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Brandon Ray Kirk

Tag Archives: Wilson Douglas

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.

In Search of Ed Haley 334

09 Wednesday Jul 2014

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

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Amos Morris, Billy Adkins, Brandon Kirk, Calhoun County, Doc White, Dolly Bell, fiddler, fiddling, history, Ivydale, Jimmy Triplett, John Hartford, John Morris, Johnny Hager, Laury Hicks, Minnie Moss, music, Ocie Morris, Pigeon on the Gate, Stinson, Walker, West Virginia, Wilson Douglas, writing

Around that time, as Billy and Brandon wandered in the woods of eastern Kentucky, I called Jimmy Triplett, a fiddler and protégé of Doc White in West Virginia. Doc, in addition to being Ed’s friend, was a jack of all trades — fiddler, doctor, dentist… I’d recently heard that he was a photographer and wondered if maybe he had pictures of Ed or Laury Hicks. Jimmy wasn’t really sure.

“It was way back when he was a youth that he took pictures,” he said. “I guess he was considered an amateur, but he made a lot of photographs used for postcards.”

I asked Jimmy if Doc ever talked about Ed and he said, “Yeah, he talked about how good he was and everything. He said that he was one of the best that he ever heard.”

What kind of tunes did Doc play?

“The main one Doc plays is ‘Pigeon on the Gate’ — he got that from Ed Haley,” Jimmy said. “I think it would be in standard tuning — it’s a D tune. I don’t know that there’s that many other tunes that he got off of Ed Haley that he played, but he talked about him a whole bunch and then described seeing him and his wife play.”

Jimmy played a tape over the telephone of Doc talking and playing “Pigeon on the Gate”.

“Here’s one they call the ‘Pigeon on the Gate’,” Doc said. “Ed Haley, a blind man, played that tune from Kentucky. Best fiddler that ever I heard draw a bow. His wife was blind and she played the mandolin. They used to come through the country and stop at our houses and stay for days and play with us. You ought to’ve heard him play the fiddle. He’d make them fellas over there sick.”

Jimmy referred me to John Morris, an Ivydale-area fiddler who’d known Doc and even learned “Pigeon on the Gate” from him. John was too young to remember Ed personally (he was fifty-something) but had heard a lot of stories.

“I growed up hearing about Ed Haley from my dad,” John said. “I heard a lot of other stories about him later. He used to come here and stay at my grandparents’ house some. Their names were Amos and Ocie Morris. They just lived about a mile and a half from the train station and it was on the way to Calhoun County and they were from Calhoun County. He’d ride the train to Ivydale. If it was the evening train, usually a lot of people from Calhoun County — the next county back — stayed at my grandparents’ house. He’d stay at my grandpaw and grandmaw’s up here and then go on the next day. He usually, I think, visited with Laury Hicks mostly.”

What about Laury?

“Laury Hicks was evidently a riverman,” John said. “I believe it was Aunt Minnie Moss that said he could take a hog’s head of salt or something under each arm and he poled boats up and down the Elk River and hauled supplies when they used them flatboats. I’ve heard stories of his strength — what a strong and robust kind of a man he was. My dad said that when Laury Hicks died, Ed Haley wasn’t here and the next time he come through they took a chair and set it out at Laury Hicks’ grave and Ed Haley sat out on Laury Hicks’ grave and fiddled for about four hours.”

John said stories abounded about Ed among the people of Calhoun County.

“They told that they was having church over there someplace one night in an old school building or something on top of the hill between Walker and Stinson,” he said. “Ed happened to be in the country and they wanted him to play some hymns. He got started playing and he got off of playing hymns and they wound up breaking up church and having a dance. And they was about to take him up over it — about to get in trouble with the law over it — for breaking up church.”

I asked John if he thought that was a true story and he said, “Well, I’ve heard that. I know Ed cussed all the time. He was bad to cuss and swear. I heard that my Grandmaw Morris about put him away from the table for swearing at the table. Dad said he swore continuously.”

It was coincidental that John would mention Ed’s profanity. A few days later, Brandon met a niece to Johnny Hager at a genealogical meeting and she said Johnny quit traveling with Ed because he used foul language and because he had another woman in Calhoun County. Supposedly, when this woman died Ed played the fiddle at her grave all night. This “other woman” story may have had some merit: Wilson Douglas told me that Ed had an illegitimate daughter in that country.

