Box and Fiddle
Year 18 No 05
February 1995
Price 70p
16 pages
7 month subscription £8.00
Editor – Ron Ramsay, 48 Hospitalfield Road, Arbroath, Angus, DD11 2LS
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Welcome to new readers in various parts of the country and thanks to Robbie shepherd for mentioning the ‘B&F’ in his programmes. He seems to have reached parts that were unaware of our paper.
The topics in this issue will no doubt raise some debate and I look forward to your views.
Disappointingly, there has been a poor response to the article ‘Your Chance to Have Your Say’ and we can only conclude that everybody is quite happy with the way Clubs are run and that nothing further can be done to improve the whole set up – but if you think different let us know.
The replies that were received will be published in due course.
Keep the reports, articles and photographs coming in.
Ron Ramsay
(1st) Shand Morino Day
Windygates, Fife 15th January, 1995
by Ian Cruickshanks (Kirriemuir)
This event was the brainchild of Dave Black and Bruce Lindsay Snr. The afternoon started with all the Shand Morinos arrayed on and around the stage including the original 4 boxes. Bruce Lindsay then introduced local fiddler and long-term friend of Jimmy Shand, Bob Mackintosh who gave a short talk on the sequence of events leading to the production of the Shand Morino and the part Jimmy Shand had in not only the design of the instrument but also the promotion of it by his skill in playing it, thereby influencing many other musicians to acquire one of these wonderful instruments.
Another lifelong friend of Jimmy’s, Sandy Tulloch of Dundee, then took centre stage to deliver information to us about the technical side of the Shand Morino. I doubt if anyone knows more about all aspects of the instrument than Sandy, as not only is he a very skilled exponent himself, he is also a highly skilled engineer, woodworker etc., and I’m surprised he has never made a Shand Morino himself! He’s made just about everything else from fiddles to working steam engines!
This is what Sandy had to say :
“Readers of the Box and Fiddle will have noted the excellent articles by John Gurney of Edinburgh on the history of the accordion.
Bruce Lindsay had the idea of holding a ‘Morino’ get-together, and for anyone interested I have put a few notes together for reference.
Morino was Hohner’s designer who built the first Shand Special before the war. After the war, Jimmy once more contacted Hohner and gave Morino the specification for a new and larger model. Because of post-war restrictions, delivery of the first four accordions was delayed until 1951. These four were owned by Jimmy Shand, Andy Gray of Duntrune, Jimmy Edwards of Moffat and myself, at that time in Glasgow.
There were 46 treble buttons arranged in three rows of 15, 16 and 15, linked by a special Morino system of levers to 46 pallets in two rows of 23. Each pallet covers three apertures serving six reeds with leather or plastic valves. Three reeds sound on the ‘press’ and three on the ‘draw’ of the bellows. This special system of levers allows equal travel and spring resistance for all buttons and equal lift for all pallets. A feature not found on other three row accordions at that time, but a most important one according to Jimmy. A similar system of levers is found beneath the keyboard linking the buttons to a set of pallets and reeds one octive lower than the treble and brought into action by the ‘couplers’ or registers. Use of these registers allows single, two, three and four reeds to sound as required.
Accordions which play different notes on ‘press’ and ‘draw’ are often called diatonic. But this is a musical term describing a musical scale of diatonic intervals. But two or three rows on the same principle are chromatic, and to distinguish these from the Continental system we call ours the British Chromatic Accordion.
The treble keyboard is at first sight a logical sequence whether on the ‘press’ or on the ‘draw’, but because of our seven note scale the intervals between the notes varies depending on the octave. So in the scale of E we have five octaves (some incomplete) but all with different fingering. And of course this applies to all other key signatures. Despite this complex and difficult arrangement, with full knowledge of the keyboard it is possible to play practically anything including chords, although there are one or two annoying notes ‘missing’ – or rather unavailable. I am told that a certain accordion that appeared some years ago with four extra buttons in a fourth row was in fact no different to the original model.
The bass system is the normal Stradella, 177 buttons arranged in the standard manner of major thirds, fundamental, major chord, minor chord, dominant seventh and diminished seventh. There are two bass registers allowing three or five voice chords. The bass notes and chords remain the same whether bellows press or draw is used.
The Morino’s tone is obtained not only from the quality of the reeds, but from the tonewood quality of the reed blocks, sounding boards and accordion body. The reeds are tunes in groups of three, one on pitch, one slightly sharp and one slightly flat. This gives the distinctive accordion sound, but if overdone can become discordant.
Despite the difficulties of a ‘press draw’ system and complicated keyboard, there is no finer instrument for Scottish music. The Shand Morino is superb. That Hohner have discontinued production of this model is incomprehensible.”
Following Sandy’s speech Jimmy Edwards of Moffat, Angus Oliver of Peebles, Dave Simpson of Invergowrie and Sandy Tulloch then put on the four original Shand Morinos and Jimmy Shand put on Jim Crawford’s box to pose for photographs. It’s the first time these four boxes have been together since they were delivered to Jimmy’s house in 1951!
All players present were then invited to play a couple of sets together led by Sandy Tulloch and then throughout the rest of the afternoon, Bruce Lindsay invited players up in ones and twos to play two sets each. As ever, each box had it’s own sound, and each player had his own style and individuality, as most of the button box players I know are self taught they tend to develop their own wee touches and ways of playing through the different ways of fingering the same sequences of notes. Sadly, of some 36 players present, only two (possibly three) under the age of 40 and in fact for the whole of Scotland I only know of two others under that age (I hope I am wrong and that there are a lot more!) I don’t just mean Shand Morino players either, I mean three-row players. What a pity Phil Cunningham and Ally Bain weren’t three row players, as the BBC in Glasgow would then be falling over themselves to do documentaries and Hogmanay programmes featuring the button box! Alas, the traditions which ensured young lads took up the melodeon, either through their fathers playing, as in the mining communities in Fife and the Central belt, or through the Bothy system on the farms of Angus and the North-East, don’t exist anymore. So, if we want to get the youngsters interested it will have to be some other way. I notice Stirling University caters for all other so-called traditional instruments and styles but I don’t recall the melodeon or three-row ever being featured there. Why not? As Sandy Tulloch said, “There is no finer instrument for playing Scottish Dance music on”.
Dave Black and Bruce Lindsay were overwhelmed by the response to the Shand Morino Day and would like to thank all the players and public together for supporting the idea, especially those who traveled great distances to be there. Hopefully, it wasn’t a one-off event and could it possibly become an annual event?
The following players were present (36) and most of them played – Jimmy Shand, Sandy Tulloch, Doug Milne, Bruce Lindsay, Jimmy & Alexander Lindsay, Jimmy Edwards, Jim MacKay, Dave Simpson, Angus Oliver, Jim Blake, Allan Kindness, Andy Greig, Roy Magna, Dave Arnott, Bobby Coghill. Ben Murray, David Ross, Willie McHardy, Jim Douglas, Harold Smith, John Grieve, Sandy McAllan, Jim Berry, Alec Stewart, Robin Waitt, Bill Stuart, Charlie Kirkpatrick, Dochie McCallum, Colin Chalmers, Ian Cruickshanks, Walter Beattie, Chic Boath, Jim Crawford, Murray Simpson and Roger Dobson.
Bill Black of Stanley phoned Bruce on the morning of the event apologising for not being able to come as he had been unwell for the last two weeks.
Accompanists were – Graham Berry, Bruce Lindsay Snr, Bob Jarvie, Ray Elrick and Alf McConnachie on piano and Lex Keith and Bert Shorthouse on piano box. The late Lindsay Spittal’s box and the late Bobby Brown’s box were both shown as well.
Da Fustra Band – The First 25 Years
by Douglas Johnstone
It all began for me on 16th October, 1969. The venue was the Zetland Hall, Pilrig Street, Edinburgh. I arrived nervously to meet the rest of the band, only one of whom I knew. The others had played together. This was to be my first rehearsal – at a dance run by Edinburgh and District Shetland Association. The line-up was : Rob Smith and Cecil Hughson (accordions), Maurice Smith (guitar), Rea MacLeod (piano) and myself, Douglas Johnstone (drums).
Lord knows what it sounded like, but we were asked back regularly, and also to many other venues in the city, until the last of us left Edinburgh in 1973. Apart from Rea, who lived in Edinburgh, we were all students with our roots firmly planted in Shetland. During the student holidays we took bookings in Shetland, Rea being replaced by a second guitarist, John Victor Inkster, who has become on of Shetland’s leading Country and Western musicians. We were joined in 1970 by Ronnie Jamieson, a gifted young Shetland fiddler, also pursuing his studies in Edinburgh.
