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Tag Archives: Lawrence Haley

John’s epilogue 2

31 Sunday Aug 2014

Posted by Brandon Ray Kirk in Ed Haley, John Hartford, Music

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Arthur Smith, banjo, Ben Walker, Benny Martin, Bernie Adams, Billy Adkins, blind, Brandon Kirk, Buddy Emmons, Clayton McMichen, Doug Owsley, Durham, Ed Haley, fiddlers, fiddling, Green McCoy, Haley-McCoy grave, Harts, history, Imogene Haley, Indiana, Jeffersonville, John Hartford, Johnny Hager, Lawrence Haley, Mark O'Connor, Matt Combs, Melvin Kirk, Michael Cleveland, Milt Haley, Mona Haley, music, Nashville, North Carolina, Smithsonian, Snake Chapman, Tennessee, Texas Shorty, Ugee Postalwait, Webster Springs, West Virginia, Wilson Douglas, writing

When Ed first went out into the neighborhood with his dad’s fiddle and armed with his melodies (as interpreted by his mother) I think he probably caused not a small sensation amongst family and neighbors and his ear being as great as it was I think he picked up an incredible amount of other music really fast. I think he played with a lot of ornaments when he was a teenager and up into maybe even his thirties. Snake Chapman and Ugee Postalwait have alluded to this. Snake said the dining room recordings just didn’t sound as old-timey as he remembered Ed playing and Ugee said she remembered him and her dad talking about the little melodies between the notes. Of course Ed had to have been through a lot of subtle changes in style since that time. I think in later years he stripped a lot of the ornaments out of his fiddling in order to appeal to the Arthur Smith-Clayton McMitchen crowd who loved the radio style that was so much in vogue at that time. This might have helped make a little more money on the street. People have always liked to hear someone play and sound just like what they hear on the radio or a record. But I think if someone had asked Ed if he had done that consciously that he would have denied it and if he was in a bad mood they might have even had a fight on their hands.

I keep having this idea of Ed imitating other instruments on the fiddle because I’ve tried it myself and wouldn’t it be something that some of these great parts was really an imitation of John Hager’s banjo playing. I’d love to know where that passage is or whether it even exists.

It’s obvious that when Ed had good firm second that wouldn’t slow down for anything, he really leaned back on the beat and got in that little pocket where so many great musicians like to be. Ella and Mona really held up a good solid beat, but I’ll bet Ed was hard on them — a real taskmaster. It’s all in that rhythm section. Wilson Douglas told me one time that Ed always told him to play it real lazy. Texas Shorty, Benny Martin, and Buddy Emmons refer to it as holding on to the note as long as you can before you start the next one. This is an important part of Ed’s feel and sound and it really comes through on the dining room recordings. I get it by playing as slow as I can against a beat I hope is not gonna move, and then I swing the notes with a dotted note feel — a real lilt if I can get it — and just drag on the beat as hard as I can ’cause I know it’s not gonna slow down. I’d love to know just when Ed figured that out or if it was always there. I always think of Ed in his younger years playing on top of the beat or even ahead of it like I did when I was young and full of piss and vinegar. Actually when you’re playing alone you do hafta pretty well stay on top of the beat to hold the time or at least set it, cause you are the beat but you have to keep from rushing which we will tend do when we get to hard passages in order to get them over with. We’ll not do that no more. Mark O’Connor told me one time that while he is playing a tune he’ll play on top of and behind the beat on purpose. He described playing behind it as letting the beat drag you along…almost like water skiing. Oh, to have known what Ed and John Hager or Bernie Adams sounded like together.

I think Ed worked on his fiddling probably daily most of his life so it is fair to say that it was changing all the time. This would explain the varying descriptions of his playing that have come down. I’m sure they’re probably all accurate. Lawrence, Ugee, and Mona always said Ed played with great smooth long bow strokes and Snake Chapman always was adamant about him playing with short single strokes and Slim Clere said the same thing — that he bowed out everything — no bow slurs. Of course, in the dining room sessions you can hear both ways. It’s amazing how well Ed did without the feedback of working with a tape recorder. What an incredible ear he had. As far as I know, the only time he probably heard himself played back was the recordings we have. I hope there are others out there but I’ve come to doubt it.

Brandon and I have always had a gut feeling that if we’d dug down into the hillside a little further at Milt and Green’s grave we might have found something. We only went down five feet and then we were defeated by the rain. What if we had gone down the requisite six feet? What if, like the probe, Owsley had misjudged the bottom of the grave shaft due to the mud and water? What if it hadn’t rained and muddied up the work area? If Melvin Kirk and Ben Walker went so far as to bury the men in a deep grave, why not assume they would have gone for the standard six feet grave traditionally dug? In the following weeks, old timers around Harts kept telling Brandon and Billy, “If they didn’t dig at least six feet, it’s no wonder they didn’t find anything.” We didn’t want to question the professionalism of experts like the Smithsonian forensic team or seem like we wanted to find Milt and Green so badly that we couldn’t accept the concept that they were gone…but what if? The explanation that Doug Owsley gave us about the coal seam and underground stream made a lot of sense. Needless to say we were really disappointed. I had started to rationalize that not finding anything might indicate that they were buried in the nude and just thrown in the hole with no box or winding sheet or anything.

