they made their way past Thompson Branch, Brumfield spotted two men hiding in the weeds. He ducked somehow to avoid harm, but Hollena was shot from the horse.

“Al just went on,” Maude said, while Dave and Harve “ran back up here to their mother and daddy’s house to get somebody to go down there with them.”

They later returned with a sled and hauled Hollena’s bloody body back to Smoke House.

In a short time, Milt and Green were rounded up and taken to Hugh Dingess’ home at the mouth of Bill’s Branch.

“I’d say old man Hugh got them kids and took them maybe to some of their relatives’ houses or somewhere else,” Harve Dingess said. “Maybe up to old Albert Dingess’ or somewhere like that. See, old Albert just lived on up the road a mile, mile and a half.”

Harve continued, “They said they all had a big feast there and I guess they had a lot of the corn whiskey there and all of them drinking and playing music. And they said they made the old man Haley — he was a fiddle player — they said they made him play that fiddle all night and all of them drunk a dancing. They said that they just kept telling him to keep that fiddle a going.”

I wondered where Milt got the fiddle at Hugh’s and Maude said, “They sent somebody to somebody’s house that had a fiddle I bet and brought it back. Back in them days you know a lot of households had them old instruments in them.”

I asked if Milt was considered a good fiddler and Harve said, “At that time, I think they said he was. Supposed to’ve been very good.”

Harve had never heard much talk about Green McCoy but stressed: “I know I did hear them talk about them making the old man play the fiddle all night and all of them a dancing and cooking and having a big feast there and drinking their moonshine.”

I said, “Most people that are gonna kill somebody, they don’t want to get to know them. If you have an execution, the executioner don’t want to get to know the prisoner because the more he gets to know that prisoner the harder it is for him to conduct the execution. To have two guys to play music for you before you’re fixing to kill them — that’s a good way to get to know them real quick. Boy, I don’t see how they did that.”

“I guess that’s the reason they kept old French Bryant,” Harve said. “They said he didn’t care for nothing. They said he was one of the leaders. He was a hollering, ‘Let’s go! Let’s do it!’ Pushing the thing, from what I could understand. He was a hollering, ‘Let’s kill the sons of bitches!’ That’s what I heard over the years. I even heard Millard say that one time. French was the one wanting to hang them up to the walnut tree and I think they finally decided against that.”

Brandon wondered who else was in the gang and Maude said, “Hugh and Charlie Dingess was into that. They was Grandpap’s boys — the older boys. Hugh was rough and over-bearing. Harve’s grandfather, ‘Short Harve,’ was into that. Burl Farley was into it, too.”

Maude doubted that Henderson Dingess was involved due to his advanced age (approximately 58 years), but we felt it was entirely possible since (1) men his age and older participated in the Hatfield-McCoy feud and (2) these guys had reportedly shot his daughter. Harve said he figured that his great-grandfather Albert Dingess was in on it because “he was just that kind of guy.”

“Dealer Dave” Dingess was probably involved, too, Harve said, because “them Dingesses all hung together. They was just a band of outlaws, as we would call it, that day and time.”

Harve and Maude hadn’t heard much about the story beyond that, although they knew that Milt and Green were taken away from Hugh’s when the Brumfields learned that another mob was forming to rescue them. They never confessed to committing the ambush on Al and Hollena Brumfield but everyone figured that Ben Adams was behind the trouble. As a result, Maude said the Brumfields and Dingesses were “against” Ben in following years. At one point, they tried to burn his home. Maude’s father was one of the few Dingesses who never held a grudge. He often referred to him as “poor old Uncle Ben.”

In Search of Ed Haley 266

14 Friday Mar 2014

Posted by in Big Harts Creek, Ed Haley, Music

≈ Leave a comment

Tags

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

The next day — the 106th anniversary of Milt Haley’s death – Billy Adkins suggested that we go see Carolyn “Johnnie” Farley on Brown’s Run of Smoke House Fork. She was a granddaughter to Burl Farley, one of the ringleaders of the Brumfield mob. There were other interesting connections: her grandmother was Hollena Brumfield’s sister and her mother was Ben Adams’ niece. Her ancestors, then, represented both sides of the trouble, helping to make her a great source on the 1889 feud. Billy said she was old enough to remember Ed, too. His notes showed her as being born in 1924.

Without really hesitating, we went outside through a small rain shower and boarded the car and took off up the creek. We were oblivious to the poor weather and kept pointing to spots that were probably only significant to us.

“Now that was part of the old Al Brumfield farm.”

“There’s where the old boom was.”

“Here’s where the ambush took place.”

Our fascination with all the sites continued after we turned up the Smoke House Fork.

“There’s the Hugh Dingess Elementary School.”

“There’s the old Henderson Dingess place.”

“There’s where the old Dingesses are buried.”

“There’s Cecil Brumfield’s place. Ed used to visit there.”

We finally reached Browns Run. Johnnie Farley’s white house was just up the branch on the left, accessed by a muddy driveway filled with ruts and sharp jutting rocks. We parked behind the house, where several wooly dogs and a flock of tiny chickens surrounded us — three strangers ankle-deep in mud holes.