In Search of Ed Haley 308

21 Wednesday May 2014

Posted by Brandon Ray Kirk in Ed Haley

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Ashland, Billy in the Lowground, Bonaparte's Retreat, Charles Gardner, Charleston, Dallas, Done Gone, fiddling, Flatfoot Nash, French Carpenter, Georgia Slim Rutland, Gunboats Through Georgia, history, John Hartford, Kentucky, music, West Virginia, Wilson Douglas, writing

Back in Nashville, I called Wilson Douglas to thank him for being such a good host on my recent trip to West Virginia. I also had a few questions, starting with whether or not Ed played a tune called “Gunboats Through Georgia”.

“Oh, yeah,” Wilson said. “Well, they wasn’t very many, John, that he didn’t play. And he played a danged tune, him and French Carpenter, called the ‘Flatfoot Nash’.”

Wilson paused, then said, “I told you about Ed Haley commending Georgia Slim, didn’t I? He said he believed that Georgia Slim was the best fiddler on some of them there Southern tunes he ever heard. He said nobody could touch him on the ‘Billy in the Lowground’. Now, Georgia Slim — way back there in ’37, ’38 — he went and stayed with Ed Haley a lot in the wintertime.”

Wilson’s memories of Georgia Slim caused me to recall my theory that Ed was a grandfather of the Texas contest fiddling style. I hadn’t thought much about that lately so I called up Charles Gardner, an authority on Texas fiddling. Charles said Georgia Slim had influenced a lot of Texas fiddlers when he played over Dallas radio in the early 1940s. At that time, he was fresh from the Ashland-Charleston area, his playing no doubt filled with Haley and Kessinger licks. It seemed very possible to me that the unfamiliar parts he played on tunes like “Done Gone” and “Bonaparte’s Retreat” were learned from Ed or at least based on his approach.

John Hartford at the Hicks grave (1996)

14 Wednesday May 2014

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

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Appalachia, Brandon Kirk, Calhoun County, cemeteries, Hicks Family Cemetery, history, John Hartford, Kim Johnson, Laury Hicks, music, photos, U.S. South, West Virginia, Wilson Douglas

Wilson Douglas and John Hartford, Calhoun County, WV, 1996

Wilson Douglas and John Hartford, Calhoun County, WV, 1996

Brandon Kirk and John Hartford at the Laury Hicks grave, Calhoun County, WV, 1996

John Hartford and I at the Laury Hicks grave, Calhoun County, WV, 1996

John and I at the Laury Hicks grave, Calhoun County, WV, 1996

John and I at the Laury Hicks grave, Calhoun County, WV, 1996

In Search of Ed Haley 305

14 Wednesday May 2014

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

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Appalachia, Arnoldsburg, Ashland, banjo, Ben Friend, Bernard Postalwait, Bill Stutler, Bob Carr, Brandon Kirk, Calhoun County, Camp Chase, Charleston, civil war, Clay, Clay County, Clendenin, Ed Haley, Ed Williams, Edden Hammons, fiddlers, fiddling, history, Hog Run Hollow, Jack McElwain, John Hartford, Kentucky, Kim Johnson, Laury Hicks, Lawrence Haley, Lincoln Republican, Luther Carder, music, Pat Haley, Pisgah Bridge, Richwood, Sol Carpenter, St. Albans, Ugee Postalwait, West Virginia, William E. Chilton, Williams River, Wilson Douglas, writing

Brandon and I got a good night’s sleep at Pat Haley’s home in Ashland, then took off the next morning to see Wilson Douglas in Clendenin, West Virginia. I wanted to hear more about his memories of Ed, play some music, and go see the old Laury Hicks homeplace. Wilson met us on his porch with Kim Johnson, a banjo player. We all went inside and got settled, where Kim mentioned that Laury first invited Ed to his house after meeting him in St. Albans, near Charleston. Wilson was quick to offer new details about Ed — of a more seedy variety. He said Ed “ran around” a lot with Bernard Postalwait when he was in the area. They usually got drunk and went “women crazy” and stayed gone all night. Hicks apparently had a “wild side,” too. Wilson hinted that he was a moonshiner who sometimes left home on timber jobs…and never showed up.

We wasted little time in taking off to see some of Ed’s old stomping grounds in Clay and Calhoun Counties. There was a slight drizzle, just enough to wet everything.

Our first stop was the Hicks homeplace, which had been overtaken by weeds on my previous visit in 1994. The weeds were gone this time, so we got out of the car and maneuvered through the rotting remains of an outhouse, chicken coop, cellar base, parts of an old fence, and scattered boards — all damp and colored dark brown due to the light rain dropping down around us.