I was in Durham, North Carolina, the other day and I saw a fiddler on the street and I automatically found myself thinking of Ed. I didn’t have to fill in or rearrange much in my imagination to see him there playing on the street — even though this man was standing up, and played nothing like him. Of course when Ed was younger he probably stood up to play all the time like in the Webster Springs picture…dapper and wearing his derby. I always seem to picture Ed sitting down. Another great thrill for me is a young blind fiddler from Jeffersonville, Indiana, named Michael Cleveland who when he plays I can see Ed at nineteen. He stands up so straight he almost looks like he’s gonna fall over backward the way Lawrence said his dad did. When he plays I can’t take my eyes off of him thinking of Ed. Now my friend Matt Combs, who has done a lot of the transcriptions for this book, sits with me and plays Ed’s notes off of the paper, and I play off the top of my head, so in that sense it’s like playing with him.

I guess it’s time to just leave this alone and get back to my study of the fiddle. Maybe get geared up for “Volume Two.” I spend long hours here at the dining room table with my tape recorder and I can hear Lawrence and feel Ed as I try and play my way back into the past. I find that the study of Ed’s music leads me to the study of all music and the way it’s played.

John’s epilogue 1

28 Thursday Aug 2014

Posted by Brandon Ray Kirk in Ed Haley, John Hartford, Music

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Brandon Kirk, Ed Haley, fiddle, fiddler, fiddling, history, Howdy Forrester, John Hartford, Lawrence Haley, music, Nashville, Tennessee, U.S. South, writing

For me a “tune” is a specific order of notes played by a certain person on a certain day at a certain time and given a certain name and if you want to really pin it down you could include the latitude and longitude of the event. If you were not there to personally witness this happening then the word of some one else is okay as long as you include that in the triangulation so that when you have put out this information you can lean back and say to your listener, “Now…you know as much about it as I do and you can draw your own conclusions.” This works for events and etc. Sometimes these sort of documented rumors are as close as we can get to the truth and it’s better than nothing.

I’ve been thinking about how much Ed probably wouldn’t like to think about a whole lot of what we have put in this book. For sure he didn’t like to talk about it, especially to his family. I guess I don’t blame him — he lived it. It’s easy for us to get into all of it from our totally secure positions here in 2000 knowing what we know. And from the vantage point of our research, there are probably some areas where we know things that Ed never did.

We decided to call this book “The Search for Ed Haley: Volume One” because we know that after it comes out people will be calling us saying, “Well, you didn’t call me,” and “You didn’t get that right,” and no telling what. But then that gives us fuel for Volume Two. Of course there is the chance (and it has crossed my mind) that when this book comes out that some of the old Harts Creek animosities might still be smoldering and some people might feel hurt. God, I hope not. Everybody has encouraged us and said it was time to bring out the truth.

In case you hadn’t figured it out, Brandon wrote most all of this book and I just went through and “Hartfordized” it. Even though I have my name up top, Brandon is the one who did all the work. A typical day for us would be Brandon back in the office transcribing taped interviews, making chapters out of them, and working and reworking the words. Me, I’ll be sitting at the dining room table out in the other room sawing on a fiddle. At first when Brandon would bring me a chapter I would go through it on the laptop and make corrections and reword some things. Then Brandon very quickly caught on to what it was I was after, and after awhile he would bring me chapters and I would just read them in amazement and not do anything to them, and we would just go on. It really is wonderful, ’cause even though we know every word in the book when we read it back we still learn things. “Oh, that’s why that happened that way. Well I’ll be damned.”

I’ve given this story a lot of thought and most of what I’m about to say is from instinct and gut reaction cause we didn’t necessarily have cold hard facts. I think Ed learned a lot from his mother in the period right after his dad’s death when he and her probably spent a lot of time in that cabin hid out together from the community at large and his only contact was through his mother’s family (his grandparents). Ed found a fiddle that his father had left behind (very possibly the one in the photograph which looks home made) and started sawing around on it. His mother in her grief over her late husband was probably all the time whistling and singing the old melodies, most of which he had played, and Ed picked them up much in the way that Howdy Forrester told me he picked up a lot of melodies from his mom’s whistling and singing around the house. They were the melodies Ed and his mother shared. His unusually natural technique developed because he had such a great ear and naturally not being able to see he was not in a position to pick up bad technical habits from other fiddlers. His mother probably coached him much in the same way that Lawrence coached me a hundred years later…saying things like, “That just don’t sound right.” “Pop never played that many notes.” “Pop’s groups of notes were smaller.” But then because we both could see, Lawrence also said things like, “Your bow hold don’t look like Pop’s” and “Pop held his fiddle down here and turned it.”