Almost immediately, Johnnie came out the back door and spotted Billy — one of the most recognized and popular guys in Harts — and told us to come on inside. She led us through the kitchen and a hallway, past a giant photograph of her grandmother, Mary Ann Farley (Hollena’s sister), and into a very dim living room. We all sat down on furniture that was literally surrounded by papers, books and pictures. Johnnie was obviously a packrat — a woman after my own heart.

Billy began introducing Brandon and I, but Johnnie stopped him short and looked at me with her ice blue eyes and said, “Oh I know who you are. I’ve got some of your records.” Her spirit and energy were immediately apparent — she spoke as if we were old friends. Her husband sat quietly nearby in a comfortable chair. He was in poor health.

I asked Johnnie if she remembered Ed and she said, “Yes, I knowed Ed Haley. He used to come through this country and pick and play the fiddle. I knowed Uncle Ed good. That old man could stop at any man’s house and they’d take him in and keep him all night and feed him. And he’d come through and stop you know and Mom and the girls would have a meal on the table. They’d just say, ‘Uncle Ed, come on.’ And they’d help him, show him the wash-pan and stuff, let him wash his hands, and he’d just go sit right down and eat with us. Whenever he’d come through out of the Chapmanville area he’d stay with one of my uncles and aunts that lived across the hill. That was George and Rosa Mullins. He’d go across the mountain ’cause he liked drinking and they had it over there — moonshine. And he stayed there week in and week out. People was good to him. He wasn’t mistreated.”

I asked Johnnie how old she was when Ed used to come around and she said, “I was about 10, maybe 12.”

She tried to describe him.

“Well, Ed was a little bit maybe heavier than you are, ’bout as tall. I know he kinda had a great, big belly on him. He was a great big fat man. I’d say Ed weighed around 170 pound. To my recollection, Ed had slim hands and slim fingers. He wore shaded glasses and he wore an overcoat — a brown one — and he had an old brown hat. I believe he smoked a pipe. He wore real old-fashioned shoes and old yarn socks. Uncle Ed drunk a lot. He was a good person. He was humble. He didn’t bother nobody. The only harm you could say he done was to hisself and that was drinking. He was around a lot of people, but Uncle Ed didn’t talk too much. He wouldn’t confront his own feelings. He wouldn’t open up fully to nobody.”

I asked Johnnie if she ever saw Ed drunk and she said, “I never did see him drunk — really drunk, no. I’ve seen him drink but not drunk.”

What about singing?

“No. I heard him fiddle but never sing. He played old tunes. ‘Turkey in the Straw’ and just quite a lot of the old-fashioned first fiddle player’s tunes. Uncle Ed was a good fiddler. He could make a fiddle talk. Mason Conley played the guitar and he’d get with him and play. And they was an old man traveled a lot with him named Ed Belcher. They had an old tune they played called ‘Sally Goodin’.”

Now, what happened to Ed Haley?

“I believe Ed died up around Ed Belcher and them. He drinked himself to death.”

In Search of Ed Haley 264

12 Wednesday Mar 2014

Posted by in Big Harts Creek, Culture of Honor, Ed Haley, Music

≈ Leave a comment

Tags

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

Around that time, I got my fiddle out to see if I could coax Jake into playing a few tunes. He said he couldn’t play anything — he’d quit years ago.

“I got shot through this shoulder with a high-powered rifle during World War II,” he said. “My fingers is stiff and my arm don’t operate just right. You’ve got to have a good bow hand to play a fiddle. I used to fiddle, but I can’t do no good no more.”

I asked Jake if he remembered any of Ed’s tunes and he said, “I don’t know — he played so many. ‘Hell Among the Yearlings’, ‘Wild Horse’, ‘The Cacklin’ Hen’, ‘Cluck Old Hen’, ‘Casey Jones’. They was all kinds — you could just keep naming them. Never did hear Ed sing.”

Thinking back to those times caused Jake to say, “Dad fiddled with Ed, you know. Dad never did own a fiddle. Ward Brumfield gave him one and he kept it all of his life. My dad used to like one called ‘The Blackberry Blossom’. ‘The Money Musk’ — man, it was a fast tune when he played it. They’d play ‘The Sourwood Mountain’. Pluck that string, you know. Play that ‘Sally Goodin’. Called one ‘Bear Dog’. It was something like ‘Bonaparte’s’, more or less. I used to, when my dad fiddled, get me two sticks this a way and beat on the strings of the fiddle.”

I asked Jake if he ever heard a tune called “Pharaoh’s Dream” or “Getting Off the Raft” and he said, “I’ve heard of ‘Pharaoh’s Dream’ but never heard of ‘Getting Off the Raft’. Can you play that ‘Danced all night with a bottle in my hand. Swing around the corner with the other man?'”