It was a far cry from the “old days” when (according to Ugee Postalwait) the family had farmed corn, wheat and cane all the way back up the mountain to the head of Hog Run Hollow. Gone were the apple and peach orchards. Gone were the gardens down by the creek (now taken in by the paved road). And, most obviously, gone was the old Hicks home, the last of four houses built on the site (the final one having been constructed in 1936).

We soon made our way up the hill to the cemetery, where Brandon took pictures. I just kind of stared at Laury’s grave — picturing Ed playing there after Laury’s death in 1937.

As we came off the hill, Wilson said Hicks was rumored to have died from “some bad cases of VD.”

Later that day, Wilson showed us Clay, the seat of government for Clay County. This was the place where Ed Haley arrived by train from Charleston enroute to the home of Laury Hicks. Lawrence Haley once told me about his father walking from Clay to Arnoldsburg, a town some thirty miles away. Brandon had found this great article titled “Old-Time Fiddlers Will Gather At Clay Saturday” from a 1921 edition of the Lincoln Republican.

Clay, W.Va., Jan. 10 — Elaborate preparations are being made in the little city of Clay for the old-time fiddlers’ contest which will be held on Saturday night, January 22. An attendance surpassing anything ever held in Clay is expected, and the hospitable citizens of this town have appointed a committee to look after the welfare of its guests. Similar contests have been held in various other sections of West Virginia this winter, but they cannot even compare to the one which will be held in Clay, it is predicted. Old-time fiddlers from far and near are coming to compete, and, if possible, carry off the honors of the evening.

Among some of the celebrated old-time fiddlers who will be here is “Jack” McElwaine of Erbacon, in Webster county. “Jack” has played the fiddle for more than fifty years, and between times has been justice of the peace, preached the gospel and practiced law. He learned to play under Saul Carpenter, the most famous old-time fiddler of them all, and who played himself out of Camp Chase during the Civil war. Another fiddler equally famous is “Edin” Hammons, who hails from the head of Wiliams river, and whose sole occupation all through life has been hunt, trap and play the fiddle. “Edin” has killed more bears, deer and played the fiddle more than any other man on Williams River.

It is said that Senator William E. Chilton and Colonel Bob Carr of Charleston have been given invitations to attend the contest and compete with these old-time fiddlers.

Several local celebrities are expected to enter the contest, and the old mountaineer fiddlers are looking forward to this part of the contest with great pleasure and saying “the city fellers will have to fiddle some to beat them.” No complete list of the fiddlers who enter the contest has been made public, but some fifteen or twenty are expected. Ben Friend, Ed Williams, Luther Carder and “Bill” Stutler, men who have been winning prizes in other contests, will be there.

People of Clay and surrounding country are looking forward to this event with great anticipation and pleasure. The last contest of the kind was held at Richwood, Thursday night of last week, and fully 200 persons were unable to get into the theater where it was held.

There are very few of the real old time fiddlers who play the old mountain tunes living today, and within a very short time there will be none left and no one to take their place. The younger generation has neither talent nor desire for this kind of music. At any rate, one can not find a young man of today who can play the fiddle in the “good old-fashioned way.”

Clay, I found, was a small shell of a town with a nice old courthouse sitting high on the hill. There was the typical arrangement of buildings: sagging old businesses hinting at lost prosperity, a small bank, dollar stores, a car dealership, a post office, and a Gino’s restaurant. No red lights and basically one two-lane thoroughfare through town. There was a hotel with the weekly newspaper office headquartered beneath where, I was told, you could go in late and help yourself to a key and then pay for your room the next morning on your way out. After passing through town and crossing the Pisgah Bridge, we spotted an old section of residences and a community church. The track bed was still visible but the railroad was long gone.

In Search of Ed Haley 286

11 Friday Apr 2014

Posted by Brandon Ray Kirk in Ed Haley, Music

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Arkansas Traveler, Arthur Smith, Blackberry Blossom, Calhoun County, Clark Kessinger, Clendenin, Ed Haley, fiddlers, fiddling, French Mitchell, Getting Off the Raft, history, John Hartford, Laury Hicks, music, Parkersburg, Sugar Tree Stomp, West Virginia, Wilson Douglas, writing

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 277

30 Sunday Mar 2014

Posted by Brandon Ray Kirk in Ed Haley, Music

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Appalachia, Calhoun County, Cincinnati, Ed Haley, fiddlers, fiddling, Grand Ole Opry, Great Depression, Harold Postalwait, history, John Hartford, Laury Hicks, Minnie Hicks, music, Nashville, Ohio, Ugee Postalwait, West Virginia, Wilson Douglas, writing

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.”

