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Interview with Earl Poole Ball - Excerpt

Could we begin with some background information. Where and when were you born.

I was born in Columbia, Mississippi, USA on March 12th, 1941. My father was Earl P. Ball Snr., and my mother was Maye Herring Ball.

And how did you get started in the music business.

I took piano lessons from my aunt Kathryn Ball for several years. I played in church when I was 16 years old and began playing at local V.F.W. and American Legion Halls around Columbia with a local band called the ‘Hill-Cats’ for weekend dances. And with another band fronted by Tim Gillis who dressed like Elvis and sang like Little Richard. When I was 17 I would hitch-hike to Hattiesburg, Mississippi (30 miles) every Thursday night to play and sing in Jimmy Swan’s band on his weekly TV show for ‘McCaffrey’s Supermarket.’ It was a primitive one-camera shoot. I also played with Swan on week-end dances. Swan sang like Hank Williams and was a very popular local country disc jockey and band leader. I knew a guy from my hometown, Bobby Enlow, who introduced me to him - he took Bobby’s word that I could play his music.

You played gigs in Houston and Los Angeles. Can you tell us some more about these early shows.

In 1961 I went to Houston with a friend named Danny Ray who sang a huge repertoire of Johnny Cash tunes. We worked a club in Houston called the ‘Silver Dollar Lounge’ for a couple of years until he died with a diseased pancreas. I met Mickey Gilley in Houston and we became friends. He used to help me tune my piano at the club and showed me how to replace the strings I was always breaking. He is still a good friend with a great show in Branson, Missouri. In 1964 or 1965 I drove a 1957 Chevy from Houston to San Bernadino, California where I knew one person in the whole state, a friend and steel player Dick Stubbs. Dick put me to work right away. Then I worked with Vern Stoval, Eddy Drake, Phil Baugh and fronted my own band monday nights at the world famous Palamino Club, and friday and saturday night jam sessions at the ‘Oakie-Ville’ and ‘Aces’ clubs. Musicians from all over Southern California came to sit-in at these late-night into noon-the-next-day sessions. We would be packed with people who loved the broad spectrum of music. Gram Parsons & Co. showed up a few times, also visiting Nashville folk. In 1967-1968 I also became the staff piano player with Red Rhodes Detours at the Palomino Club, in addition to working for Cliffie Stone’s Publishing Co., ‘Central Songs.’

You then met drummer Jerry Wiggins and also started working with Buck Owens. Was it Jerry who put your name forward to Owens.

Yeah, Wiggins and I were in a couple of bands together and when he went to work with Buck Owens he got him to use me on the sessions for about five years. Don Rich also became a pal.

I believe it was during your time in LA that you first met Gram Parsons is that correct.

Yes J. D. Maness recommended me to Gram initially for the Safe At Home project.

You worked with Parsons during the short life of the International Submarine Band and on their album Safe At Home. What was he like to work with.

Gram was very positive about bringing country music to the youth of the world. Very affable fellow.

You went on to work with him during his spell with The Byrds, on the country-rock classic Sweetheart Of The Rodeo and then the Flying Burrito Brothers on the album Burrito Deluxe. Was this the last time you worked with him.

The last time I saw Gram was on a Terry Melcher produced session in mid-1970 for a proposed solo album. We tried to record White Line Fever with some other studio guys and me. Gram wasn’t feeling very well. I think the tapes have not been found.

Do you regret not being part of the band that recorded his two solo albums GP and Grievous Angel.

Of course, but he needed a cohesive band situation to support him… he needed a hit!

Many of Elvis Presley’s musicians appeared on those albums and I understand that his guitarist James Burton tried to get you a place in Elvis’ touring band in the seventies. Is this true.

Yes! But I had just started working for Capitol Records as a producer, something I really wanted to do. I also thought Elvis might just do a few shows and head back into the movies.

Going back to the late-sixties, you were working for Capitol Records but moved East to Nashville in 1969. Was this your decision.

I had been working under Ken Nelson the Senior Vice-President in charge of the country division at Capitol in Hollywood. I had produced several acts for him including Merle Haggard’s Tribute To The Worlds Best Damn Fiddle Player - Bob Wills, a landmark album. When both George Richey and Larry Butler resigned their positions at the Nashville office to work for CBS Records Ken Nelson transferred me to the Gnashville office. It was not my decision and I didn’t much want to go. I loved California but I guess it was supposed to be.

In Nashville you worked alongside legendary producer Billy Sherrill and also Larry Butler as a house producer. Can you tell us about some of the artists you worked with around this time.

Freddie Hart - three number one albums and singles. Stoney Edwards and Wynn Stewart. I also co-produced a live album on Buck Owens in Norway.

You also struck a partnership with songwriter Harlan Howard. Can you tell us some of the songs you worked on.

Can’t remember the songs but I remember Harlan and how he impressed me as a talent. I played piano on all his demos for a while.

This would have been the mid-seventies.

Yes. Actually 1973, 74 and 75.

And was it Howard who introduced you to Johnny Cash.

No, but it was Johnny’s ex-brother-in-law, Don Davis, who managed Harlan’s publishing company.

Can you remember the first session you did with John.

Yes. Don Davis was producing the album Look At The Beans.