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From the Logan Banner of Logan, WV, comes this bit of history about Harrison Blair, an early sheriff in Logan County, WV:
Harrison Blair Was First Democrat Sheriff In Logan
Son of Namesake Of Town Of Blair Served Shortly After Civil War; Democrats Held Office Continuously Until 1924
John Blair, namesake of the little mining town which nestles at the foot of Blair Mountain on the headwaters of Laurel Fork, was the father of Logan county’s first Democratic sheriff.
He was a native of Powells Valley in Virginia and first settled just above the present site of Williamson. He married Polly Baisden and later settled near his father-in-law, Jean Schmidt Baisden, at the Mouth of Laurel.
Blair died in 1860 after rearing a family of three sons and three daughters. His son, Harrison, was Logan county’s first Democratic sheriff after the Civil War.
Harrison was married twice. He first married a Miss Johnson and later a Miss Chafin. His brothers Anderson and Joe married McCoy sisters and made their home near their brother and father on Laurel Fork.
Jean Schmidt Baisden, father-in-law to John Blair, was one of the first settlers at the Mouth of Laurel. He came with Lafayette to America and served under him during the Revolution.
After the war he located at Richmond, Va., and then moved to Reeds Island, New York, where he married a Miss Burnham. At the beginning of the 19th century he moved to the mouth of Laurel and reared a family.
He had three sons and two daughters. His sons were Joseph, who married Lucinda Osborne; Solomon, who married Mary Chafin; and Edward, who married Susan Bennett.
His daughters were Polly, who married Harrison Blair; and Frances, who married Thomas Copley.
John Blair’s daughters were Mahulda, who married Anderson Dempsey; Chlorina, who married John McCoy; and Rhoda, who married Moses Parsley.
The Blairs and Baisdens are a well-known family on the Laurel Fork side of Blair Mountain, though few have crossed the divide and settled on the Guyan river watershed.
Early county history has it that the Blairs were active politically in the county following the Civil War, but no definite facts can be found of individuals holding any official position other than Harrison, who was the first of a long line of Democratic sheriffs, which ruled the county up until 1924, when the Republicans broke the power of Democrats and began their regime which ended in 1932.
Source: Logan (WV) Banner, 4 May 1937.
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A few months later, I met Lawrence Haley at the Fraley Family Festival at Carter Caves State Park near Grayson, Kentucky. Lawrence and I spoke with Bill Necessary, a musician who saw Ed and Ella all over the Big Sandy Valley when he was about twenty years old. He said they rode a train up Levisa Fork to Paintsville, the seat of government for Johnson County, where they spent the day playing music at the courthouse. From there, they continued by train to Prestonsburg, county seat of Floyd County. At times, they went into the nearby coal camps of Beaver Creek and played at theatres. From Prestonsburg, they took the train to Pikeville, the county seat of Pike County, and then continued over to the Tug River around Williamson, county seat of Mingo County, West Virginia.
“Aw, they took in the whole dern country up through there,” Bill said. “By the time they made that circuit, why it’d be time for them to come again. I guess they’d tour a couple of weeks. By God, I just followed them around, son.”
Lawrence didn’t remember going to all of those places with Ed but did remember staying with Molly O’Day’s family around Williamson. Bill said Molly’s widow Lynn Davis was still living around Huntington, West Virginia.
Bill said Ed always wore a long overcoat — “rain or shine” — and even played in it. He never sang or entered contests.
“He was pretty up to date on music at that time,” Bill said. “His notes were real clear, boy.”