We were regularly asked ‘What does Da Fustra mean?’ There was an old unnamed fiddle tune which was played in Unst last century by James Smith. His son, also James, wrote it down and named it ‘Da Foostra’ after a sunken rock off the Wester in Unst. (Fuster is an old Shetland word meaning ‘foaming sea’.) The music for this tune is now in the keeping of his son Iain, also a fiddler, and principal teacher of seamanship at the Anderson High School in Lerwick. The band name was inspired by this fiddle tune. Shetland spelling has never been standardised and we opted for Fustra rather than Foostra. In the late 1970s this tune was adopted as signature tune by BBC Radio Shetland, and still introduces its programmes each evening.
Memories of the early days could fill a book – halls with no electricity – band amplifiers powered by car batteries – a near lynching when we put the price for the band up from £10 to £12.50 (or was it £12/10-?) – the Silver Wedding that turned out to be a 21st Birthday Party expecting a pop group – the 3/4 march which we managed to play for the Gay gordons for most of a year before we realised….
One story must be told. We had a severe problem at the beginning of the 1972/73 winter season. Only three of us were left in Edinburgh – Rob, Cecil and me. Two accordions and drums make a viable band today now that electronic bass ends are common, however these were rare in 1972. What to do? Rob and Cecil headed for Clinkscale’s on a Wednesday and bought a bass guitar. On the Friday, our new trio – accordion, bass and drums – had its first outing and Cecil has played bass ever since. How he managed to reach performance standard in two days is one of the mysteries surrounding Cecil!
The end of the first band came in 1973 when Cecil and I returned to Shetland to teach and Rob went globetrotting for the computer industry.
Apart from occasional reunions there was a gap for about two years. In 1975 band number two was formed when Stanley Hunter (accordion) agreed to join Maurice, Cecil and me. This group lasted about two years when Stanley decided to retire and Maurice left to get married.
Our new accordion player was Eric Cooper, pianist in the original Hamefarers, and the new guitarist was Brian Nicolson. Later we added Davie Henry (guitar and vocals). Two more years had passed when Brian and Davie left to become founder members of the folk group ‘Hom Bru’ and Eric retired due to ill health. I had also left a few months before, due to pressure of other commitments, and had been replaced by Alan Ockenden. It seemed like the end.
However, Ronnie Jamieson, our fiddler from the Edinburgh days, and young five-row accordionist Neil Donald approached Cecil and me with a view to forming a band. Why not call it Da Fustra? Band number four was completed by guitarist Norman Goudie. Ronnie left after a few years and we played as a quartet for some time, specializing in the swing music at which Norman was so outstanding. For a while we added a trumpet, Roy Hughson, and became a jazz band which could still play reels, two-steps and waltzes.
The dancing trend was moving back towards the traditional dances however. Quadrilles and Lancers were in. Foxtrots and quicksteps were out. The time had come to change and, for the first time we opted for the standard Scottish line up, expanding eventually to a six piece.
The present members are Neil Donald and Andrew Hughson (accordions), Alan Gifford (fiddle), Derek Hendry (late of Forfar and Bill Black’s Band - piano), Cecil Hughson (bass guitar and boss) and Douglas Johnstone (drums).
When we sat down to make a guest list for our 25th anniversary party this October, Cecil and I were amazed by the number of musicians who had played for us over the years. We tried to include not only regular members but also the large number of reserve players so vital to the life of any dance band. Without the willing help of so many local musicians, our band would have died years ago. I must mention in particular Colin Sutherland and Alan Nicolson, two brilliant accordion players, who have saved our bacon on many occasions, and Ian Tulloch who shared the drumming with me in the late 70s and early 80s.
One of the delights of playing in Shetland is meeting visiting musicians. Cecil has a way of kidnapping accordionists and seating them in the front line of our band. Mickie Ainsworth, John Carmichael, David Hume, Gordon Pattullo, Sandy Noxon, Peter Wood, Bruce Peebles and especially Iain MacPhail have all suffered this treatment. Iain keeps coming back for more. He joined us first to play at the Up Helly Aa Festival on 1978 and has been a regular, and very welcome, visitor since. This year he was guest of honour at our 25th Anniversary party – his third visit in 12 months.
So how have we managed to survive for 25 years? Simple – we have Cecil as business manager and boss. A bandleader needs infinite patience (certainly if I am playing for him), enthusiasm and luck. Cecil has all three in abundance. His chaotic disorganization means that every outing is tinged with an air of excitement. Will he remember to bring his bass? Who is playing for us tonight? Has he remembered to find a replacement accordionist? Am I driving or do I sit here till someone picks me up? Where was the P.A. system last seen? Do we have one dance to play at or two (simultaneous) dances? Is Cecil actually playing tonight or is he on yet another business trip? If he is playing, will he leap from his chair in the middle of the grand march to take photographs of the wedding party? (Cecil left teaching many years ago to become a professional photographer). Life with Da Fustra is never boring. I look forward to the next 25 years!
Toralf Tollefsen – Obituary
by John Mackie
There are times when the expression ’end of an era’ embodies connotations of great loss, and therefore, also great sadness. Such was the occasion of the sudden death of, the one and only, Toralf Tollefsen on Sunday, 27th November.
I had spoken to his wife, Nona, on the phone on the Saturday, and she told me that Tolly had fallen on ice the day before and was in hospital with a broken leg, but was in good spirits and had even cast his vote in hospital on the Norwegian Referendum on the E.E.C.
On Monday, 5th December, I came home to find a message on my answering machine from Jon Feukstad, a great friend of Tolly’s, to say that he had died suddenly on the Sunday, a sad culmination to the extensive celebration of his 80th birthday in August, but he had at least known the pleasure of the great appreciation the world held for his unquestionable genius. He was an artiste many years ahead of his time, when one considers that he recorded pieces such as ‘Dance of the Hours’, ‘Dance of the Comedians’, Bach’s Toccata and Fuge in D Minor and the Frosini arrangement of ‘The Carnival of Venice’ in the early 30’s, one realises the extent of the man’s vision in regard to the extent of the potential of the accordion, which of course has been greatly enhanced by the advent of the free bass.
Tolly was not merely content to settle for an instrument with a free bass converter, but used the Zero Zette with an extra row of free bass as he incorporated both the Stradella and free bass in some of his transpositions.
He gave concerts in America, Australia, New Zealand and of course all over Europe. He and his wife, Nona, a colleen from Belfast, were decorated by the Norwegian Government for their often dangerous work in the Norwegian Resistance during the German Occupation, as they had been on a concert tour of Norway when the Germans invaded.
After the war, they moved back to London, with their baby daughter Sonia Marie. That was when I first contacted him concerning any further recordings he had made, also to replace one or two of my own which had been damaged while I was in the Army during the war.
He was most helpful and so we corresponded from time-to-time, until he went back to Norway in the early 60’s. Until then he had broadcast regularly on radio and BBC television. We more or less lost contact until some fifteen years ago when I came across an article about him in a magazine, so I contacted the Norwegian Consul who promptly looked up the Oslo telephone directory and gave me both Tolly’s telephone number and address. Tolly was delighted to hear from me, with the result that we have communicated on a regular basis ever since.
We met at Malcolm Gee’s Festival in Caister in 1986, where we used to have breakfast together and some fine extended blethers. He was the principal guest artiste at Caister that year and he told me then that he never used cassotto in his accordion.
It was that year after going home from Caister that he discovered he was diabetic, and in 1980 had to have a foot amputated as a consequence, a pretty traumatic experience for someone of his fairly advanced years. However, he was physically a very strong man, and equally so mentally, and so made a full recovery, although latterly developed back problems, which many of us are aware can be an occupational hazard of the accordionist.
His last public appearance was in April when he gave a short concert on Norwegian television as part of his 80th birthday celebration.
Toralf Tollefsen has bequeathed to the world a legacy of wonderful music in his one hundred plus single recordings, his L.P.s and now the latest release, the C.D. which has proved so timely in its production. His death, so unexpected, has been a great blow to the accordion movement worldwide, and certainly to myself, as he has played a significant part in my life for the last sixty years, and will be remembered with great affection wherever accordionists foregather.
Introducing the Clubs
No 25 – Biggar
by Charlie Todd
Biggar Accordion and Fiddle Club opened its doors in October 1974, in the Clydesdale Hotel, Biggar, which had been taken over the previous month by Alex and Evelyn MacArthur. The nearest Club at that time was located at Carlops where present Club Chairman, John Anderson, happened to meet ‘The General’. In the course of the conversation John said he was from Biggar and Alex explained that he would be moving there shortly and that they would start their own Club.
As anyone who visited the Clydesdale could vouch, the room where the Club met was far too small, lined with chairs but with no room for tables and with a ‘stage’ which consisted of an old section of flooring sitting on empty beer crates – in other words it had atmosphere, lots of it. Players will remember that there was a clear space of fully a foot between the front of the stage and the first row of the audience and consequently it was a great training ground – if your nerves could stand playing at Biggar you could play anywhere. Alex’s personality as player and compere ensured that there was no shortage of either players or listeners.