In Search of Ed Haley 352

08 Friday Aug 2014

Posted by Brandon Ray Kirk in Chapmanville, Ed Haley, John Hartford, Music

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Ashland, Brandon Kirk, California, Catlettsburg, Catlettsburg Stock Yard, Chapmanville, Clyde Haley, Ed Haley, Ella Haley, genealogy, Halbert Street, history, Horse Branch, Jack Haley, Jean Thomas, John Hartford, Junius Martin, Kenny Smith, Kentucky, Lawrence Haley, Logan County, Mona Haley, music, Ohio, Pat Haley, Patsy Haley, Ralph Haley, Ralph Mullins, Rosie Day, San Quentin, South Point, Wee House in the Wood, West Virginia, Wilson Mullins, writing

The next day, Brandon and I got Mona to ride around town and show us some of the places where Ed played, as well as where he’d made the home recordings on 17th Street. In the car, she tried to recount the places the family had lived since her birth at Horse Branch in 1930.

The first place she remembered was an old brown house built on a slope at Halbert Street. This was the place where Ralph built the trap door.

When Mona was seven or eight years old, the family moved to 337 37th Street.

When she was about thirteen, they moved to 105 17th Street. She lived there in 1944 when she married Wilson Mullins and moved away to Chapmanville, near Harts. After her divorce, she moved back to 17th Street. At that time, Ed was separated from Ella and living in West Virginia.

For a brief spell, the Haleys lived at 5210 45th Street. Rosie Day lived nearby in a basement apartment.

Around 1948, the family moved to 1040 Greenup Avenue. Mona lived there when she married Kenny Smith and moved to South Point, Ohio.

Around 1950, Ed, Ella, Lawrence, Pat, and little Ralph moved to 2144 Greenup Avenue. Jack and Patsy lived there for a while because Patsy — who was pregnant with twins — wanted to be near the hospital. It was there that Ed passed away in February of 1951.

Thereafter, Ella stayed intermittently with Lawrence and Pat in Ashland or with Jack and Patsy in Cleveland until her death in 1954.

Brandon and I drove Mona around town later and she pointed out the sight of the Catlettsburg stock sale, where she remembered Ed making “good money” around 1935-36. She also directed us to at least three different locations of Jean Thomas’ “Wee House in the Wood.” One was remodeled into an office building and used by the county board of education, while another was out in what seemed like the middle of nowhere on a wooden stage in a valley surrounded by tall grass. Brandon and I thought this latter location was almost surreal, like something out of a weird dream.

Later at dinner, Mona told us what happened to her records.

“I sent Clyde some records when he was in San Quentin, California but he never brought them back with him,” she said.

I told her that some guy named Junius Martin had brought Lawrence some of Ed’s recordings and she said, “Seems like Junius Martin was one of Pop’s drinking buddies. I thought his name was Julius.”

In Search of Ed Haley 351

07 Thursday Aug 2014

Posted by Brandon Ray Kirk in Ed Haley, John Hartford

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Allie Trumbo, Ashland, Beautiful Isle of Somewhere, Brandon Kirk, California, Cincinnati, Cleveland, Doug Owsley, Ed Haley, Ella Haley, Florida, genealogy, history, Jack Haley, Janet Haley, Jimmy Haley, John Hartford, Kentucky, Lawrence Haley, life, Margaret Ryan, Mona Haley, music, Noah Haley, Oak Hill Cemetery, Ohio, Pat Haley, Patsy Haley, Ralph Haley, Ralph Payne, Rosemary Haley, Wilson Mullins, World War II, writing

Early in December, Brandon and I met at Pat Haley’s. All of our excitement focused on the upcoming meeting with Owsley’s forensic team, although it wasn’t long until we were in the familiar routine of asking Pat and Mona questions. Mostly they spoke of Ralph, a key player in Ed’s story. It was Ralph who recorded Ed’s and Ella’s music. Pat said Patsy knew a lot about Ralph, so she called her in Cleveland.

Patsy said Ralph was a nice and intelligent person.

“All the kids looked up to him when they were growing up,” she said.

As far as Patsy knew, Ralph never had any contact with his real father but he did take the last name of Payne when he was older.

Around 1936, Ralph married Margaret Ryan, an eighteen- or nineteen-year-old Cincinnati girl. The newlyweds took up residence with Ed and Ella, and Ralph stopped drinking (at his wife’s insistence). Margaret remained living with the Haleys during the war, when Ralph was overseas fighting the Japanese.

During the war, Ralph had an affair with a Filipino woman named Celeste, who Pat said bore him a son. Mona thought he actually married Celeste. According to her, his plan was to “set” Margaret up after the war, divorce her and return to his Filipino bride. He had Celeste’s name tattooed on his body. When he returned home from the war, he told Margaret, when she saw his tattoo, that Celeste had been the name of his ship. Ralph and Margaret soon left Ashland and moved to Cincinnati.

It was around that time that Patsy came into the family. She said she married Jack in California on October 25, 1946 and met Ed the following Thanksgiving in Ashland. She and Jack moved in with him for three months at 105 17th Street. Mona, Wilson Mullins, and little Ralph were also living there at the time. Jack only stayed for about three months because he couldn’t find work. Patsy said they moved out near Ralph in Cincinnati. Ella’s brother Allie Trumbo lived there, as did several of her close friends. Mona and her family soon followed them there and found an apartment in the same building.