Back in Nashville, I worked really hard trying to figure out Ed’s bowing. There was a lot of contradictory information to consider. Snake Chapman said he bowed short strokes, indicating a lot of sawstrokes and pronounced note separation. J.P. Fraley, Slim Clere, Lawrence and Mona said that he favored the long bow approach and only used short strokes when necessary, like for hoedowns. Preacher Gore, Ugee Postalwait and Curly Wellman spoke about how smooth his fiddling was, which kind of hinted at him being a long bow fiddler. All were probably accurate in some respect. It seemed plain to me that one reason why there were so many contrasting and sometimes completely opposite accounts of how or even what Ed played was that everyone I’d talked to witnessed him playing at different times and places during his musical evolution. All along the way, he was experimenting, looking for that “right combination” or playing the style needed to create the sounds popular in a certain area. Even what I could actually hear on his home recordings was really just a glimpse into the world of his fiddling as it existed at that moment toward the end of his lifetime.
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Back in Nashville, I was knee-deep in Haley’s music, devoting more time to it than I care to admit. I talked so much about it that my friends began to tease me. Mark Howard, who was producing my albums at the time, joked that if Ed’s recordings were of better quality, I might not like them so much. As my obsession with Haley’s music grew, so did my interest in his life. For a long time, my only source was the liner notes for Parkersburg Landing, which I had almost committed to memory. Then came Frazier Moss, a fiddling buddy in town, who presented me with a cassette tape of Snake Chapman, an old-time fiddler from the Tug Fork of the Big Sandy in eastern Kentucky. On the tape, Snake said he’d heard Haley play the “old original” version of “Blackberry Blossom” after he “came in on the boats” at Williamson, West Virginia.
This was making for a great story. I was already enthralled by Haley’s fiddling…but to think of him riding on “the boats.” It was the marriage of my two loves. I immediately immersed myself in books like Captain Fred Way’s Packet Directory 1848-1983: Passenger Steamboats of the Mississippi River System Since the Advent of Photography in Mid-Continent America (1983) to see which boats ran in the Big Sandy Valley during Haley’s lifetime. Most of the boats were wooden-hulled, lightweight batwings – much smaller than the ones that plied the Mississippi River in my St. Louis youth – but they were exciting fixtures in the Big Sandy Valley culture.
“I have seen these boats coming down the river like they were shot out of a cannon, turning these bends, missing great limbs hanging over the stream from huge trees, and finally shooting out of the Big Sandy into the Ohio so fast that often they would be nearly a mile below the wharf boat before they could be stopped,” Captain Robert Owens wrote in Captain Mace’s River Steamboats and Steamboat Men (1944). “They carried full capacity loads of sorghum, chickens and eggs. These days were times of great prosperity around the mouth of Sandy. Today, great cities have sprung up on the Tug and Levisa forks. The railroad runs on both sides, and the great activity that these old-time steamboats caused has all disappeared.”
During the next few weeks, I scoured through my steamboat photograph collection and assembled pictures of Big Sandy boats, drunk with images of Haley riding on any one of them, maybe stopping to play at Louisa, Paintsville, Prestonsburg and Pikeville, Kentucky on the Levisa Fork or on the Tug Fork at Ft. Gay, Kermit, Williamson, and Matewan, West Virginia.
Finally, I resolved to call Snake Chapman and ask him about his memories. It was a nervous moment – for the first time, I was contacting someone with personal memories of Ed Haley. Snake, I soon discovered, was a little confused about exactly who I was and why I was so interested in Haley’s life and then, just like that, he began to offer his memories of Ed Haley.
“Yeah, he’s one of the influences that started me a fiddling back years ago,” Snake said, his memories slowly trickling out. “I used to go over to Molly O’Day’s home – her name was Laverne Williamson – and me and her and her two brothers, Skeets and Duke, used to play for square dances when we first started playing the fiddle. And Uncle Ed, he’d come up there to old man Joe Williamson’s home – that’s Molly’s dad – and he just played a lot for us and then us boys would play for him, me and Cecil would, and he’d show us a lot of things with the bow.”
Molly O’Day, I knew, was regarded by many as the most famous female vocalist in country music in the 1940s; she had retired at a young age in order to dedicate her life to the church.
“And he’s the one that told me all he could about old-time fiddling,” Snake continued. “He said, ‘Son, you’re gonna make a good fiddler, but it takes about ten years to do it.'”