Alex and John had settled the meeting date as the second Monday of the month for reasons long forgotten and Jim Johnstone did the honours as first guest artiste. Ian Powrie, on holiday from Australia, and numerous other well-known musicians arrived to make it a night to remember. Initially, Alex did almost everything himself but soon John and other willing helpers came to his assistance.
Since Alex knew everyone on the scene, it was he who usually suggested guest artistes with John making the arrangements. It was on a visit to a competition in Ireland that Alex first heard a young man called Paddy Neary whom he arranged to bring over on a short tour leading to a playing career in Scotland that hasn’t looked back since.
As is to be hoped with all Clubs, Biggar helped to bring to the fore a number of well-known names on today’s broadcasting scene – Alan Gardiner, Peter Wood, Keith Dickson, Dorothy Lawson and Jennifer Forrest. It would be nice to see more youngsters coming along to take their places.
After many successful years it was with a certain amount of trepidation that regulars learned that due to the tying nature of the residential side of the Clydesdale, Alex and Evelyn had decided to sell up and take over ‘The Farmers Arms’ at Thornhill. Sadly, Alex untimely death in 1989 denied him the opportunity to retire to Biggar and resume his activities with the Club. A great loss to us all. The scene had changed over the years however, with far more Clubs vying for a limited audience and it was decided to follow several other Clubs by introducing dancing to try to draw a bigger crowd. Since this was not possible at the Clydesdale it was reluctantly decided to move the venue, briefly to the Toftcombs Hotel, and then to its present venue, the Municipal Hall, in December 1988. At the same time, the night was changed to the second Sunday with the guest artiste opening the evening at 7.30 pm in an attempt to get everyone in on time.
Things have never looked back. The Club Committee today consists of John Anderson (Chairman), Joy Anderson (Treasurer) and Tom and Ray Hope, aided by a band of young and willing helpers on Club nights. Dancing has indeed proved an attraction, drawing larger attendances and enabling the Club to book good guest artiste bands. Long may the success continue.
Citizen of the Year
Bobby - Coghill
The Rotary Club of Wick, Citizen of the Year Award, has been presented this year to well-known musician Mr Bobby Coghill.
Club President,Mr Hugh Clark, referred to a long list of Bobby achievements in the musical field including Pipe Major of the Wick Royal British Legion Pipe Band and the senior Pipe Major at the Beating the Retreat at Edinburgh Castle.
He taught himself to play the accordion and the fiddle and in 1961 he won the North of Scotland Accordion championship in Inverness. He has also twice been invited to judge the National championships of the Accordion and Fiddle Clubs.
He currently has 14 pupils learning to play the chanter. Despite being in great demand with his band, which has played at venues as far away as London, Canada and the Faroes, Bobby still finds time to play free of charge for needy groups throughout the country.
He has played at the local hospital on the Saturday before Christmas every year for 34 years and for the last 20 years (except one) he has entertained the residents in Pulteney House on New Year’s Day.
Mr Clark said that the whole community benefited from having someone as talented and generous as Bobby in their midst. Also in the picture is Mr Coghill’s wife, Marie.
William James Hardie (1916 – 1995) - Obituary
Bill Hardie, as he was known, was born in Aberdeen in 1916. He played the fiddle and had classical tuition from Theodore Crozier and later from Alex Milne Smith.
His first solo broadcast was at 16-years-of-age which included a wide range from ‘Gows’ to ‘J. Murdoch Henderson’. Early competitions saw him winning the Aberdeen Music Festivals in the J. Scott Skinner challenge Cup, 1930-32 followed in 1937 by gaining a first place in a national competition sponsored by Aberdeen Evening Express, featuring Skinner competitions.
At the age of 14 years, he was the youngest member of the Aberdeen S&R Society and during the early 60’s became conductor. In later years he conducted the Meldrum fiddlers who played in the North-East area.
Teaching played an important part in Bill Hardie’s life. He was a violin instructor for 11 years with Grampian Regional Council’s Education Department and also taught at the Heritage of Scotland Summer School at Stirling University.
Bill was a partner in the business of ‘Hardie Press’ founded in 1984 and assisted in the editing of James Hardie Fiddle Music of Scotland, re-printed in 1988. He had an individual collection of music – ‘Beauties of the North’, printed for him to celebrate his 70th Birthday.
Bill died in the Western General Hospital, Edinburgh, on 18th January.
A Trip to Aberdeen…….
by A.C. ?
Back in the 60’s there was a series on B.B.C., ‘On Tour’. One, in particular, was scheduled for Thurso, Kirkwall and Aberdeen on Wednesday, Thursday and Friday. This did not leave a lot of time to get to Aberdeen, so Jimmy shand suggested to the powers that be, to change the dates for Thurso and Kirkwall. This would have made everything quite simple (which was later proved could have been done, ‘nae bother’.)
A nice run up to Thurso on Wednesday – the show went well ; Thursday, ferry to Stromness, bus to Kirkwall – show went well ; Friday, the weather was bad, the ‘Ola’ was late getting to Stromness and we could not get aboard until the ship was cleaned and hosed down as most of the passengers had been sick. It was a rough sail to Scrabster and we were all a bit queasy.
Knowing time would be scarce, Jimmy had ordered meals to be ready at the café in Spinningdale, and had also left the keys of the dormobile bus with Captain McKenzie of Scrabster to have it at the berth when the ferry came in. It was over an hour late!
We got the bus loaded, and off down the road, just as hard as it would go. I swung it round the hairpin at Berriedale, whoa! Stop! I was out and throwing up over the fence. Jimmy moved into the driving seat and was shouting “come in, come in!” So I got in and holding the sliding door open, to get my head out, for obvious reasons, I said to Jimmy “for God’s sake dinna’ brake or you’ll but my bloody head off!”
Well, Jimmy took off down the road, at the four foot gallop. At every corner I was shutting my eyes and thinking he’ll never make it. There was a lot of tyre squealing but nae bumps. Spinningdale at last. The boys got in for their meal, I just had a glass of milk.
Right, off again, Jimmy had fairly got the bit in his teeth. I would never have believed the Bedford could do what Jimmy was asking of it. He left an awful lot of rubber on the road over Aultnaman. The rain came on which did not help at all. I lost my glass of milk at Dingwall and after that I was feeling better and said to Jimmy I could take a spell driving. He kept on through Inverness and was very irate at the traffic in the town. However, he stopped and we changed over, and I then hammered it down to Aberdeen and as we turned the corner to the hall, the producer was standing at the door biting his fingernails. The time was ten past seven, the show was billed for 7pm. Jimmy grabbed his box and into the hall, just as the slow handclap started ; he threw off his hat and coat and walked to the stage, picked up the ‘mike’ and said “Ye’ll a’ ken the boat was late, but I’ll gie ye a’ a tune the noo.” Jimmy started playing, and the rest of the band went on in penny numbers, while the drums had to be set up. Gus* McKelvey’s box had to be repaired (it had got a bump in transit).
The first of the group arrived at 7.50pm. They had phoned their friend in Inverness to come up and meet the White Heather bus and collect them and speed them to Aberdeen and open the show. Their friend had a 4.3 Jaguar and they didn’t stop for a meal. The White Heather bus arrived at 8.20pm. The show got under way about 8.30pm. It was very good and no-one who heard it on the radio would ever know of the trials and tribulations in the making.
The producer said, “I knew Shand’s band wouldn’t let me down.” Aye, 250 miles in just over 4 hours. What a hurl! What a man!
I’m sure all readers will join me in congratulating Bill Wilkie on receiving the MBE for his 45 years of service to the Scottish music scene and in organizing the All Scotland Accordion Festival which is held annually in the City Halls, Perth. Bill is a founder organizer of the Festival which started in 1950. An accomplished musician and teacher, he is respected by all musicians and enthusiasts alike. Bill, who operates ‘Wilkies Music House’ in Perth, is a great supporter of the ‘B&F’. His charity concerts are always a great success and he has been instrumental in bringing top accordionists from France and Italy to the Festival.
Once again, well done Bill, you thoroughly deserve this accolade, and behind every successful man there is a woman, Ena, congratulations!
The Empire Strikes Back
by Charlie Todd
Every year many Scottish Dance Bands travel abroad to help celebrate St. Andrew’s Nights. Here are a few examples from November 1994.
HONG KONG
The Craigellachie SDB (London)
Peter Wood from Crawfordjohn was drafted in to lead the Craigellachie SDB on the occasion of their first visit to Hong Kong. Together with Stuart Forbes on fiddle, brother, Alister Forbes on keyboard, Graham Hamilton on drums and the Hong Kong Auxiliary Police Pipe Band, the St. Andrew’s Ball was a great success. Peter found Hog Kong and expensive city and as you might expect the dominant feature is the unbelievable concentration of skyscrapers on the island.