Cliff Top

22 Wednesday Jan 2014

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

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Carol Hardway, Cliff Top, culture, fiddlers, fiddling, history, John Hartford, life, music, photos, West Virginia, Wilson Douglas

Carol Hardway, Wilson Douglas, and John Hartford at Cliff Top, West Virginia, 1995

Carol Hardway, Wilson Douglas, and John Hartford at the Appalachian String Band Festival in Cliff Top, West Virginia, 1995

In Search of Ed Haley 213

20 Friday Dec 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Calhoun County, Doc White, Ed Haley, fiddling, history, Laury Hicks, life, moonshine, music, West Virginia, Wilson Douglas, writing

The next day, Wilson Douglas and Kim Johnson came on the bus where Wilson spun another one of his great stories, this time about Ed and Doc White.

Ed was already over at Laury Hicks’, but Laury was gone somewhere. That mail carrier brought the word through that Ed wanted Doc to come over and go down there to Bear Fork and play some music for that dance. Well, Doc lived in Ivydale. He played the fiddle a little, the banjo a little. He come down there and he got me one evening. Doc said, “Now, if you’ll drive, we’ll both go. We’ll hear Ed fiddle.” I said, “All right.” So we started. It must’ve been four o’clock in the evening. It was warm, you know. It was maybe the middle of August.

We stopped over on the Calhoun County line. That’s between Calhoun and Clay. Doc said, “Stop here. I know this old lady here. We’ll get some wine.” She had a bunch of green beans and set them out along the road selling them you know in little baskets. She said, “Now Doc, I’m gonna sell them beans right there for six dollars a basket.” Doc said, “My god, I don’t want to buy them beans.” So she kept on, you know. She looked at me and winked. Said, “Now Doc, better take a couple of baskets. Well, I’m gonna rake in here and show you how nice they are.” She had a quart jar of moonshine in each one of them. She was a bootlegging and Doc said, “Yeah, by god, yeah, I’ll take two baskets.”

We got down the road a little bit, Doc he pulled them two-quart fruit jars out and throwed them baskets and green beans over the hill. I said, “Now, look, Doc. If you get too drunk and cause trouble over there, they’ll throw all of us in jail.” Time we got to Bear Fork they was all drunk but me and I was a driving. Some old man there was calling that dance and Ed Haley was fiddling some of the prettiest fiddling I ever heard, but as the evening progressed the alcohol went to working on him. He lost his coordination. And he got so high, he was a making bad notes. Doc did, too. Doc was a talking fine — his glasses way down on the end of his nose. And Doc said, “Well, we better go home.” They liked Ed. They wanted to keep him all night. He said, “I gotta go with Doc and this boy. I gotta get back over to Laury Hicks’.” We come in the next morning. He was so drunk when we got back to Hicks’ I had to lead him up the steps. That’s the way it happened, all them things over there.

In Search of Ed Haley 153

19 Monday Aug 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, Doc Holbrook, Ed Haley, fiddler, fiddling, history, John Hartford, Laury Hicks, music, West Virginia, Wilson Douglas, writing

I called Wilson Douglas a few weeks later, still blown away by Ed’s incredibly fast fiddling on the Holbrook recordings. I raved about it to Wilson — how it was like a “rush of music” — who showed no surprise that he fiddled with so much of what he called “drive.”

“Now, they’s another tune I thought about that Haley played, he called it ‘Dance Around Molly’,” he said. “My god, Haley could play that. It’s a real good tune. Got a lot of drive about it. ‘They’s so many tunes,’ Ed said, ‘a man can’t learn them all, but I guess he can keep trying.'”

I played Ed’s recording of “Fifteen Days in Georgia” for Wilson and asked him if he played that fast at Laury Hicks’ house.

“About the same, John,” he said. “He was a great hand to play a tune in whatever time it was pitched in. He didn’t overplay his notes. And he played the solid driving note. He didn’t skip over it like skipping over with a motor boat.”

Wilson said one of the tunes that Ed played at Laury Hicks’ grave was “Arkansas Traveler”.

In Search of Ed Haley 150

13 Tuesday Aug 2013

Posted by Brandon Ray Kirk in Ed Haley

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Burl Hammons, Ed Haley, Edden Hammons, fiddling, history, Jack McElwain, Laury Hicks, Sherman Hammons, Tom Cheneth, Tom McCune, West Virginia, Wilson Douglas, writing

After speaking with Maxine, I called Wilson Douglas to ask him about Edden Hammons, regarded by many as a top old-time fiddler in the early part of the century.