I told Snake about reading in the Parkersburg Landing liner notes how Haley reportedly wished that “someone might pattern after” him after his death and he totally disagreed. He said, “I could have copied Uncle Ed – his type of playing – but I didn’t want to do it because he told me not to. He told me not to ever copy after anyone. Said, ‘Just play what you feel and when you get good, you’re as good as anybody else.’ That was his advice.”
I didn’t really know what to make of that comment. I mean, was Haley serious? Was he speaking from personal experience or was it just something he told to a beginning fiddler for encouragement?
After that, my conversation with Snake consisted of me asking questions – everything from how much Haley weighed to all the intricate details of his fiddling. I wondered, for instance, if Ed held the bow at the end or toward the middle, if he played with the fiddle under his chin, and if he ever tried to play words in his tunes. I wanted to know all of these things so that I could just inhabit them, not realizing that later on what were perceived as trivial details would often become major items of interest.
Snake answered my questions precisely: he said Haley held the bow “up a little in the middle, not plumb on the end” and usually played with the fiddle at his chest – “just down ordinarily.” He also said Haley “single-noted” most of his bow strokes, played frequently in cross-key, hated vibrato and used a lot of “sliding notes.” He seldom got out of first position, only occasionally “going down and getting some notes” that he wanted to “bring in the tune” and he definitely tried to play words in his music.
“The old fiddlers through the mountains here – and I guess it’s that way everywhere – they tried to make the fiddle say the words of the old tunes,” Snake said.
“Uncle Ed, he was a kind of a fast fiddler,” he went on. “Most old-time fiddlers are slow fiddlers, but he played snappy fiddling, kindly like I do. Ah, he could do anything with a fiddle, Uncle Ed could. He could play a tune and he could throw everything in the world in it if he wanted to or he could just play it out straight as it should be. If you could just hear him in person because those tapes didn’t do him justice. None of them didn’t. To me, he was one of the greatest old-time fiddlers of all time. He was telling me, when I was young, he said, ‘Well, I could make a fiddle tune any time I want to,’ but he said he just knowed so many tunes he didn’t care about making any more. He played a variety of tunes that a lot of people didn’t play, and a lot of people couldn’t play. He knew so many tunes he wouldn’t play one tune too long.”
I asked Snake about Haley’s repertoire and he said, “He played an old tune called ‘Old Sledge’ and it was one of his good ones. He played tunes like ‘Trouble Among the Yearlings’, but when he was gonna play it he called it ‘Fox in the Mud’. He made that up himself. One of the favorite tunes of mine he played was the old-time way of playing ‘Blackberry Blossom’ and he played it in G-minor. Ed could really play it good. They was somebody else that made the tune. Uncle Ed told me who it was – Garfield. He said he was a standing fiddling near a big blackberry patch and it was in bloom at the mouth of the hollow one time and this fella Garfield played this tune and he asked this fella Garfield what the name of the tune was. He said, ‘Well, I ain’t named it, yet,’ and he turned around and spit in that blackberry patch with a big bunch of ambeer and said, ‘We’ll just call it ‘Blackberry Blossom’.”
“Yeah, Uncle Ed, he had tales behind every one of them like that, but that’s where he said he got the name of it. He said he named it there…spitting in the blackberry blossom.”
Snake only remembered Haley singing “Stacker Lee”, a tune I’d heard him fiddle and sing simultaneously on Parkersburg Landing:
Oh Stacker Lee went to town with a .44 in his hand.
He looked around for old Billy Lyons. Gonna kill him if he can.
All about his John B. Stetson hat.
Stacker Lee entered a bar room, called up a glass of beer.
He looked around for old Billy Lyons, said, “What’re you a doin’ here?
This is Stacker Lee. That bad man Stacker Lee.”
Old Billy Lyons said, “Stacker Lee, please don’t take my life.