Nairobi (KENYA) and Kampala (UGANDA)
The Cameronian Ceilidh Band
Association Secretary, Charlie Todd, together with Jason Dove, Hugh Gebbie and Captain Gavin Stoddart, not the Director of the Army School of Piping in Edinburgh Castle, spent 20 enjoyable days in East Africa as guests of the Caledonian Society of Kenya. The trip, of course, was a mixture of business and pleasure. Sponsorship was provided by Kenya Airways and the Hilton and Inter-Continental Hotels. The main engagements were the Annual Ball of the Nairobi Branch of the R.S.C.D.S., the Annual Ball of the Caledonian Society of Kenya, as guests of the Chieftain Hugh Blackett, originally from Gullane, and the Annual Ball of the Caledonian Society of Uganda in the Sheraton Hotel, Kampala, as guests of their Chieftain, Lt-Colonel Ewan Graham, Argyll and Sutherland Highlanders and presently British Military Adviser in Uganda.
Off duty breaks were provided by a two-day safari to the Tsavo Game Reserve in the south of Kenya and a five-day stay at the Inter-Continental in Mombasa. Swimming in the hotel pool or the neighbouring Indian Ocean must be one of the ultimate experiences in relaxation – it’s so warm. Burdened by the inevitable purchases of local craft souvenirs, the band returned to reality and a sobering 6DegC. Oh well, it was great while it lasted!!
Jakarta (INDONESIA)
Alan Gardiner and his SDB were pleased to accept an invitation from Java St. Andrew’s Society in Jakarta, Indonesia, to provide music for Scottish Country Dancing and Ceilidh Dancing at the Java St. Andrew’s Ball on Saturday, 26th November, 1994. The band members comprised Alan Gardiner (accordion), Emma Rayworth (fiddle), Jennifer Forrest (piano), Brian Cruickshanks (bass) and David Fielding (drums).
The band played at two engagements and rounded off the trip with a few days in Bali. Thanks go from the band to the Java St. Andrew’s Society Committee, particularly Alex Smillie, for the kind invitation and excellent hospitality.
Your Letters
I feel compelled to reply to a letter printed in the December issue of the ‘B&F’ entitled, ‘Correct Information’.
As a member of Duncan Black’s Band, and indeed, a friend of Duncan’s, I was disappointed to read the abovementioned letter which was written by a fellow musician, who was equally critical about Duncan’s broadcast when his letter was aired on ‘Take the Floor’. I feel that it is time for somebody to speak up on behalf of the band in view of all the recent criticism and controversy surrounding our debut broadcast.
I have a few points to make in reply to the criticism. My first point is that Duncan is not a historian but a bandleader, who is a first-class exponent of his instrument; in other words, to Duncan the music is probably of greater importance than the name and history of the tunes. There are many other bandleaders who make errors with the titles of tunes or call the tune ‘traditional air.’ Surely this is not of such great importance as to warrant the level of criticism unleashed on our band?
And yes, you can dance an Eva Three Step to 4/4 Marches!!!
My second point is that Country Dancers seem to think that ‘TTF’ is broadcast solely for their benefit! There have been many complaints from listeners regarding the tempo of the broadcast – point taken. But Duncan does not profess to be a Scottish Country Dance Band leader and has no aspirations to do so. Duncan plays for general Scottish/ceilidh dancing at a tempo he feels comfortable with. In my opinion ‘TTF’ is as much for the musicians as it is for the listeners and dancers. It gives musicians the opportunity to give their interpretation of tunes and play music at their chosen tempo and their style. Would it not be very boring if all bands who broadcast today played at the same tempo and tried to get everything perfect?
My third point is that musicians, no matter what their ability, need encouragement from listeners and not harsh criticism – especially from fellow musicians.
If anyone has any further comments to make on the subject, I think it would be a better idea to direct these comments directly to the band members and not do it via the media. I look forward to hearing from you.
Owen Fielding
Record Review
Bert Murray on the Fiddle – Ross Records – CWGR091
Come Scottish Country Dancing with Andrew Rankine and his Band – NRSCDS102
A Taste of Andrew Rankine – NRSCDS107
Morino Mixture – Bruce Lindsay with Ray Elrick on Piano – Smith/Mearns Label SMR046
Take the Floor – Repeat Broadcasts
4th Feb 95 – Wayne Robertson SDB
11th Feb 95 – Bill Black SDB
18th Feb 95 – Iain Cathcart SDB
25th Feb 95 – Neil MacEachern SDB, Currie Brothers, Alastair McDonald (OB from Helensburgh)
4th Mar 95 – John Ellis and his Highland Country Band
CLUB DIARY
Aberdeen (Dee Motel) – 28th Feb 95 – Nicol McLaren SDB
Alnwick (Golden Fleece) – members only
Arbroath (Viewfield Hotel) - 5th Feb 95 – Willie McGuire
Armadale (Masonic Hall) – 2nd Feb 95 – Seamus O’Sullivan Trio
Ayr (Gartferry Hotel) – 5th Feb 95 – Morag Robertson & Frank Henery
Balloch (St. Kessog’s Hall) – 19th Feb 95 – Deirdre Adamson
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 22nd Feb 95 – Paul Anderson Trio
Beith & District (Hotel de Croft, Dalry) – 20th Feb 95 – Ian Thomson SDB
Belford (Community Club) –
Biggar (Municipal Hall) – 12th Feb 95 – Coalburn Ceilidh Band
Blairgowrie (Moorfield Hotel) -
Brigmill (Guardbridge Sports & Social Club)
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Carlisle (Border Regiment Club, Carlisle Castle) -
Castle Douglas (Urr Valley Hotel) – 21st Feb 95 – Fiona Cuthbertson Trio
Coalburn (Miners’ Welfare) - 16th Feb 95 – Gary Blair
Crieff & District (Arduthie Hotel)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 1st Feb 95 – Angie Smith & Friends
Dunblane (Westlands Hotel) – 21st Feb 95 – Ian Muir Trio
Dundee (Park Hotel) – 2nd Feb 95 – Billy Anderson & Albany
Dunfermline (Roadhouse) – 14th Feb 95 – Dick Black Band 24th Feb Annual Dance
Dunoon & Cowal (McColl’s Hotel) 10th Feb 95 – McAllister Brothers
East Kilbride (Sweepers, Cambuslang) – 23rd Feb 95 - Fergie MacDonald & Farquhar MacRae
Ellon (Ladbroke Hotel) –
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Brig Motel) – 8th Feb 95 – Willie McGuire
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) – 16th Feb 95 – Edward Galley
Glenrothes (Victoria Hall, Coaltown of Balgownie) -
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) – Feb 95 – Lynne Christie SDB
Inveraray (Loch Fyne Hotel) - 7th Feb 95 – MacColl’s Ceilidh Band
Islay (White Hart Hotel) -
Isle of Skye -
Islesteps (Waterhole, Lochfoot) – 7th Feb 95 – Jim Cleland Trio
Kelso (Ednam House Hotel) – 22nd Feb 95 – Morag Robertson & Frank Henery
Kinlochshiel (Islander Function Room) -
Kintore (Crown Hotel) – 1st Feb 95 – Graeme Mitchell SDB
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 9th Feb 95 – Seamus O’Sullivan Trio
Livingston (Deans Community Centre) 21st Feb 95 – Iain MacPhail SDB
Lockerbie (Bluebell Hotel) - 28th Feb 95 – Lynne Bradshaw 10th Feb Dance to Bill Black SDB
Mauchline (Sorn Village Hall) 21st Feb 95 – Sandy Leggate SDB 25th Feb Dance to Jim Anderson Band
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) –
Muirhead (Belmont Arms, Meigle) - 15th Feb 95 – Club Night
Newtongrange (Dean Tavern) – 27th Feb 95 – Morag Robertson & Frank Henery
North East (Royal British Legion, Keith) –
Oban (Caledonian Hotel) – 2nd Feb 95 – Local Artistes Night
Orkney (Ayre Hotel, Kirkwall) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) – 23rd Feb 95 – Marie Fielding & Friends
Perth (Salutation Hotel) – 21st Feb 95 – Neil McEachern SDB
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 14th Feb 95 – Seamus O’Sullivan Trio
Rothbury (Queen’s Head) - 2nd Feb 95 – Alasdair MacCuish and the Black Rose Ceilidh Band
Shetland (venue?) -
Stirling (Terraces Hotel) - 12th Feb 95 – Alan Gardiner SDB
Thornhill (?)