I asked Jake if he knew anything about Ed’s father and he said, “His dad was a mean guy. My dad has told me many times that Ed had the measles when he was a kid and his daddy took him out up here on Rockhouse and stuck him in the creek and that’s what made old man Ed Haley blind. His daddy stuck him in the creek. His daddy was a bad character. They went on a rampage, him and Green McCoy. My daddy knowed them from the beginning. They shot old Aunt Hollene Brumfield with a .30/.30 Winchester and it come out in her mouth. Never killed her. These fellers went to Kentucky — Ed’s daddy and Green McCoy — and they went and got them somewhere and took them up to Green Shoal up in there and massacred them. Someone took them up on the West Fork and buried them kindly up on the side of the hill. They probably just dug a hole and put them in it.”

Jake remembered Hollena Brumfield well.

“She was an old lady that run a store,” he said. “She was bad to drink — fell down a stairway and broke both of her thighs. She couldn’t get around very good. She had a big garden right there where Taylor Brumfield’s wife’s home is and she’d get out there… She’d keep every bum that come along and work them. She was good to them — she’d feed them, you know — and put them out there in that garden. She’d have them take her a chair out there and she’d hobble out there and sit in that chair and watch them work that garden. Boy, I dreaded her. When she’d talk, the spit would work out that hole there.”

Just before we left Jake’s, I asked him if he knew anything about Ed’s death. He basically repeated what Stump had told us earlier.

“I don’t know what happened. They killed him on the Crawley Creek side of the mountain over there. They beat him to death over there in a beer joint called the Cow Shed Inn. Some drunks did it, you know.”

I was flabbergasted. I mean, how could those Dalton boys tell such an off-target story?

In Search of Ed Haley 263

11 Tuesday Mar 2014

Posted by in Big Harts Creek, Ed Haley, Music

≈ Leave a comment

Tags

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

Along the way, we stopped and picked up Billy Adkins, who guided us to Jake’s home on Big Branch. Jake, we found, was a little skinny fellow, somewhat quiet, and — I was told — a decorated World War II veteran.

I asked Jake if he remembered the first time he ever saw Ed.

“I don’t remember that,” he said right away. “I was born in 1916 but I didn’t stay at home like the rest of my family. I’d slip off from home here when I was a little bitty fella and maybe stay a week or two before I come back or they’d come get me or something another. Then after I got up in years, I joined the Army and I stayed over four years in the Army. I was in there nineteen months before they bombed Pearl Harbor. So I didn’t stay home like the rest of the kids.”

A little later in the conversation, Jake made it clear that he remembered more about Ed and his family than he realized.

“He stayed with Mother and Dad a lot, Ed did, and them young’ns,” he said. “She was a music teacher, the old woman was. She was from out of Kentucky and he was off’n Harts Creek. They had about five, six children.”

I asked Jake how long Ed usually stayed with his father and he said, “Aw, he might stay a week. They’d go up there at the courthouse at Logan and play music, him and her, and she had this little boy tied to the rope so she could draw him in you know out on the sidewalk. And somebody give him some pennies and he had them pennies you know and he dropped them and she started drawing them in. He ripped out a big oath, ‘Wait till I get my money!’ You know, they couldn’t see what they done or nothing.”

Sometimes, Ed left his kids with Dood when he was playing in Logan.

“Now them kids, they was pretty mean, but people most of the time helped him correct them,” Jake said. “They raised one girl, Mona. That girl, she was a bad one. She’d run up and down the road with them boys if Dad didn’t get after her. She was just a young gal, you know. Ed, he didn’t care if you corrected them kids. If you busted the hide on one that was all right.”

Jake didn’t remember much about Ed’s appearance other than that his eyes were “milky-looking.”

When Brandon asked him what it was like to hang around with Ed, Jake said, “He talked to Dad a whole lot. He said to my dad one time, ‘Dood, where do you think hell’s gonna be at?’ Dad said, ‘I never thought about where it’s gonna be, Ed.’ He said, ‘I have an idea where it’s gonna be. I believe it’ll be on the outside of this world.’ He was a good ole man in a way, but he was bad to drink in a way.”

Oh…so Jake remembered Ed drinking.

I asked him if Ed drank a lot and he said, “No, I never did see him come to Dad’s drunk. Dad didn’t allow no bad stuff around his house, even when he wasn’t a Christian.”

Jake thought for a second, then said, “Ed was a healthy eater. He’d come in there — get up for breakfast — he’d say to my mother, ‘Nary, have you got ary onion?’ And she’d get him an onion. He’d eat an onion head for breakfast. My mother was a person that would feed anybody that came along. It didn’t make no difference whether he was a drunk, a hobo, or what he mighta been, Mom would feed him. We had a big long table with a bench on one side and about ten people to eat off of it besides who come in. We kept Bernie Adams half the time. He was the puniest feller that ever you saw — a plumb weakling he was — and he’d stay with Dad for maybe two or three weeks.”

Jake tried to describe his memories of Ed and Dood playing around the house.

“We just had an old log house,” he said. “A door over there and one here and one room and Dad had a lot of trees around here. They’d sit out there in the yard. They’d start in on Saturday evening and they’d be a sitting right there when Monday morning come with a half a gallon of moonshine playing music. They’d fiddle that long.”