Got a half a dozen children and one sweet loving wife
Looking for my honey on the next train.”
“Well God bless your children. I will take care of your wife.
You’ve stole my John B. Stetson hat, and I’m gonna take your life.”
All about that broad-rimmed Stetson hat.
Old Billy Lyons said, “Mother, great God don’t weep and cry.”
Oh Billy Lyons said, “Mother, I’m bound to die.”
All about that broad-rimmed Stetson hat.
Stacker Lee’s mother said, “Son, what have you done?”
“I’ve murdered a man in the first degree and Mother I’m bound to be hung.”
All about that John B. Stetson hat.
Oh Stacker Lee said, “Jailor, jailor, I can’t sleep.
Old Billy Lyons around my bedside does creep.”
All about that John B. Stetson hat.
Stacker Lee said, “Judge, have a little pity on me.
Got one gray-haired mother dear left to weep for me.”
All about that broad-rimmed Stetson hat.
That judge said, “Old Stacker Lee, gonna have a little pity on you.”
I’m gonna give you twenty-five years in the penitentiary.”
All about that John B. Stetson hat.
It was one awful cold and rainy day
When they laid old Billy Lyons away
In Tennessee. In Tennessee.
Snake said Haley used to play on the streets of Williamson, West Virginia where he remembered him catching money in a tin cup. In earlier years, he supposedly played on the Ohio River and Big Sandy boats and probably participated in the old fiddlers’ contests, which Snake’s father said was held on boat landings. These impromptu contests were very informal and usually audience-judged, meaning whoever got the most applause was considered the winner. Sometimes, fiddlers would just play and whoever drew the biggest crowd was considered the winner.
I asked Snake if he ever heard Ed talk about Clark Kessinger and he said, “Skeets was telling me Ed didn’t like Clark at all. He said, ‘That damned old son-of-a-gun stands around and tries to pick up everything he can pick up from you.’ And he did. Clark tried to pick up everything from Uncle Ed. He was a good fiddler, too.”
Snake said Clayton McMichen (the famous Skillet Licker) was Haley’s favorite fiddler, although he said he knew just how to beat him. This made me think of the line from Parkersburg Landing, “In regard to his own fiddling, Haley was not particularly vain, although he was aware that he could put ‘slurs and insults’ into a tune in a manner that set him apart from all other fiddlers.” (I wasn’t exactly sure he meant by slurs and insults.)
Snake could tell that I was really into Haley.
“Try to come see me and we’ll make you as welcome as we possibly can,” he said. “I tell you, my wife is poorly sick, and I have a little trouble with my heart. I’m 71. Doctors don’t want me to play over two or three hours at a time, but I always like to meet other people and play with them. I wouldn’t have no way of putting you up, but you can come any time.”
Just before hanging up, I asked Snake if he had any Haley recordings. He said Skeets Williamson had given him some tapes a few years back and “was to bring more, but he died two years ago of cancer.” Haley had a son in Ashland, Kentucky, he said, who might have more recordings. “I don’t know whether he’s got any of Uncle Ed’s stuff or not. See, most of them old tapes they made, they made them on wire recordings, and I don’t know if he’s got any more of his stuff than what I’ve got or not.”
I told Snake I would drive up and see him in the spring but ended up calling him a week later to ask him if he knew any of Ed’s early influences. He said Ed never talked about those things. “No sir, he never did tell me. He never did say. Evidently, he learned from somebody, but I never did hear him say who he learned from.” I felt pretty sure that he picked up tunes from the radio. “Ed liked to listen to the radio, preferring soap operas and mystery chillers, but also in order to hear new fiddle tunes,” the Parkersburg Landing liner notes read. “A good piece would cause him to slap his leg with excitement.” I asked Snake if he remembered Haley ever listening to fiddlers on the radio and he said, “I don’t know. He must have from the way he talked, because he didn’t like Arthur Smith and he liked Clayton McMichen.”
What about pop tunes? Did he play any of those?