Thurso (Pentland Hotel) –
Tranent (East Lothian Labour Club)
Turriff (Royal Oak Hotel) – 2nd Feb 95 – Susan Simpson & Friends
Tynedale (Hexham Ex Service Club) – 7th Feb 95 – Archie Duncan
Wick (McKay’s Hotel) –
Yarrow (Gordon Arms) - 15th Feb 95 – David Scott
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Arbroath
3. Balloch
4. Banchory
5. Banff
6. Biggar
7. Blairgowrie
8. Carlisle
9. Castle Douglas
10. Coalburn
11. Crieff
12. Dingwall
13. Glendale (Wooler)
14. Dunblane
15. Dundee
16. East Kilbride
17. Gretna
18. Highland
19. Islay
20. Inveraray
21. Islesteps
22. Kelso
23. Kintore
24. Lesmahagow
25. vingston
26 Lockerbie
27 Montrose
28 Newtongrange
29 Oban
30. Peebles
31. Perth
32. Renfrew
33. Rothbury
34. Shetland
35. Stirling
36. Thurso
37. Turriff
38. Tynedale
39. Wick
40. Yarrow
CLUB DIRECTORY AS AT SEPT 1994 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Carlisle A&F Club (joined Sept 1993 -
17. Castle Douglas A&F Club (c Sept 1980 – present)
18. Coalburn A&F Club (
19. Crieff A&F Club (cSept 1981)
20. Dalriada A&F Club (Feb 1981)
21. Derwentside A&F Club
22. Dingwall & District A&F Club (May 1979 – per first report)
23. Dunblane & District A&F Club (1971 – present)
24. Dundee & District A&F Club (1970? -
25. Dunfermline & District A&F Club (1974 – per first edition)
26. Dunoon & Cowal A&F Club (
27. East Kilbride A&F Club (Sept 1980)
28. Ellon A&F Club (
29. Etterick & Yarrow (Jan 1989 -
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Grena when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Oct 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Langholm A&F Club (Oct 1967 - present)
47. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
48. Livingston A&F Club (Sept 1973 – present)
49. Lockerbie A&F Club (Nov 1973 - present)
50. M.A.F.I.A. (1966 – 1993?)
51. Mauchline A&F Club (first mention 1986? - present)
52. Montrose A&F Club (joined Sept 1982 - present)
53. Muirhead A&F Club (Dec 1994 -
54. Mull A&F Club
55. Newtongrange A&F Club (joined Sept 1977 - present)
56. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
57. North East A&F Club aka Keith A&FC (Sept 1971 - present)
58. Oban A&F Club (Nov 1975 - present)
59. Orkney A&F Club (Mar 1978 - present)
60. Peebles A&F Club (26 Nov 1981 - present)
61. Perth & District A&F Club (Aug 1970 - present)
62. Premier A&F Club NI (April 1980)
63. Renfrew A&F Club (
64. Rothbury Accordion Club (1987??)
65. Shetland A&F Club (Sept 1978 - present)
66. Stirling A&F Club (Oct 1991 - )
67. Sutherland A&F Club (
68. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
69. Thurso A&F Club (Oct 1981 - present)
70. Tranent A&F Club
71. Turriff A&F Club (March 1982 - present)
72. Tynedale A&F Club (Nov 1980 - present)
73. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
74. Acharacle & District A&F Club (cMay 1988)
75. Bonchester Accordion Club (Closed?)
76. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
77. Buchan A&F Club
78. Callander A&F Club (
79. Campbeltown & District A&F Club (c Dec 1980)
80. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
81. Club Accord
82. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
83. Coupar Angus A&F Club (cSept 1978 - ?)
84. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
85. Denny & Dunipace A&F Club (Feb 1981)
86. Dornoch A&F Club (first mention in directory 1986)
87. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
88. Dunbar Cement Works A&F Club (Closed?)
89. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
90. Falkirk A&F Club (Sept 1978 - )
91. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
92. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
93. Kirriemuir A&F Club (cSept 1981)
94. Monklands A&F Club (Nov 1978 – closed cApril 1983)
95. Morecambe A&F Club (joined Sept 1982)
96. Newcastleton Accordion Club
97. New Cumnock A&F Club (cMarch 1979)
98. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
99. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
100. Straiton Accordion Club (c1968 – closed March 1979)
101. Stranraer & District Accordion Club (1974 – per first edition)
102. Torthorwald A&F Club (near Dumfries)
103. Walmer (Bridge of Allan) A&F Club
104. Wellbank A&F Club
Advertising rates
Full Page - £94
Half Page - £47
Quarter Page - £24
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Welcome to new readers in various parts of the country and thanks to Robbie shepherd for mentioning the ‘B&F’ in his programmes. He seems to have reached parts that were unaware of our paper.
The topics in this issue will no doubt raise some debate and I look forward to your views.
Disappointingly, there has been a poor response to the article ‘Your Chance to Have Your Say’ and we can only conclude that everybody is quite happy with the way Clubs are run and that nothing further can be done to improve the whole set up – but if you think different let us know.
The replies that were received will be published in due course.
Keep the reports, articles and photographs coming in.
Ron Ramsay
(1st) Shand Morino Day
Windygates, Fife 15th January, 1995
by Ian Cruickshanks (Kirriemuir)
This event was the brainchild of Dave Black and Bruce Lindsay Snr. The afternoon started with all the Shand Morinos arrayed on and around the stage including the original 4 boxes. Bruce Lindsay then introduced local fiddler and long-term friend of Jimmy Shand, Bob Mackintosh who gave a short talk on the sequence of events leading to the production of the Shand Morino and the part Jimmy Shand had in not only the design of the instrument but also the promotion of it by his skill in playing it, thereby influencing many other musicians to acquire one of these wonderful instruments.
Another lifelong friend of Jimmy’s, Sandy Tulloch of Dundee, then took centre stage to deliver information to us about the technical side of the Shand Morino. I doubt if anyone knows more about all aspects of the instrument than Sandy, as not only is he a very skilled exponent himself, he is also a highly skilled engineer, woodworker etc., and I’m surprised he has never made a Shand Morino himself! He’s made just about everything else from fiddles to working steam engines!
This is what Sandy had to say :
“Readers of the Box and Fiddle will have noted the excellent articles by John Gurney of Edinburgh on the history of the accordion.
Bruce Lindsay had the idea of holding a ‘Morino’ get-together, and for anyone interested I have put a few notes together for reference.
Morino was Hohner’s designer who built the first Shand Special before the war. After the war, Jimmy once more contacted Hohner and gave Morino the specification for a new and larger model. Because of post-war restrictions, delivery of the first four accordions was delayed until 1951. These four were owned by Jimmy Shand, Andy Gray of Duntrune, Jimmy Edwards of Moffat and myself, at that time in Glasgow.
There were 46 treble buttons arranged in three rows of 15, 16 and 15, linked by a special Morino system of levers to 46 pallets in two rows of 23. Each pallet covers three apertures serving six reeds with leather or plastic valves. Three reeds sound on the ‘press’ and three on the ‘draw’ of the bellows. This special system of levers allows equal travel and spring resistance for all buttons and equal lift for all pallets. A feature not found on other three row accordions at that time, but a most important one according to Jimmy. A similar system of levers is found beneath the keyboard linking the buttons to a set of pallets and reeds one octive lower than the treble and brought into action by the ‘couplers’ or registers. Use of these registers allows single, two, three and four reeds to sound as required.
Accordions which play different notes on ‘press’ and ‘draw’ are often called diatonic. But this is a musical term describing a musical scale of diatonic intervals. But two or three rows on the same principle are chromatic, and to distinguish these from the Continental system we call ours the British Chromatic Accordion.
The treble keyboard is at first sight a logical sequence whether on the ‘press’ or on the ‘draw’, but because of our seven note scale the intervals between the notes varies depending on the octave. So in the scale of E we have five octaves (some incomplete) but all with different fingering. And of course this applies to all other key signatures. Despite this complex and difficult arrangement, with full knowledge of the keyboard it is possible to play practically anything including chords, although there are one or two annoying notes ‘missing’ – or rather unavailable. I am told that a certain accordion that appeared some years ago with four extra buttons in a fourth row was in fact no different to the original model.
The bass system is the normal Stradella, 177 buttons arranged in the standard manner of major thirds, fundamental, major chord, minor chord, dominant seventh and diminished seventh. There are two bass registers allowing three or five voice chords. The bass notes and chords remain the same whether bellows press or draw is used.
The Morino’s tone is obtained not only from the quality of the reeds, but from the tonewood quality of the reed blocks, sounding boards and accordion body. The reeds are tunes in groups of three, one on pitch, one slightly sharp and one slightly flat. This gives the distinctive accordion sound, but if overdone can become discordant.
Despite the difficulties of a ‘press draw’ system and complicated keyboard, there is no finer instrument for Scottish music. The Shand Morino is superb. That Hohner have discontinued production of this model is incomprehensible.”
Following Sandy’s speech Jimmy Edwards of Moffat, Angus Oliver of Peebles, Dave Simpson of Invergowrie and Sandy Tulloch then put on the four original Shand Morinos and Jimmy Shand put on Jim Crawford’s box to pose for photographs. It’s the first time these four boxes have been together since they were delivered to Jimmy’s house in 1951!
