Chrissie Leatham
An Appreciation
By Iain MacPhail
I once enquired of Chrissie Leatham when she envisaged retirement from teaching music. “Retire?” she exclaimed. “Never! What would I do with out my bairns?! This wonderful philosophy was prevalent throughout Chrissie’s life and she never lost her love of teaching, her life’s passion, to pupils of all ages although the younger players always held a special place in her affections. Her unique ability to develop a love of music in everyone, young or old, talented or otherwise, endeared her at all who became associated with her and she never had to motivate or exhort students to practice in view of the respect in which she was held. The youngsters looked forward to their lessons as Chrissie shared their world with them ; it being normal practice to discuss football, snooker, television, politics or whatever before the door to the wonderful world of music was unlocked.
Early Years
Chrissie was born in Musselburgh in the early years of the century. Her father was melodeon player Peter Leatham, of considerable dance band fame, and she lived in an environment of music. She was the oldest of three children, having a sister Margaret, and a brother Wullie, who played the 5=row accordion and later played in and arranged music for the late Peter Innes Dance Band from Tranent. Her step-mother always had many chores and tasks for the young girl and her burgeoning interest in music was stifled and involvement difficult. Initially, she was not encouraged to participate or practice, but, nevertheless, always found opportunities to do so and, as the sessions became more frequent, it became obvious to the family that music was her life and passion. Her father was completely unaware that his daughter had listened, digested and analysed piano techniques by listening at the door during his band rehearsals. When she was 15, domestic matters became difficult and she left home to work in Brunton’s Wire Mills in Musselburgh. Her independence afforded her the opportunity to indulge her craving for music and she quickly acquired a job as a pianist with a local band and proceeded to go from strength to strength eventually giving up her employment to become a full-time musician.
She was a very small person and it was often necessary to place books under the piano stool to raise it in order that she could reach the keyboard! She played in cinemas accompanying silent films (called ‘close fitting’) and took on some weird and wonderful jobs loving every minute of it. She had always been drawn to the accordion as an instrument, however, and, in fact, had played the instrument intermittently from the age of about 15, becoming very accomplished in a short time and, inevitably, it became her instrument. She joined Larry Macari’s Showband and traveled the theatres of the land. She married but continued her stage career and started teaching in 1932 with Gordon Simpson’s Music Shop, in Edinburgh, with which business she continued to be associated until her death. It was one of her accordion designs which proved popular and cemented the relationship to mutual satisfaction.
Life in the 1930’s and 1940’s was tough, however, and Chrissie’s tremendous fighting spirit and determination came to the fore. She was a perennial optimist and had to fight for everything she achieved. She became Scottish Senior Accordion Champion in 1934 ; made several records and had a large following, and her appearances were good business. On one occasion, during the war, the Greenock Theatre in which she was appearing, was bombed and badly damaged during a performance. Her indomitable spirit carried her through the hard times, however, and when she and her baby son were left to fend for themselves this she did despite having to travel extensively to find work.
Teaching
Teaching began to play an increasingly important part in her life and, as the years progressed and she was beset by increasing health problems, she relied more upon this as a means of living and keeping apace with trends. One of Chrissie’s abilities was to keep up-to-date with musical tastes and changes and she exploited her talent for arranging to the full and this provided a freshness which never dulled. Her bubbly personality, warmth, distinctive style and encouragement to others ensured a large clientele for her unique services. She abhorred blanked tuition – geared at producing technical clones to the exclusion of style – much preferring to tease the talents from each individual in a careful, sympathetic manner. She received great help from her family. Niece Christine (daughter of Wullie) and her friend, Joyce Crombie, aided Chrissie by helping to teach younger pupils in the studio and, in fact, Christine taught for some 15 years and provided much support to her aunt whom she regarded with great affection, and above all else, as a best friend. In years gone by, a highlight to some was the weekly get-together on Sunday evenings at the studio when, after lessons, an informal session would ensue with Chrissie conducting at the piano leading off with ‘I do like to be beside the seaside’ and each player taking it in turn to play lead with everyone else joining in. These sessions were good for ear-playing and chord appreciation and often lasted well into the night.
In 1963, as a result of having a large number of pupils, Chrissie, with the help of some older pupils, decided to run an Accordion Club to provide an outlet for members, young and old, to gain experience of playing to an audience. Bill Hamilton helped to organize and set up the Club sessions, competitions, hall bookings, catering and diverse other chores, and recalls that Chrissie regarded these nights as special, and her enthusiasm pervaded the entire company.
One of the proudest effectuations of her life was the emergence of her son Owen, as a gifted musician of classical music and exponent of the free-bass accordion in Great Britain. Her intense desire to have the accordion recognised as a serious musical instrument and her selfless encouragement and support (both moral and financial) provided the drive and determination for him to succeed in his studies in Denmark and to his post at the Royal Academy of Music in London. Owen now intends to continue his classes in Edinburgh while commuting to London on a regular basis. He remembers his mother as the most gifted, natural musician he had ever met.