“Well now, I’m gonna tell you about Edden Hammons, John,” he said. “Now I heard him fiddle one time in Webster Springs, I believe it was, about ’48 or ’49. And something happened. They broke the concert up and he went home. Now that’s the only time I ever heard him in person, but by god he was one of the best old-time fiddlers in the state. And Burl Hammons, his nephew, I don’t think anybody coulda beat him on the old tunes. And Sherman — they could all play to tell you the truth.”

I asked if Ed knew Hammons.

“Well, I’d say distantly he did,” he said. “He had a lot of Ed Haley’s bow in a way, but he didn’t know the tunes that Ed Haley knew. But now Edden Hammons had a lot of bow power.”

What about Uncle Jack McElwain?

“Yeah, I knew about him, John,” he said. “But now I never heard the man play, but my father said he was a powerful fiddle player. My dad was around him a lot. However, he said he was in no comparison with Edden Hammons.”

I asked Wilson if Ed ever played for dances without any second, and he said, “Well, I seen him play about an hour one time over at Hicks’ and he didn’t need no second. You know, playing the fiddle for a square dance, Haley taught me something there I’ve never forgot: you’ve got to get the fiddle with the rhythm and the fiddle with the caller. You’ve got to get them all in coordination, and Haley done just that.”

In those days, did the caller dance while he called or did he call from the side?

“Well now, they was an old gentlemen — he was a hell of a banjo player — by the name of old man Tom McCune. Now brother, he could call and dance right along with it. He was the best I ever heard. That banjo player that played with Ed Haley, I believe it was Tom Cheneth. Lived down Walker. Him and that Tom McCune I guess, was two of the best in the state that was clawhammer, you know. He lived at what’s called the mouth of Walnut. Then he turned over, I think maybe he lived over in what they call that Nicut country. You know, Ed Haley didn’t have no bad musicians with him.”

Wilson said, “I’ll tell you what, John. Ed Haley would not play a lick if they was somebody else a fiddling. He’d sit there and work his fingers and listen like a fox a listening for a bunch of chickens, you know. By god, he had an ‘awful’ ear. He’d just sit there, and he’d command them sometimes. Sometimes he wouldn’t say nothing. It depended on how he felt, you know?”

In Search of Ed Haley

29 Saturday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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fiddler, history, John Hartford, Kim Johnson, music, photos, West Virginia, Wilson Douglas

Wilson Douglas, Kim Johnson, and John Hartford, 1994

Wilson Douglas, Kim Johnson, and John Hartford, 1994

In Search of Ed Haley

17 Monday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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art, Billy in the Lowground, Ed Haley, John Hartford, music, Wilson Douglas

Ed's double windup

Ed’s double windup

In Search of Ed Haley 131

17 Monday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Appalachia, culture, Ed Haley, fiddler, French Carpenter, history, John Hartford, Kim Johnson, music, Steve Haley, West Virginia, Wilson Douglas, writing

That evening, we all gathered in Wilson’s kitchen and played music. It was clear in watching Wilson play that his style was different from Ed’s, but he knew all kinds of great tunes: “Abe’s Retreat”, “Coo Coo’s Nest”, “Fourteen Days in Georgia”, “Walkin’ in the Parlor”, “Boatin’ Up Sandy”, and “Brushy Run”. He had a real sense of humor. When I played “Stony Point”, he just kinda looked at me laughing, then said, “John, that ain’t ‘Stony Point’. Can I kid you a little? Now, Ed Haley wouldn’t like that.”

Every now and then, between tunes, Wilson told me more little things about Ed. He said Ed wouldn’t change his style for anyone and hated when someone asked him to play fast. He said Ed used to tell him to sometimes play it “lazy” and slow a piece down for different effects, such as at the end of “Birdie”. Wilson remembered that he played “Billy in the Lowground” with a double wind-up.

Wilson really bragged on Ed’s version of “Forked Deer”.

“Anybody that tried to play ‘Forked Deer’ with Ed Haley had to be crazy,” he said. “Oh god, he’d put that B-flat in there and he’d have a little grin on his face. He didn’t laugh very much. I’d watch that fiddle like a hawk. I’d watch them notes but god they were fast. And he;d play that ‘Sweet Sixteen’…”

Now, what was “Sweet Sixteen”?