All players present were then invited to play a couple of sets together led by Sandy Tulloch and then throughout the rest of the afternoon, Bruce Lindsay invited players up in ones and twos to play two sets each. As ever, each box had it’s own sound, and each player had his own style and individuality, as most of the button box players I know are self taught they tend to develop their own wee touches and ways of playing through the different ways of fingering the same sequences of notes. Sadly, of some 36 players present, only two (possibly three) under the age of 40 and in fact for the whole of Scotland I only know of two others under that age (I hope I am wrong and that there are a lot more!) I don’t just mean Shand Morino players either, I mean three-row players. What a pity Phil Cunningham and Ally Bain weren’t three row players, as the BBC in Glasgow would then be falling over themselves to do documentaries and Hogmanay programmes featuring the button box! Alas, the traditions which ensured young lads took up the melodeon, either through their fathers playing, as in the mining communities in Fife and the Central belt, or through the Bothy system on the farms of Angus and the North-East, don’t exist anymore. So, if we want to get the youngsters interested it will have to be some other way. I notice Stirling University caters for all other so-called traditional instruments and styles but I don’t recall the melodeon or three-row ever being featured there. Why not? As Sandy Tulloch said, “There is no finer instrument for playing Scottish Dance music on”.
Dave Black and Bruce Lindsay were overwhelmed by the response to the Shand Morino Day and would like to thank all the players and public together for supporting the idea, especially those who traveled great distances to be there. Hopefully, it wasn’t a one-off event and could it possibly become an annual event?
The following players were present (36) and most of them played – Jimmy Shand, Sandy Tulloch, Doug Milne, Bruce Lindsay, Jimmy & Alexander Lindsay, Jimmy Edwards, Jim MacKay, Dave Simpson, Angus Oliver, Jim Blake, Allan Kindness, Andy Greig, Roy Magna, Dave Arnott, Bobby Coghill. Ben Murray, David Ross, Willie McHardy, Jim Douglas, Harold Smith, John Grieve, Sandy McAllan, Jim Berry, Alec Stewart, Robin Waitt, Bill Stuart, Charlie Kirkpatrick, Dochie McCallum, Colin Chalmers, Ian Cruickshanks, Walter Beattie, Chic Boath, Jim Crawford, Murray Simpson and Roger Dobson.
Bill Black of Stanley phoned Bruce on the morning of the event apologising for not being able to come as he had been unwell for the last two weeks.
Accompanists were – Graham Berry, Bruce Lindsay Snr, Bob Jarvie, Ray Elrick and Alf McConnachie on piano and Lex Keith and Bert Shorthouse on piano box. The late Lindsay Spittal’s box and the late Bobby Brown’s box were both shown as well.
Da Fustra Band – The First 25 Years
by Douglas Johnstone
It all began for me on 16th October, 1969. The venue was the Zetland Hall, Pilrig Street, Edinburgh. I arrived nervously to meet the rest of the band, only one of whom I knew. The others had played together. This was to be my first rehearsal – at a dance run by Edinburgh and District Shetland Association. The line-up was : Rob Smith and Cecil Hughson (accordions), Maurice Smith (guitar), Rea MacLeod (piano) and myself, Douglas Johnstone (drums).
Lord knows what it sounded like, but we were asked back regularly, and also to many other venues in the city, until the last of us left Edinburgh in 1973. Apart from Rea, who lived in Edinburgh, we were all students with our roots firmly planted in Shetland. During the student holidays we took bookings in Shetland, Rea being replaced by a second guitarist, John Victor Inkster, who has become on of Shetland’s leading Country and Western musicians. We were joined in 1970 by Ronnie Jamieson, a gifted young Shetland fiddler, also pursuing his studies in Edinburgh.
We were regularly asked ‘What does Da Fustra mean?’ There was an old unnamed fiddle tune which was played in Unst last century by James Smith. His son, also James, wrote it down and named it ‘Da Foostra’ after a sunken rock off the Wester in Unst. (Fuster is an old Shetland word meaning ‘foaming sea’.) The music for this tune is now in the keeping of his son Iain, also a fiddler, and principal teacher of seamanship at the Anderson High School in Lerwick. The band name was inspired by this fiddle tune. Shetland spelling has never been standardised and we opted for Fustra rather than Foostra. In the late 1970s this tune was adopted as signature tune by BBC Radio Shetland, and still introduces its programmes each evening.
Memories of the early days could fill a book – halls with no electricity – band amplifiers powered by car batteries – a near lynching when we put the price for the band up from £10 to £12.50 (or was it £12/10-?) – the Silver Wedding that turned out to be a 21st Birthday Party expecting a pop group – the 3/4 march which we managed to play for the Gay gordons for most of a year before we realised….
One story must be told. We had a severe problem at the beginning of the 1972/73 winter season. Only three of us were left in Edinburgh – Rob, Cecil and me. Two accordions and drums make a viable band today now that electronic bass ends are common, however these were rare in 1972. What to do? Rob and Cecil headed for Clinkscale’s on a Wednesday and bought a bass guitar. On the Friday, our new trio – accordion, bass and drums – had its first outing and Cecil has played bass ever since. How he managed to reach performance standard in two days is one of the mysteries surrounding Cecil!
The end of the first band came in 1973 when Cecil and I returned to Shetland to teach and Rob went globetrotting for the computer industry.
Apart from occasional reunions there was a gap for about two years. In 1975 band number two was formed when Stanley Hunter (accordion) agreed to join Maurice, Cecil and me. This group lasted about two years when Stanley decided to retire and Maurice left to get married.
Our new accordion player was Eric Cooper, pianist in the original Hamefarers, and the new guitarist was Brian Nicolson. Later we added Davie Henry (guitar and vocals). Two more years had passed when Brian and Davie left to become founder members of the folk group ‘Hom Bru’ and Eric retired due to ill health. I had also left a few months before, due to pressure of other commitments, and had been replaced by Alan Ockenden. It seemed like the end.
However, Ronnie Jamieson, our fiddler from the Edinburgh days, and young five-row accordionist Neil Donald approached Cecil and me with a view to forming a band. Why not call it Da Fustra? Band number four was completed by guitarist Norman Goudie. Ronnie left after a few years and we played as a quartet for some time, specializing in the swing music at which Norman was so outstanding. For a while we added a trumpet, Roy Hughson, and became a jazz band which could still play reels, two-steps and waltzes.
The dancing trend was moving back towards the traditional dances however. Quadrilles and Lancers were in. Foxtrots and quicksteps were out. The time had come to change and, for the first time we opted for the standard Scottish line up, expanding eventually to a six piece.
The present members are Neil Donald and Andrew Hughson (accordions), Alan Gifford (fiddle), Derek Hendry (late of Forfar and Bill Black’s Band - piano), Cecil Hughson (bass guitar and boss) and Douglas Johnstone (drums).
When we sat down to make a guest list for our 25th anniversary party this October, Cecil and I were amazed by the number of musicians who had played for us over the years. We tried to include not only regular members but also the large number of reserve players so vital to the life of any dance band. Without the willing help of so many local musicians, our band would have died years ago. I must mention in particular Colin Sutherland and Alan Nicolson, two brilliant accordion players, who have saved our bacon on many occasions, and Ian Tulloch who shared the drumming with me in the late 70s and early 80s.
One of the delights of playing in Shetland is meeting visiting musicians. Cecil has a way of kidnapping accordionists and seating them in the front line of our band. Mickie Ainsworth, John Carmichael, David Hume, Gordon Pattullo, Sandy Noxon, Peter Wood, Bruce Peebles and especially Iain MacPhail have all suffered this treatment. Iain keeps coming back for more. He joined us first to play at the Up Helly Aa Festival on 1978 and has been a regular, and very welcome, visitor since. This year he was guest of honour at our 25th Anniversary party – his third visit in 12 months.
So how have we managed to survive for 25 years? Simple – we have Cecil as business manager and boss. A bandleader needs infinite patience (certainly if I am playing for him), enthusiasm and luck. Cecil has all three in abundance. His chaotic disorganization means that every outing is tinged with an air of excitement. Will he remember to bring his bass? Who is playing for us tonight? Has he remembered to find a replacement accordionist? Am I driving or do I sit here till someone picks me up? Where was the P.A. system last seen? Do we have one dance to play at or two (simultaneous) dances? Is Cecil actually playing tonight or is he on yet another business trip? If he is playing, will he leap from his chair in the middle of the grand march to take photographs of the wedding party? (Cecil left teaching many years ago to become a professional photographer). Life with Da Fustra is never boring. I look forward to the next 25 years!
Toralf Tollefsen – Obituary
by John Mackie
There are times when the expression ’end of an era’ embodies connotations of great loss, and therefore, also great sadness. Such was the occasion of the sudden death of, the one and only, Toralf Tollefsen on Sunday, 27th November.
I had spoken to his wife, Nona, on the phone on the Saturday, and she told me that Tolly had fallen on ice the day before and was in hospital with a broken leg, but was in good spirits and had even cast his vote in hospital on the Norwegian Referendum on the E.E.C.