Mona said Ralph’s thoughts were with Celeste: he was in the process of getting Margaret “set up” when tragedy intervened.

One Sunday in May of 1947, Jack, Patsy, Ralph, Margaret, Mona, Wilson, and little Ralph went fishing at a park about 25 miles outside of Cincinnati. At some point, Patsy said Ralph and Mona began talking about hanging upside down in a nearby tree. Mona climbed up the tree and Patsy took her picture. Then Ralph got in the tree and fell. As he lay on the ground, he told his family that his neck was broken and requested that they put a board under him until the doctors could arrive. Ralph was taken to a hospital where he told Ella, “When I bite down on the ice it makes a musical tone in my head.”

On Thursday, May 22, 1947, Ralph died at the age of 34. The family was afraid that Ella might hear of his death over the radio. She was staying at Mona’s apartment at the time.

On May 24 — Mona’s birthday — Ralph was buried in the Oak Hill Cemetery near Cincinnati. Patsy said Ed never made it to Ralph’s funeral, nor did Lawrence, who was in the service in Florida but Mona remembered that Lawrence was there on emergency leave. Someone played “Beautiful Isle of Somewhere”, Ralph’s favorite hymn.

Celeste later wrote Ella, mentioning how her son had an ear problem. When the family wrote to tell her of Ralph’s death, she figured they were making it up just so she would stop writing.

We figured that Ralph was Mona’s favorite brother since she had named her oldest son after him, but she said Jack was her favorite brother because he had taken up for her the most. She said Ella had been the one who named her son after Ralph. She also spoke highly of Noah, who contracted malaria and saw a lot of combat during World War II.

“Noah was good to send things home to Mom and Pop during the war,” Mona said. “And when he came home he laid carpet and fixed doorbells did things like that for Mom there at 17th Street.”

Noah went to Cleveland around 1950. Pat said Noah’s wife was a high-strung person. Their daughter Rosemary killed herself when she was eighteen. She wanted to get married but her mother protested, so she went into her brother’s room and shot herself in the head. In later years, Noah and Janet divorced. Pat said Noah’s son Jimmy really did a good job of looking after them. Janet died several years ago.

In Search of Ed Haley 344

26 Saturday Jul 2014

Posted by Brandon Ray Kirk in Ed Haley, John Hartford, Lincoln County Feud, Music

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Ashland, banjo, Bobby Taylor, Brandon Kirk, Charleston, Clyde Haley, Cultural Center, Deborah Basham, Ed Haley, Ella Haley, Forked Deer, Green McCoy, Grey Eagle, history, Jack Haley, John Hartford, Kentucky, Lawrence Haley, life, mandolin, Michigan, Milt Haley, Mona Haley, music, Pat Haley, Patsy Haley, Ralph Haley, Ralph Mullins, Rounder Records, San Quentin, Scott Haley, Smithsonian Institution, Steve Haley, West Virginia, writing

Around that time, Brandon and I received confirmation from Doug Owsley at the Smithsonian that he was interested in exhuming the Haley-McCoy grave. Doug gave us instructions on what we needed to do before his office could actually become involved — most importantly, to get permission from the state authorities, as well as from Milt’s and Green’s descendants. We felt pretty good about our chances of getting support from the family but weren’t sure what to expect from “officials.” For some guidance in that department, we called Bobby Taylor and Deborah Basham at the Cultural Center in Charleston, who told us all about exhumation law and codes in West Virginia. They felt, considering the interest of the Smithsonian, that we would have no trouble on the bureaucratic end of things.

Meanwhile, Rounder Records was in the final stages of releasing a two-CD set of Ed’s recordings called Forked Deer. The sound quality was incredible on the re-masters although to the uninitiated ear some of the music still sounded like it was coming from behind a waterfall in a cellophane factory. In addition to Forked Deer, Rounder was slated to release two more CDs of Ed’s music under the title of Grey Eagle in the near future.

I was very excited about all of these tunes getting out because I had fantasies of some “young Turk” fiddler getting a hold of them and really doing some damage.

In July, I called Pat Haley to tell her about the CDs, but we ended up talking more about her memories of Ed.

“I know when we lived in 1040 Greenup — when I first came over here — Pop would play very little. Only if he was drinking and maybe Mona would get him to play. I never knew of Pop ever playing sober. I didn’t hear Pop play too much but then his drinking days were just about over. But Mom would play. They had a mandolin and might have been a banjo and Mom would play a little bit. I didn’t know their brother, Ralph. He passed away, I believe, in ’46 or ’47 and I didn’t come into the family until ’48 — when I met Larry — but we married in ’49.”

Pat and I talked more about Ed’s 1951 death.