“Well now, that’s got three titles,” Wilson said. “‘Too Young to Marry’, ‘Chinky Pin’, and all that. Ed said most people just smothered it to death on the bass, but he didn’t. Him and Clark Kessinger both played it about the same. Now John, he just used two notes on that bass.”

Wilson said Ed played “Callahan” in the key of A, then said, “And he played ‘Charleston Number One’ but he called it ‘Goin’ to Charleston’. I tell you where he got it from. He borrowed it from them old Possum Hunters in Nashville way back in ’37 and ’38.”

Wilson said Ed also got a lot of tunes from French Carpenter, the last of the old-time Carpenter fiddlers (and Wilson’s distant cousin) in central West Virginia. Ed used to spend a week or two at a time with French listening to him play cross-key tunes, like “Camp Chase”.

“There was one thing about Carpenter,” Wilson said. “Now Ed Haley was a better fiddler all around, but what Carpenter played he was good. He didn’t have no inferiority complex. He done a good job playing in front of Ed Haley. He’d say, ‘Well, now Ed, if you want to hear me, fine. I’ll give you what I’ve got.'”

I asked Wilson if Ed played “Shelvin’ Rock” and he said, “He liked it, but he never did play it. He liked to get French to play it. He’d sit, you know, and grin. He’d say, ‘By god, you got the bow, Carpenter, to play that tune.'”

Ed and French played “Devil in Georgia”, although Haley called it “Deer Walk”.

Over the next few hours, Wilson played me a lot of tunes, many of which he’d heard Ed play. The tunes had strange names, some familiar but most not: “Elzic’s Farewell”, “Little Rose”, “Mouth of Old Stinson”, “Old Aunt Jenny With Her Nightcap On”, “Run Here Granny”, and “What Are We Gonna Do With the Baby-O” (in the key of E).

There were other tunes that he only remembered Ed playing, like “Bostony”, “Brickyard Joe”, “Dusty Miller”, “Jimmy in the Swamp”, “Katy Hill”, “Lost Indian”, “Old Joe”, “Pumpkin Ridge”, “Snowbird on the Ashbank”, “Sweet Georgia Brown”, “Twinkle Twinkle Little Star”, and “Waynesboro Reel”.

Wilson thought Ed fiddled “Red-Haired Boy” in the key of A, “Mississippi Sawyer” in G, and “Coo Coo’s Nest” in A or G, and said he played “Running Up the Stairs” so well “it’d make a person cry.”

Wilson remembered that Ed had some strange titles for his tunes. He said he used to call some tune with a common name “Dance Around Molly”, then added, “And he played another tune, I never could get it in my mind. Ed called it ‘Raccoon in a Pine Top’. I’ll be danged if he wouldn’t break that bass out — it’d sound like ‘Over the Waves’ or something.”

Wilson said, “You know, John, if I had a lot of time, like a week, I could tell you a lot of things about Ed Haley. When you get old, all that stuff comes to you, then you forget it.”

Hoping to pull something from his memory, I played tunes I knew from long ago and asked, “Did Ed play anything like this?”

He came up with something almost every time.

Ed also played “Fine Times at Our House” but called it “George Booker”, which is interesting in that the old-time Texas fiddlers also call it that.

I told Wilson what Lawrence Haley had said about Ed loving Scott Joplin and ragtime. He thought for a moment, then said, “Well, he may’ve done it, but now, he stayed with hoedowns all the time I heard him. Course he’s afraid to play anything else: them old people didn’t know what that kind of music was.”

In other words, he played what they wanted to hear.

“Absolutely. And he made money by it. And he played straight. He didn’t fancy it up no way. He didn’t want you to change a tune one note. He wanted it like it was. He said, ‘Cut it off at the stump like it is.'”

I said, “He didn’t take tunes and add stuff to it?” and Wilson said, “If he thought it was appropriate he would. The man had enough skill, he could play anything he wanted to.”

Steve and I hung around with Wilson until late that night, talking more about Ed’s music and playing tunes. We eventually pried ourselves away and headed back to Lawrence’s in Ashland.

In Search of Ed Haley 130

16 Sunday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Calhoun County, fiddler, French Carpenter, Ivy Helmick, Jarvis Hicks, Jesse Hicks, John Hartford, John McCune, Laury Hicks, music, Tom Carpenter, Wilson Douglas, writing

About that time, we loaded up in my car and headed to the old Hicks homeplace in Calhoun County. On the way, we stopped at a plain brick building situated at the mouth of Stinson Creek. Wilson said it was the location of an old tavern called “Copperhead Junction” — one of the roughest places around in Ed’s time.