On Monday, 5th December, I came home to find a message on my answering machine from Jon Feukstad, a great friend of Tolly’s, to say that he had died suddenly on the Sunday, a sad culmination to the extensive celebration of his 80th birthday in August, but he had at least known the pleasure of the great appreciation the world held for his unquestionable genius. He was an artiste many years ahead of his time, when one considers that he recorded pieces such as ‘Dance of the Hours’, ‘Dance of the Comedians’, Bach’s Toccata and Fuge in D Minor and the Frosini arrangement of ‘The Carnival of Venice’ in the early 30’s, one realises the extent of the man’s vision in regard to the extent of the potential of the accordion, which of course has been greatly enhanced by the advent of the free bass.
Tolly was not merely content to settle for an instrument with a free bass converter, but used the Zero Zette with an extra row of free bass as he incorporated both the Stradella and free bass in some of his transpositions.
He gave concerts in America, Australia, New Zealand and of course all over Europe. He and his wife, Nona, a colleen from Belfast, were decorated by the Norwegian Government for their often dangerous work in the Norwegian Resistance during the German Occupation, as they had been on a concert tour of Norway when the Germans invaded.
After the war, they moved back to London, with their baby daughter Sonia Marie. That was when I first contacted him concerning any further recordings he had made, also to replace one or two of my own which had been damaged while I was in the Army during the war.
He was most helpful and so we corresponded from time-to-time, until he went back to Norway in the early 60’s. Until then he had broadcast regularly on radio and BBC television. We more or less lost contact until some fifteen years ago when I came across an article about him in a magazine, so I contacted the Norwegian Consul who promptly looked up the Oslo telephone directory and gave me both Tolly’s telephone number and address. Tolly was delighted to hear from me, with the result that we have communicated on a regular basis ever since.
We met at Malcolm Gee’s Festival in Caister in 1986, where we used to have breakfast together and some fine extended blethers. He was the principal guest artiste at Caister that year and he told me then that he never used cassotto in his accordion.
It was that year after going home from Caister that he discovered he was diabetic, and in 1980 had to have a foot amputated as a consequence, a pretty traumatic experience for someone of his fairly advanced years. However, he was physically a very strong man, and equally so mentally, and so made a full recovery, although latterly developed back problems, which many of us are aware can be an occupational hazard of the accordionist.
His last public appearance was in April when he gave a short concert on Norwegian television as part of his 80th birthday celebration.
Toralf Tollefsen has bequeathed to the world a legacy of wonderful music in his one hundred plus single recordings, his L.P.s and now the latest release, the C.D. which has proved so timely in its production. His death, so unexpected, has been a great blow to the accordion movement worldwide, and certainly to myself, as he has played a significant part in my life for the last sixty years, and will be remembered with great affection wherever accordionists foregather.
Introducing the Clubs
No 25 – Biggar
by Charlie Todd
Biggar Accordion and Fiddle Club opened its doors in October 1974, in the Clydesdale Hotel, Biggar, which had been taken over the previous month by Alex and Evelyn MacArthur. The nearest Club at that time was located at Carlops where present Club Chairman, John Anderson, happened to meet ‘The General’. In the course of the conversation John said he was from Biggar and Alex explained that he would be moving there shortly and that they would start their own Club.
As anyone who visited the Clydesdale could vouch, the room where the Club met was far too small, lined with chairs but with no room for tables and with a ‘stage’ which consisted of an old section of flooring sitting on empty beer crates – in other words it had atmosphere, lots of it. Players will remember that there was a clear space of fully a foot between the front of the stage and the first row of the audience and consequently it was a great training ground – if your nerves could stand playing at Biggar you could play anywhere. Alex’s personality as player and compere ensured that there was no shortage of either players or listeners.
Alex and John had settled the meeting date as the second Monday of the month for reasons long forgotten and Jim Johnstone did the honours as first guest artiste. Ian Powrie, on holiday from Australia, and numerous other well-known musicians arrived to make it a night to remember. Initially, Alex did almost everything himself but soon John and other willing helpers came to his assistance.
Since Alex knew everyone on the scene, it was he who usually suggested guest artistes with John making the arrangements. It was on a visit to a competition in Ireland that Alex first heard a young man called Paddy Neary whom he arranged to bring over on a short tour leading to a playing career in Scotland that hasn’t looked back since.
As is to be hoped with all Clubs, Biggar helped to bring to the fore a number of well-known names on today’s broadcasting scene – Alan Gardiner, Peter Wood, Keith Dickson, Dorothy Lawson and Jennifer Forrest. It would be nice to see more youngsters coming along to take their places.
After many successful years it was with a certain amount of trepidation that regulars learned that due to the tying nature of the residential side of the Clydesdale, Alex and Evelyn had decided to sell up and take over ‘The Farmers Arms’ at Thornhill. Sadly, Alex untimely death in 1989 denied him the opportunity to retire to Biggar and resume his activities with the Club. A great loss to us all. The scene had changed over the years however, with far more Clubs vying for a limited audience and it was decided to follow several other Clubs by introducing dancing to try to draw a bigger crowd. Since this was not possible at the Clydesdale it was reluctantly decided to move the venue, briefly to the Toftcombs Hotel, and then to its present venue, the Municipal Hall, in December 1988. At the same time, the night was changed to the second Sunday with the guest artiste opening the evening at 7.30 pm in an attempt to get everyone in on time.
Things have never looked back. The Club Committee today consists of John Anderson (Chairman), Joy Anderson (Treasurer) and Tom and Ray Hope, aided by a band of young and willing helpers on Club nights. Dancing has indeed proved an attraction, drawing larger attendances and enabling the Club to book good guest artiste bands. Long may the success continue.
Citizen of the Year
Bobby - Coghill
The Rotary Club of Wick, Citizen of the Year Award, has been presented this year to well-known musician Mr Bobby Coghill.
Club President,Mr Hugh Clark, referred to a long list of Bobby achievements in the musical field including Pipe Major of the Wick Royal British Legion Pipe Band and the senior Pipe Major at the Beating the Retreat at Edinburgh Castle.
He taught himself to play the accordion and the fiddle and in 1961 he won the North of Scotland Accordion championship in Inverness. He has also twice been invited to judge the National championships of the Accordion and Fiddle Clubs.
He currently has 14 pupils learning to play the chanter. Despite being in great demand with his band, which has played at venues as far away as London, Canada and the Faroes, Bobby still finds time to play free of charge for needy groups throughout the country.
He has played at the local hospital on the Saturday before Christmas every year for 34 years and for the last 20 years (except one) he has entertained the residents in Pulteney House on New Year’s Day.
Mr Clark said that the whole community benefited from having someone as talented and generous as Bobby in their midst. Also in the picture is Mr Coghill’s wife, Marie.
William James Hardie (1916 – 1995) - Obituary
Bill Hardie, as he was known, was born in Aberdeen in 1916. He played the fiddle and had classical tuition from Theodore Crozier and later from Alex Milne Smith.
His first solo broadcast was at 16-years-of-age which included a wide range from ‘Gows’ to ‘J. Murdoch Henderson’. Early competitions saw him winning the Aberdeen Music Festivals in the J. Scott Skinner challenge Cup, 1930-32 followed in 1937 by gaining a first place in a national competition sponsored by Aberdeen Evening Express, featuring Skinner competitions.
At the age of 14 years, he was the youngest member of the Aberdeen S&R Society and during the early 60’s became conductor. In later years he conducted the Meldrum fiddlers who played in the North-East area.
Teaching played an important part in Bill Hardie’s life. He was a violin instructor for 11 years with Grampian Regional Council’s Education Department and also taught at the Heritage of Scotland Summer School at Stirling University.
Bill was a partner in the business of ‘Hardie Press’ founded in 1984 and assisted in the editing of James Hardie Fiddle Music of Scotland, re-printed in 1988. He had an individual collection of music – ‘Beauties of the North’, printed for him to celebrate his 70th Birthday.
Bill died in the Western General Hospital, Edinburgh, on 18th January.
A Trip to Aberdeen…….
by A.C. ?
Back in the 60’s there was a series on B.B.C., ‘On Tour’. One, in particular, was scheduled for Thurso, Kirkwall and Aberdeen on Wednesday, Thursday and Friday. This did not leave a lot of time to get to Aberdeen, so Jimmy shand suggested to the powers that be, to change the dates for Thurso and Kirkwall. This would have made everything quite simple (which was later proved could have been done, ‘nae bother’.)
A nice run up to Thurso on Wednesday – the show went well ; Thursday, ferry to Stromness, bus to Kirkwall – show went well ; Friday, the weather was bad, the ‘Ola’ was late getting to Stromness and we could not get aboard until the ship was cleaned and hosed down as most of the passengers had been sick. It was a rough sail to Scrabster and we were all a bit queasy.
Knowing time would be scarce, Jimmy had ordered meals to be ready at the café in Spinningdale, and had also left the keys of the dormobile bus with Captain McKenzie of Scrabster to have it at the berth when the ferry came in. It was over an hour late!