“Larry and I lived with Mom and Pop on 2144 Greenup Avenue and little Ralph lived with us,” she said. “Clyde had just come home from San Quentin, and a couple of months before Pop died Patsy was due to have Scott and so she moved into the house with us. Her and Jack had the front living room as their bedroom so that Patsy could be close to the hospital. Scott was born January 4th. My Stephen was born January 27th. We were all in the same house when Pop died. But about three days before Pop died, Clyde decided to rob his mother and came in in the middle of the night and stole her sweeper and radio while we were sleeping and he was picked up by the police and he was in jail when his daddy died. He didn’t get to come to his daddy’s funeral. His mother’s either, actually. He was in a Michigan prison when his momma died.”

In Search of Ed Haley 343

25 Friday Jul 2014

Posted by Brandon Ray Kirk in Calhoun County, Ed Haley, John Hartford, Music

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Akron, Banjo Tramp, Black Sheep, Calhoun County, Canton, Chloe, Ed Haley, fiddle, fiddlers, fiddling, Gus Meade, harp, Jo LaRose, John Hartford, Kerry Blech, Laury Hicks, Lawrence Haley, music, Ohio, Parkersburg Landing, Ragpicker Bill, Rector Hicks, Rounder Records, Stackolee, Sugar in the Morning, Tommy Jarrell, Traditional Music and Dance in Northeast Ohio, West Virginia

Not long after visiting Ugee, I received some great information in the mail regarding Rector Hicks, a fiddler and nephew to Ed’s friend Laury Hicks. Rector grew up watching his uncle Laury play the fiddle.

“Rector was born out in the country around Chloe, Calhoun County, West Virginia, in 1914,” Joe LaRose wrote in Traditional Music and Dance in Northeast Ohio (March 1985). “His father was a good mouth harp player, but no one else in his family played music. Rector learned from fiddlers who lived in his area, beginning to play the instrument when he was around ten years old. Rector learned a lot from time spent with a distant cousin, Laury Hicks, a generation older than Rector and one of the foremost fiddlers in the area. ‘I don’t know of a fiddle player, really, that played like him. Ed Haley said Laury was the best fiddler he ever heard on the old time tunes, you know, and old fast ones. Hisself, he said that. And I always thought he was.'”

While at Laury’s, Rector Hicks also had the opportunity to see Ed.

“He was hard to figure out,” Rector told LaRose. “When I was around him most I didn’t know too much about fiddling, and a lot of that stuff I could pick up now if I was around him. How he got all that in there with his bow like he did you’d never believe it. He just set there this way (passes the length of the bow back and forth across the strings) but everything seemed like it just come in there. If you’d hear him play… Now that record, that’s not Ed Haley. That’s him, but that’s no good. You don’t get a lot of what he puts in. But he puts every note in that thing. His left hand, his fingers just flew. But his right hand… He just set there and his fiddle laid on his arm, set there and rocked. That’s the way he played. All them fastest tunes he played, didn’t seem like he put any of the bow in hardly. But it was all in there.”

Rector seemed to idolize Haley, at least according to Kerry Blech, a fiddling buff and friend of mine.

“Rector, when he was a teenager, had saved up some money and got him a pretty good fiddle and when Ed would come and stay at Laury’s house Rector would always come over,” Kerry wrote. “For a couple of years, Ed would tease him and say, ‘Well, I really like that fiddle you got, Rector. We should swap.’ And once he did and went off and played in some other town, then came back through about a week later and got his fiddle back. Rector said he was just really thrilled to’ve had Ed’s fiddle for even a week.”

As Rector got older and learned more about the fiddle, he really patterned after Haley’s style.

“Rector’s approach to playing has much in common with Haley’s,” LaRose wrote of Hicks. “Like Haley, Rector holds his fiddle against his upper arm and chest and supports it with his wrist (he does not rock the fiddle under the bow, though, like Haley did.) Rector uses a variety of bow strokes. Like Haley, he uses the length of the bow, sometimes playing a passage of several notes with one long stroke, deftly rocking the bow as he plays. He will accent the melody at chosen times with short, quick strokes. Rather than overlay the melody with a patterned or constant bow rhythm as some dance-oriented fiddlers do, Rector adapts his bowing to the melody of the particular tune he’s playing. Much of the lilt and movement of his tunes is built into the sequence of notes played with his left hand.”

Rector apparently kept in touch with Ed’s family, who he sometimes visited long after Haley’s death, and was very disappointed with the quality of fiddling on the Parkersburg Landing album.

“When I met Rector in the mid-70s, the Haley LP had just come out and Rector called me up to tell me it was awful,” Kerry wrote. “He said it was not representative of the man’s genius. He told me that he knew the man, and although many years had passed, the Haley genius was still in his mind’s eye. He also said that there were many other home recordings beyond what Gus Meade had copied. He said that Haley’s children had split up the recordings, that Lawrence had a number of them, and that a daughter, who lived in the Akron-Canton area, had over a hundred of them, and that Rector occasionally went over there and listened. He said that the family was irritated by how the Rounder record came to be and did not want to be involved with any of us city folk any more, afraid that someone would exploit their father’s music.”