“I would’ve rather went to Vietnam than in there,” Wilson said.

Ugee Postalwait later told me that it was called the “Bloody Bucket” — a scene of excessive drinking, fighting, and shootings — and partly inspired a tune Ed played called “The Mouth of Stinson”.

“Tom Carpenter and French played that,” Wilson said. “John McCune was supposed to have composed it. They said John wouldn’t work a lick at nothing. All he ever did was fiddle. In the old days when they were logging that country they had a picnic at the mouth of Stinson. Old Harmon Carpenter was there that day. They had some musicians there. One of these fellows was a Hamrick and one was a Cheneth. They was loggers, lumberjacks, bull of the woods — strong men. They got to wrestling. I don’t know if they were drinking or not. They weighed over 200 pounds apiece. They wrestled three or four hours; finally they just quit. The next day this Cheneth got sick — evidently pulled something inside. That night he died. It was a sad time. That’s how the ‘Mouth of Stinson’ started.”

The Laury Hicks place was just a short distance away from Stinson. It was so overgrown and snaky-looking that we had to settle for just staring at it up the hill from the road. Just up through the weeds, we knew, was the family cemetery where Ed had played at Laury’s grave in the winter of 1937.

“Laury Hicks was a good rough fiddler,” Wilson said. “The first time Ed come over there nobody could take Hicks on the ‘Blackberry Blossom’ or the ‘Arkansas Traveler’. Ed said, ‘Wilson, I heard that feller fiddling when I come up the road. By God, I thought I was up against it. I thought I’d done come to the wrong place. But after he played them two tunes, I seen I was all right.'”

Hearing that was a little surprising based on what I’d heard from Ugee Postalwait about Ed and Laury playing tunes together almost note for note.

But Wilson was sure about it.

“John, it’d sound like shit. Now that’d be just like me playing against Ed Haley. That’d be the biggest joke in the world.”

From there, Wilson, Kim, Steve and I went to a nearby hollow and talked on the porch with ninety-six-year-old Ivy (Postalwait) Helmick, a tiny, skinny lady with silver hair and a black cat planted on her lap. Her daughter Maxine remembered Ed coming around and keeping everyone up playing music.

We drove on down the road and turned up Wilson’s Branch to visit Jesse Hicks, Laury’s daughter-in-law who lived in a nice wooden house. We sat with her on the porch for a few minutes before a man stopped and hollered at us from his car in the road. He said he was Jarvis Hicks, Jesse’s grandson, and it was clear that he was wondering who all the strangers were hanging out on his grandmother’s porch. We walked down and told him who we were and what we were doing and said he’d heard that Ed and his great-grandfather Hicks made a deal that whoever lived longer would sit on the other’s coffin and play the fiddle. Jarvis got out of his car at that point, mentioning something about having one of Ed’s records (a “great big record on fast speed”), which sounded suspiciously like Parkersburg Landing. Unfortunately, I never got to find out because he seemed unwilling to let us listen to it. After some small talk, he said he was in a hurry to “go eat an elk from Wyoming,” and raced away.

In Search of Ed Haley 129

15 Saturday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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A.P. Carter, Appalachia, Arthur Smith, Chubby Wise, Earl Scruggs, Ed Haley, fiddler, Georgia Slim Rutland, history, John Hartford, music, Wilson Douglas, writing

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

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

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

What about banjo-pickers, like Earl Scruggs?

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

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

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

In Search of Ed Haley 128

13 Thursday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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Bernard Postalwait, Calhoun County, Ed Haley, fiddler, history, Laury Hicks, Logan, music, Natchee the Indian, Roane County, West Virginia, Wilson Douglas, writing

Wilson said Ed hung out with his buddies for a month or so, then made plans to head back down to Ashland or to Logan County.

“About a week before he’d get ready to go to Logan, we’d say, ‘Now Ed, stay another week. They is some big farmers coming out of Roane County, and you can make a little money there’,” Wilson said. “And that Postalwait, a week or two before he knew about when Ed was gonna leave, he’d [give Ed] some homebrew — and ah God it’d knock your hat off. Bernard would say, ‘Now Ed, hang on a few days, now. We’ll help you get some more money.’ Aw, he’d cuss around, ‘Well, I’ll stay another week, and that’s it.’ When that homebrew’d work off, Postalwait would bring him just a little bit about noon that day before the session. By God, he’d just lick his lips, you know, and he’d say, ‘That’s fine,’ but he’d never let him get none before the session. Well he’d stay that week and we’d tell all the aristocrats that had money. Some of them old retired ladies, they liked to hear him and they would bring a little money.”