“He played ragtime pretty good in some tunes,” Snake said. “Really you can listen to him play and he slides a little bit of ragtime off in his old-time fiddling – and I never did hear him play a waltz in all the time I ever heard him play. He’d play slow songs that sound old lonesome sounds.”
Snake quickly got into specifics, mentioning how Haley only carried one fiddle around with him. He said, “He could tune right quick, you know. He didn’t have tuners. He just had the keys.”
Did fiddlers tune low back in those days?
“I’d say they did. They didn’t have any such thing as a pitch-pipe, so they had to tune just to whatever they liked to play.”
Haley was the exception.
“Well, it seemed like to me he tuned in standard pitch, I’m not sure. But from hearing his fiddling – like we hear on those tapes we play now – I believe he musta had a pitch-pipe at that time.”
I wondered if Haley spent a lot of time messing around with his fiddle, like adjusting the sound post, and Snake said, “No, I never did see him do that. He might have did it at home but when he was out playing he already had it set up the way he wanted to play.”
Surprisingly, Snake didn’t recall Haley playing for dances. “I don’t think he did because I never did know of him playing for a dance. He was mostly just for somebody to listen to, and what he did mostly was to make money for a living playing on the street corner. I seen him at a fiddling contest or two – that was back before I learned to play the fiddle. That’s when I heard him play ‘Trouble Among the Yearlings’. He won the fiddling contest.”
What about playing with other fiddlers?
“Well, around in this area here he was so much better than all the other fiddle players, they all just laid their fiddles down and let him play. The old fiddlers through here, they wasn’t what I’d call too good fiddlers. We had one or two in the Pikeville area over through there that played a pretty good fiddle. Art Stamper’s dad, he was a good old-time fiddler, and so was Kenny Baker’s dad.”
After hanging up with Snake, I gave a lot of thought to Haley reportedly not liking Arthur Smith. His dislike for Smith was documented on Parkersburg Landing, which stated plainly: “Another fiddler he didn’t care for was Arthur Smith. An Arthur Smith record would send him into an outrage, probably because of Smith’s notoriously uncertain sense of pitch. Cecil Williamson remembers being severely lectured for attempting to play like ‘that fellow Smith.'”
Haley probably first heard Smith over the radio on the Grand Ole Opry, where he debuted in December of 1927. Almost right away, he became a radio star, putting fiddlers all over the country under his spell. His popularity continued to skyrocket throughout the 1930s, during his collaboration with Sam and Kirk McGee. In the late thirties, Haley had a perfect chance to meet Smith, who traveled through southern West Virginia and eastern Kentucky with the Tennessee Valley Boys. While unlikely, Haley may have met him at fiddling contests during the Depression. “In the thirties, Haley occasionally went to fiddle contests to earn money,” according to Parkersburg Landing. At that same time, Smith was participating in well-publicized (usually staged) contests with Clark Kessinger, Clayton McMichen and Natchee the Indian. Haley, however, tended to avoid any contest featuring Natchee the Indian, who “dressed in buckskins and kept his hair very long” and was generally a “personification of modern tendencies toward show fiddling.”
In the early 1940s, Haley had a perfect opportunity to meet Smith, who appeared regularly on WSAZ’s “Tri-State Jamboree” in Huntington, West Virginia. Huntington is located several miles up the Ohio River from Ashland, Kentucky and is West Virginia’s second largest city.
In the end, Haley’s reported low opinion of Smith’s fiddling was interesting. Arthur Smith was one of the most influential fiddlers in American history. Roy Acuff regarded him as the “king of the fiddlers,” while Dr. Wolfe referred to him as the “one figure” who “looms like a giant over Southern fiddling.” Haley even had one of his tunes – “Red Apple Rag” – in his repertoire. Maybe he got a lot of requests for Smith tunes on the street and had to learn them. Who knows how many of his tunes Haley actually played, or if his motives for playing them were genuine?