At that time in his life, Rector mostly played Tommy Jarrell tunes but also several Ed Haley tunes, like “Birdie”, “Sugar in the Morning” (“Banjo Tramp”), “Ragpicker Bill”, “Black Sheep”, and “Staggerlee”.

In Search of Ed Haley 341

23 Wednesday Jul 2014

Posted by Brandon Ray Kirk in Calhoun County, Ed Haley, John Hartford, Music

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Alabama, blind, Brandon Kirk, Calhoun County, Clyde Haley, Ed Haley, Ella Haley, genealogy, history, Jack Haley, John Hartford, Lawrence Haley, Mona Haley, Noah Haley, Ralph Haley, Rogersville, Ugee Postalwait, West Virginia, writing

Ugee said, “I never will forget the first time I seen Ella. I’d fixed cabbage for supper — big head of cabbage. Next morning, Ed said, ‘Where’s the cabbage?’ I said, ‘Well you don’t want cabbage for breakfast.’ ‘Oh,’ Ella said, ‘We love cabbage for breakfast.’ I went and got that cabbage and heated it up. I wish you’d a seen her eating that cabbage. I didn’t know anyone ate cabbage for breakfast. I was a fixing eggs and bacon.”

Brandon asked about Ella’s appearance.

“Ella wasn’t no bad looking woman at all,” Ugee said. “She was a nice looking woman, I thought. When I seen her, she had had three kids and she was a little heavier then. She kept herself nice-looking. She liked to wear nice dresses and she liked to wear hose. You’d be surprised to see her wash them kids and clean them. Now really you would. She’d pick them kids up and say, ‘Come here, you’ve got a dirty face.’ How she knowed they had a dirty face, I don’t know.”

I asked Ugee if Ed ever got into any fights, because his face looked lop-sided in one of his pictures.

“Aw, he’s fell a lot of times,” she said. “I’ve seen his boy Clyde and that Ralph — wasn’t his son, but he called him his son — I’ve seen them lead him across logs and let him fall down and laugh about it. Yeah, they didn’t care for doing anything like that. No wonder when he’d get up, if he could get to one of them, he’d whoop one of them. They was into everything. I never seen Lawrence or Jack either one into anything. But you turned Ralph or Clyde loose anyplace, they might ‘weigh’ chickens and kill your chickens. Maybe put a string around their neck and hold them up and maybe kill two or three hens — choke them to death. Why, Ed’d get mad. Ella would, too, over things like that. She’d say, ‘My, my, my.’ They’d run in and grab their purse and take their money. Ella’d buy anything they wanted.”

Even though Ed’s kids treated him rough, Ugee said he “liked to joke and talk and laugh. I never seen Ed Haley mad but once in my life. Me and him almost fit, too, that time. He whooped Clyde. He oughta whipped Clyde but not like he did. Clyde aimed to jerk him off the porch. If he had, he’d a killed him. And he jerked his belt off and he went to whooping Clyde. And he was whooping hard. He was trying to beat him to death. I walked out on the porch and said, ‘That’s enough, Ed.’ And he said, ‘Damn him. He tried to kill me.’ I grabbed a hold of the belt. He said, ‘Ugee, let loose of it.’ I said, ‘I ain’t letting loose of it. You’ve whooped him enough and I don’t want to see no more of that. While I’m living, don’t you ever hit one of them kids with a belt. I don’t allow that.’ He said, ‘I’ll whip them with a belt when I’m damn good and ready.’ I said, ‘You’ll not whip them here — not like that.’ I mean, he was beating him.”

Brandon asked if the other boys were mean to Ed or ever got whipped and Ugee said, “Clyde’s the only one I ever seen him whoop. They was about to send him to reform school — stealing, I think. He musta been about fourteen years old. That there Ralph, he was ornerier than… That Ralph even shot hisself with a gun to see how it’d feel to be shot. That was up where we lived. My mother doctored him. Mona, she was ornery. She’d steal off her mom. Take stuff out and destroy it. She was pretty as she could be. She’d just look at you as if to say, ‘I’ll do as I please.’ Ed swore she was just like her aunt on her mother’s side. And Noah was sneaking — dangerous sneaking. He was into everything and he’d lie. Noah was awful bad about gambling.”

Ugee really contrasted Ralph, Clyde, Noah, and Mona with Jack and Lawrence.

“Jack and Lawrence was gentlemen,” she said. “None of them come up with Lawrence, far as I’m concerned. He would lead his mom and dad anyplace. I can see how careful he was. That little hand of his leading his mother around this mud hole, ’round this log and stuff. Really, I’m not taking up for him because he’s dead or anything like that. I always called him ‘my little boy.’ He was always littler than the rest of them.”