“Well, he’d leave over there maybe with sixty or seventy dollars,” Wilson said. “Then he’d head for Logan and the coalfields, and they would begin to make money, stay up there two or three weeks. Back to Ashland, and then in the fall, he’d come back to Calhoun County. Let everybody build up a little, you know? And if they was nobody down there to meet him, he’d catch that what we call the ‘mail hack’ — a man that carried the mail with a little buggy and a team of horses. Everybody hollered, ‘Well where’re you gonna be?’ ‘I’m over at Hicks’, boys!’ That danged house was full. The yard was full. Minnie Hicks’d have a big pot of beans and three gallon of coffee. And it was just about every night.”

Wilson had really specific memories of Ed playing at Laury Hicks’ house.

“He’d sit there in an old split-backed chair, by god, and never miss a note,” he said. “And his endurance never slowed up. He patted his feet a little bit, but not in excess. Any time Haley was just sitting around, his fingers constantly moved all the time just like he was playing the fiddle. And there was no fine tuners. The man didn’t have a chin rest — he didn’t have no use for a chin rest.”

What kind of strings did he use?

“John, in them days, there were no super sensitive strings,” Wilson said. “It was the old Bird, and the old Gibson, and them Black Diamonds. They cost twenty-five cents. And he played them strings and them white bone keys and that old fiddle. And I tried to remember what kind of fiddle he had but it didn’t matter much whether it was any good or not. He could make it play. Now John, another thing I want to mention to ya. Now, Ed Haley’s bridge was almost flat. He didn’t have much roll in his bridge.”

Wilson said Ed didn’t have a lot of rosin on his fiddle because he didn’t use much on his bow.

What was he like?

“You couldn’t punch the wrong button,” Wilson said. “He didn’t want you to ask him about any ‘Orange Blossom Special’ or ‘Boil the Cabbage Down’. You had to be real careful. We didn’t talk a lot, but he took a liking to me. I picked up enough nerve to ask him why he didn’t go onto WSM way back there in ’37 and ’38. ‘Well,’ he said,’‘I don’t like them people. I don’t trust them. And another thing, they’ve got no soul about their music.’ And if you mentioned Natchee the Indian, you punched the wrong button. Ah, there’s so much stuff about him — I don’t want to leave nothing out. I remember this one night in particular it was about 3:30 in the morning. Some lady come in there. She was about half-stooped on that homebrew. Said, ‘Ed, I wanna hear the ‘Old Spinning Wheel in the Parlor’.” He said, ‘Damn the ‘Old Spinning Wheel in the Parlor’. I’m tired. I’m quitting.’ That’s the way he was.”

In Search of Ed Haley

13 Thursday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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culture, fiddler, history, John Hartford, life, music, photos, Steve Haley, Wilson Douglas

John Hartford, Wilson Douglas, Steve Haley, Clendenin, West Virginia, 1994

John Hartford, Wilson Douglas, Steve Haley, Clendenin, West Virginia, 1994

In Search of Ed Haley 127

11 Tuesday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley, Music

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

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

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

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

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

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

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

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

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

Wilson said Ed wasn’t being sarcastic.

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

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

In Search of Ed Haley

05 Wednesday Jun 2013

Posted by Brandon Ray Kirk in Ed Haley

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

Wilson Douglas, West Virginia fiddler

Wilson Douglas, West Virginia fiddler

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Feud Poll 1

If you had lived in the Harts Creek community during the 1880s, to which faction of feudists might you have given your loyalty?

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Feud Poll 2

Do you think Milt Haley and Green McCoy committed the ambush on Al and Hollene Brumfield in 1889?

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Feud Poll 3

Who do you think organized the ambush of Al and Hollene Brumfield in 1889?

Recent Posts

  • Sheriff Joe D. Hatfield, Son of Devil Anse (1962)
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Ed Haley Poll 1

What do you think caused Ed Haley to lose his sight when he was three years old?

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Blogs I Follow

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OtterTales

Writings from my travels and experiences. High and fine literature is wine, and mine is only water; but everybody likes water. Mark Twain

Our Appalachia: A Blog Created by Students of Southern West Virginia CTC

This site is dedicated to the collection, preservation, and promotion of history and culture in Appalachia.

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Genealogy and History in North Carolina and Beyond

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A site about one of the most beautiful, interesting, tallented, outrageous and colorful personalities of the 20th Century

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