Her wonderful optimism about life and people, her unselfish attitude and lack of complaints (even towards the end when her health deteriorated) endeared her to all. Three generations of pupils, including my own son, were among the large attendance at her recent funeral and this was testament enough to the affection and regard felt by those who were privileged to know Chrissie Leatham.
Box and Fiddle
April 1988
Early Years
Chrissie was born in Musselburgh in the early years of the century. Her father was melodeon player Peter Leatham, of considerable dance band fame, and she lived in an environment of music. She was the oldest of three children, having a sister Margaret, and a brother Wullie, who played the 5=row accordion and later played in and arranged music for the late Peter Innes Dance Band from Tranent. Her step-mother always had many chores and tasks for the young girl and her burgeoning interest in music was stifled and involvement difficult. Initially, she was not encouraged to participate or practice, but, nevertheless, always found opportunities to do so and, as the sessions became more frequent, it became obvious to the family that music was her life and passion. Her father was completely unaware that his daughter had listened, digested and analysed piano techniques by listening at the door during his band rehearsals. When she was 15, domestic matters became difficult and she left home to work in Brunton’s Wire Mills in Musselburgh. Her independence afforded her the opportunity to indulge her craving for music and she quickly acquired a job as a pianist with a local band and proceeded to go from strength to strength eventually giving up her employment to become a full-time musician.
She was a very small person and it was often necessary to place books under the piano stool to raise it in order that she could reach the keyboard! She played in cinemas accompanying silent films (called ‘close fitting’) and took on some weird and wonderful jobs loving every minute of it. She had always been drawn to the accordion as an instrument, however, and, in fact, had played the instrument intermittently from the age of about 15, becoming very accomplished in a short time and, inevitably, it became her instrument. She joined Larry Macari’s Showband and traveled the theatres of the land. She married but continued her stage career and started teaching in 1932 with Gordon Simpson’s Music Shop, in Edinburgh, with which business she continued to be associated until her death. It was one of her accordion designs which proved popular and cemented the relationship to mutual satisfaction.
Life in the 1930’s and 1940’s was tough, however, and Chrissie’s tremendous fighting spirit and determination came to the fore. She was a perennial optimist and had to fight for everything she achieved. She became Scottish Senior Accordion Champion in 1934 ; made several records and had a large following, and her appearances were good business. On one occasion, during the war, the Greenock Theatre in which she was appearing, was bombed and badly damaged during a performance. Her indomitable spirit carried her through the hard times, however, and when she and her baby son were left to fend for themselves this she did despite having to travel extensively to find work.
Teaching
Teaching began to play an increasingly important part in her life and, as the years progressed and she was beset by increasing health problems, she relied more upon this as a means of living and keeping apace with trends. One of Chrissie’s abilities was to keep up-to-date with musical tastes and changes and she exploited her talent for arranging to the full and this provided a freshness which never dulled. Her bubbly personality, warmth, distinctive style and encouragement to others ensured a large clientele for her unique services. She abhorred blanked tuition – geared at producing technical clones to the exclusion of style – much preferring to tease the talents from each individual in a careful, sympathetic manner. She received great help from her family. Niece Christine (daughter of Wullie) and her friend, Joyce Crombie, aided Chrissie by helping to teach younger pupils in the studio and, in fact, Christine taught for some 15 years and provided much support to her aunt whom she regarded with great affection, and above all else, as a best friend. In years gone by, a highlight to some was the weekly get-together on Sunday evenings at the studio when, after lessons, an informal session would ensue with Chrissie conducting at the piano leading off with ‘I do like to be beside the seaside’ and each player taking it in turn to play lead with everyone else joining in. These sessions were good for ear-playing and chord appreciation and often lasted well into the night.
In 1963, as a result of having a large number of pupils, Chrissie, with the help of some older pupils, decided to run an Accordion Club to provide an outlet for members, young and old, to gain experience of playing to an audience. Bill Hamilton helped to organize and set up the Club sessions, competitions, hall bookings, catering and diverse other chores, and recalls that Chrissie regarded these nights as special, and her enthusiasm pervaded the entire company.
One of the proudest effectuations of her life was the emergence of her son Owen, as a gifted musician of classical music and exponent of the free-bass accordion in Great Britain. Her intense desire to have the accordion recognised as a serious musical instrument and her selfless encouragement and support (both moral and financial) provided the drive and determination for him to succeed in his studies in Denmark and to his post at the Royal Academy of Music in London. Owen now intends to continue his classes in Edinburgh while commuting to London on a regular basis. He remembers his mother as the most gifted, natural musician he had ever met.
Her wonderful optimism about life and people, her unselfish attitude and lack of complaints (even towards the end when her health deteriorated) endeared her to all. Three generations of pupils, including my own son, were among the large attendance at her recent funeral and this was testament enough to the affection and regard felt by those who were privileged to know Chrissie Leatham.
Box and Fiddle
April 1988