In Search of Ed Haley 336

15 Tuesday Jul 2014

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

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Andy Mullins, Ashland, blind, Brandon Kirk, Columbus, Dobie Mullins, Ed Haley, Edith Dingess, Ella Haley, Ewell Mullins, Ferrellsburg, fiddling, genealogy, Harts Creek, history, Huntington, Imogene Haley, John Hartford, Kentucky, Lancaster, Lawrence Haley, Liza Mullins, Liza Napier, Logan, Mud Fork, music, Nashville, Ohio, Ora Booth, Pat Haley, Peter Mullins, West Virginia, writing

By the spring of 1997, Brandon and I were at a reflective point in our research efforts. We had begun to lose our edge. After all, how many times could we ask, “Now, how did Ed Haley hold the bow?” or “Do you remember the names of any tunes he played”? We decided to step away from interviewing people and focus on writing what we knew about Ed’s life and music. I spent long hours in Nashville at my dining room table listening to Ed’s recordings and working with the fiddle, while Brandon — in his three-room house in Ferrellsburg — transcribed interviews, re-checked facts, and constructed a manuscript. This went on for quite some time.

Eventually, Brandon came to visit and we decided to telephone a few people and ask more questions. Our first call went out to Edith Dingess, the only surviving child of Ed’s uncle, Peter Mullins. Andy and Dobie Mullins had told us about her several months earlier when we visited them on Harts Creek. Edith, they said, had recently moved from her home on Mud Fork in Logan to stay with a daughter in Columbus, Ohio. When we dialed her up, her daughter said, “She might be able to give you some information. Her memory is pretty bad. She’s 81 years old and she’s had a couple of real major heart attacks.”

I first asked Edith if she knew about Ed’s mother — her aunt — who apparently died in the early 1890s. Unfortunately, Edith didn’t know anything about her. As a matter of fact, she said she barely remembered Ed, who we knew had been practically raised by her father. She said he was a “nice person, likeable” who would “laugh and joke and go on.”

“I know Ed Haley used to come to our house with Mrs. Haley and they had a little girl. Might’ve had some boys — older,” Edith said. “I believe they lived down around Huntington. They’d come up home when my dad was a living and we was all home — I was young then — and they’d play music and we’d have company. We used to have some square dances at our house. We had some good times when he come up there.”

Edith said Ed’s children led him around, but he also got around using a cane.

Before we hung up, Edith gave us the telephone number of her niece, “Little Liza,” who lived with a daughter in Lancaster, Ohio. This was wonderful; I had first heard about Little Liza from Lawrence and Pat Haley in 1991. Little Liza had grown up in Uncle Peter’s home and was a featured face in family photographs. Prior to this lead, I wasn’t even sure if she was still alive.

When we called Liza, we first spoke with her daughter, Ora Booth, who gave the familiar introduction: “I don’t know if you’ll get too much out of her or not. She’s kinda forgetful and she repeats herself a lot. All I can do is put her on the phone and see what you get out of her. She’s seventy-six and her mind just comes and goes on a lot of things.”

I told Liza that I was good friends to Lawrence and Pat Haley, had heard a lot about her, and was very interested in Ed’s life. She said Ed used to stay a week or two with Uncle Peter — who she called “Poppy” — before heading back to Ashland. To our surprise, she had no idea exactly how Ed was related to her family.

“It’s been so long and you know I’ve been sick and everything and been operated on for cancer and stuff and I just don’t feel good,” she said. “When you get old, your mind just comes and goes.”

Just when I thought Liza’s memories of Ed had all but disappeared, she said, “I tell you, he was awful bad to drink all the time. Lord, have mercy. Anything he could drink, he’d drink it. That might have been half what killed him. He was a mean man. Just mean after women and stuff. I don’t know whether he could see a bit or not, but you’d get and hide from him and he’d come towards ya. I was scared of him.”

I asked Liza who Ed played music with when he visited at Peter’s and she said, “He just played with his wife. He didn’t have nobody else to play with. Lord, him and her’d get into a fight and they’d fight like I don’t know what.”

I wondered if Ed fought with his kids.

“Yeah, they liked to killed Ed Haley one time up there,” she said. “They’d just get into a fight and the kids’d try to separate their mommy and daddy and it’d just all come up. I had to holler for Ewell to come down there and get them boys off’n Ed Haley ’cause I was afraid they’s a gonna kill him. I didn’t want that to happen, you know? He got down there and buddy he put them boys a going. They was mean. I guess they took that back after Ed Haley. Yeah, he’d come up there and go here and yonder. After Mommy and Poppy got so bad off, people’d bring him down there and set him off and I had to take care of them, so Poppy just told him, said, ‘Ed, she has to wait on us and she can’t wait on you. You’ll just have to go somewhere else.’ He did.”

That was a horrible image.

In Search of Ed Haley 335

13 Sunday Jul 2014

Posted by Brandon Ray Kirk in African American History, Ed Haley, Music

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accordion, Aracoma, Ashland, Bill Bowler, Clayton White, Ed Haley, Ella Haley, history, Kentucky, Kiss Me Quick, Lawrence Haley, Logan, Lula Lee, Man of Constant Sorrow, Manuel Martin, Mona Haley, music, Nora Martin, Old Man Duff, Pat Haley, Soutwood Mountain, West Virginia, writing

Meanwhile, as Brandon flushed out more information about the 1889 feud, I was on the phone with Ed’s daughter, Mona Hager. In no time, she was singing “Old Man Duff”, one of Ed’s songs:

Old Man Duff was so doggone tough

That they called him dynamite.

On a mattress filled with broken glass

He rested well each night.

He combed his hair with a garden rake

And he ate his vittles raw.

He picked his teeth with a horseshoe nail

And he shaved his beard with a saw.

Old Man Duff was mighty tough

And rough as a man could be.

He had hair on his chest

And he wore no vest a

And he looked like a chimpanzee.

Old Man Duff had a daughter fair

But she died a poor old maid.

Lots of men woulda courted her

But they were all afraid.

Once old Duff seen a fella with her.

You could hear him rave and shout:

He’d put his hand down the poor man’s throat

And he’d turn him inside out.

Old Man Duff was mighty rough

And tough as a man could be.

He ate iron nails and the bones of whales

And he drank gasoline for tea.

Old Man Duff lived a thousand years

And he died and went below.

And when old Satan looked at him

He smiled and said, “Hello.”

Now the fire was mighty hot

When they put old Duff in there,

But he layed right down and he went to sleep

And it never singed a hair.

Old Man Duff was mighty rough

And tough as a man could be.

He had hair on his chest

And he wore no vest

And he looked like a chimpanzee.

Mona also remembered Ed singing “Man of Constant Sorrow”. She said Ed sometimes sang “little ditties” like with “Sourwood Mountain”. Ella did the same thing to “Kiss Me Quick”.

Kiss me quick, kiss me runnin’.

Kiss me quick ’cause my daddy’s comin’.

Love my wife, love my baby.

Love my biscuits sopped in gravy.

Ed never called square dances but would “blurt out some of the square dance reel” while fiddling.

I told Mona that I was still very interested in the source of Ed’s music.

“Pop was around a lot of blacks, you know, up in the coalfields up in West Virginia,” she said. “I even had a black nanny up there. She babysat me sometimes for Mom and Pop. Now that was at Manuel and Nora Martin’s house on the hill there at Aracoma [near Logan]. And Pop took me up to an old color lady’s bootleg joint one time somewhere up in West Virginia. And I know he was around a lot of blacks and I know that he learned some of the black’s music. They had a lot of blind friends that made music on the street, too, and one of them was Clayton White. He played an accordion. He walked up from 15th to 16th and back, you know.”

I asked Mona how many musicians were playing on the streets of Ashland in Ed’s time and she said, “Well, there was Pop and Mom, and there was Bill Bowler, and then there was a lady named Lula Lee. Now she was an illiterate woman and a lot of people got my mom and her mixed up. Mom was a cultured lady.”

I asked Mona if she thought her mother’s education rubbed off on Ed over the years and she said, “Oh, yeah. He only got uncultured when he was drinking. He talked well educated but of course he wasn’t. He was a very intelligent man.”

Mona seemed surprised when I told her that Ed could supposedly quote the Bible.

I asked her more about Ed’s and Ella’s relationship in later years and she said, “You know about me bringing him back from Logan back to Mom after they were divorced? Well, I was up there and I persuaded Pop to come home with me and I brought Pop home and he had one of those long change purses that snapped together and he had that in his pocket. And when we got home, he sit down and he was talking to Mom and he said, ‘Ella, I’ve got this plumb full of half-dollars and if you’ll let me sit by your fire this winter, I’ll give them all to you.’ I’m glad I took him home. That was when we lived on Greenup. He stayed with her until he died. Eventually Mom stayed with Lawrence and Patricia. She didn’t do any good after Pop died. She lost her friends. She didn’t have anybody to talk to.”

So after their divorce, they had a good relationship?

“They had a better relationship than they did before the divorce,” Mona said.

In Search of Ed Haley 322

18 Wednesday Jun 2014

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

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Brownlow's Dream, Drunkard's Hell, Ed Haley, Harts Creek, history, Lawrence Haley, Logan County, music, Peter Mullins, Roxie Mullins, Vilas Adams, Violet Mullins, West Virginia, writing

After spending a few hours with Vilas, we drove a short distance up main Harts Creek to see Violet Mullins. Violet still lived in her mother Roxie’s little house. I hadn’t seen her since my first visit to Harts with Lawrence Haley in 1991; the home seemed a bit empty without Roxie. Violet began to speak in a voice hauntingly reminiscent of her mother’s.

“I knew Ed well,” she said. “He used to come stay all night at our house when he was traveling through here. I know he played all kinds of music. He’d play tunes and then sing them. He’d sing ‘The Drunkard’s Hell’ and the ‘Brownlow’s Dream’, I’ve heard him play that. They’d always be a big gang with him and I never stayed around with them where they was a playing music very much. He’d drink with them every now and then. He’d get to drinking and they’d get into a racket and have him a talking every once in a while. He never was at our house too much — just come and stay all night, him and his daughter and his son. Now, his son Jack stayed with us a long time. He come here, you see, and stayed with Uncle Peter’s fellers, and with different families around here. He stayed for a year or two.”

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