We got the bus loaded, and off down the road, just as hard as it would go. I swung it round the hairpin at Berriedale, whoa! Stop! I was out and throwing up over the fence. Jimmy moved into the driving seat and was shouting “come in, come in!” So I got in and holding the sliding door open, to get my head out, for obvious reasons, I said to Jimmy “for God’s sake dinna’ brake or you’ll but my bloody head off!”
Well, Jimmy took off down the road, at the four foot gallop. At every corner I was shutting my eyes and thinking he’ll never make it. There was a lot of tyre squealing but nae bumps. Spinningdale at last. The boys got in for their meal, I just had a glass of milk.
Right, off again, Jimmy had fairly got the bit in his teeth. I would never have believed the Bedford could do what Jimmy was asking of it. He left an awful lot of rubber on the road over Aultnaman. The rain came on which did not help at all. I lost my glass of milk at Dingwall and after that I was feeling better and said to Jimmy I could take a spell driving. He kept on through Inverness and was very irate at the traffic in the town. However, he stopped and we changed over, and I then hammered it down to Aberdeen and as we turned the corner to the hall, the producer was standing at the door biting his fingernails. The time was ten past seven, the show was billed for 7pm. Jimmy grabbed his box and into the hall, just as the slow handclap started ; he threw off his hat and coat and walked to the stage, picked up the ‘mike’ and said “Ye’ll a’ ken the boat was late, but I’ll gie ye a’ a tune the noo.” Jimmy started playing, and the rest of the band went on in penny numbers, while the drums had to be set up. Gus* McKelvey’s box had to be repaired (it had got a bump in transit).
The first of the group arrived at 7.50pm. They had phoned their friend in Inverness to come up and meet the White Heather bus and collect them and speed them to Aberdeen and open the show. Their friend had a 4.3 Jaguar and they didn’t stop for a meal. The White Heather bus arrived at 8.20pm. The show got under way about 8.30pm. It was very good and no-one who heard it on the radio would ever know of the trials and tribulations in the making.
The producer said, “I knew Shand’s band wouldn’t let me down.” Aye, 250 miles in just over 4 hours. What a hurl! What a man!
- George, but shown as Gus – was he known as Gus by his friends? – Ed
I’m sure all readers will join me in congratulating Bill Wilkie on receiving the MBE for his 45 years of service to the Scottish music scene and in organizing the All Scotland Accordion Festival which is held annually in the City Halls, Perth. Bill is a founder organizer of the Festival which started in 1950. An accomplished musician and teacher, he is respected by all musicians and enthusiasts alike. Bill, who operates ‘Wilkies Music House’ in Perth, is a great supporter of the ‘B&F’. His charity concerts are always a great success and he has been instrumental in bringing top accordionists from France and Italy to the Festival.
Once again, well done Bill, you thoroughly deserve this accolade, and behind every successful man there is a woman, Ena, congratulations!
The Empire Strikes Back
by Charlie Todd
Every year many Scottish Dance Bands travel abroad to help celebrate St. Andrew’s Nights. Here are a few examples from November 1994.
HONG KONG
The Craigellachie SDB (London)
Peter Wood from Crawfordjohn was drafted in to lead the Craigellachie SDB on the occasion of their first visit to Hong Kong. Together with Stuart Forbes on fiddle, brother, Alister Forbes on keyboard, Graham Hamilton on drums and the Hong Kong Auxiliary Police Pipe Band, the St. Andrew’s Ball was a great success. Peter found Hog Kong and expensive city and as you might expect the dominant feature is the unbelievable concentration of skyscrapers on the island.
Nairobi (KENYA) and Kampala (UGANDA)
The Cameronian Ceilidh Band
Association Secretary, Charlie Todd, together with Jason Dove, Hugh Gebbie and Captain Gavin Stoddart, not the Director of the Army School of Piping in Edinburgh Castle, spent 20 enjoyable days in East Africa as guests of the Caledonian Society of Kenya. The trip, of course, was a mixture of business and pleasure. Sponsorship was provided by Kenya Airways and the Hilton and Inter-Continental Hotels. The main engagements were the Annual Ball of the Nairobi Branch of the R.S.C.D.S., the Annual Ball of the Caledonian Society of Kenya, as guests of the Chieftain Hugh Blackett, originally from Gullane, and the Annual Ball of the Caledonian Society of Uganda in the Sheraton Hotel, Kampala, as guests of their Chieftain, Lt-Colonel Ewan Graham, Argyll and Sutherland Highlanders and presently British Military Adviser in Uganda.
Off duty breaks were provided by a two-day safari to the Tsavo Game Reserve in the south of Kenya and a five-day stay at the Inter-Continental in Mombasa. Swimming in the hotel pool or the neighbouring Indian Ocean must be one of the ultimate experiences in relaxation – it’s so warm. Burdened by the inevitable purchases of local craft souvenirs, the band returned to reality and a sobering 6DegC. Oh well, it was great while it lasted!!
Jakarta (INDONESIA)
Alan Gardiner and his SDB were pleased to accept an invitation from Java St. Andrew’s Society in Jakarta, Indonesia, to provide music for Scottish Country Dancing and Ceilidh Dancing at the Java St. Andrew’s Ball on Saturday, 26th November, 1994. The band members comprised Alan Gardiner (accordion), Emma Rayworth (fiddle), Jennifer Forrest (piano), Brian Cruickshanks (bass) and David Fielding (drums).
The band played at two engagements and rounded off the trip with a few days in Bali. Thanks go from the band to the Java St. Andrew’s Society Committee, particularly Alex Smillie, for the kind invitation and excellent hospitality.
Your Letters
I feel compelled to reply to a letter printed in the December issue of the ‘B&F’ entitled, ‘Correct Information’.
As a member of Duncan Black’s Band, and indeed, a friend of Duncan’s, I was disappointed to read the abovementioned letter which was written by a fellow musician, who was equally critical about Duncan’s broadcast when his letter was aired on ‘Take the Floor’. I feel that it is time for somebody to speak up on behalf of the band in view of all the recent criticism and controversy surrounding our debut broadcast.
I have a few points to make in reply to the criticism. My first point is that Duncan is not a historian but a bandleader, who is a first-class exponent of his instrument; in other words, to Duncan the music is probably of greater importance than the name and history of the tunes. There are many other bandleaders who make errors with the titles of tunes or call the tune ‘traditional air.’ Surely this is not of such great importance as to warrant the level of criticism unleashed on our band?
And yes, you can dance an Eva Three Step to 4/4 Marches!!!
My second point is that Country Dancers seem to think that ‘TTF’ is broadcast solely for their benefit! There have been many complaints from listeners regarding the tempo of the broadcast – point taken. But Duncan does not profess to be a Scottish Country Dance Band leader and has no aspirations to do so. Duncan plays for general Scottish/ceilidh dancing at a tempo he feels comfortable with. In my opinion ‘TTF’ is as much for the musicians as it is for the listeners and dancers. It gives musicians the opportunity to give their interpretation of tunes and play music at their chosen tempo and their style. Would it not be very boring if all bands who broadcast today played at the same tempo and tried to get everything perfect?
My third point is that musicians, no matter what their ability, need encouragement from listeners and not harsh criticism – especially from fellow musicians.
If anyone has any further comments to make on the subject, I think it would be a better idea to direct these comments directly to the band members and not do it via the media. I look forward to hearing from you.
Owen Fielding
Record Review
Bert Murray on the Fiddle – Ross Records – CWGR091
Come Scottish Country Dancing with Andrew Rankine and his Band – NRSCDS102
A Taste of Andrew Rankine – NRSCDS107
Morino Mixture – Bruce Lindsay with Ray Elrick on Piano – Smith/Mearns Label SMR046
Take the Floor – Repeat Broadcasts
4th Feb 95 – Wayne Robertson SDB
11th Feb 95 – Bill Black SDB
18th Feb 95 – Iain Cathcart SDB
25th Feb 95 – Neil MacEachern SDB, Currie Brothers, Alastair McDonald (OB from Helensburgh)
4th Mar 95 – John Ellis and his Highland Country Band
CLUB DIARY
Aberdeen (Dee Motel) – 28th Feb 95 – Nicol McLaren SDB
Alnwick (Golden Fleece) – members only
Arbroath (Viewfield Hotel) - 5th Feb 95 – Willie McGuire
Armadale (Masonic Hall) – 2nd Feb 95 – Seamus O’Sullivan Trio
Ayr (Gartferry Hotel) – 5th Feb 95 – Morag Robertson & Frank Henery
Balloch (St. Kessog’s Hall) – 19th Feb 95 – Deirdre Adamson
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 22nd Feb 95 – Paul Anderson Trio
Beith & District (Hotel de Croft, Dalry) – 20th Feb 95 – Ian Thomson SDB
Belford (Community Club) –
Biggar (Municipal Hall) – 12th Feb 95 – Coalburn Ceilidh Band
Blairgowrie (Moorfield Hotel) -
Brigmill (Guardbridge Sports & Social Club)
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Carlisle (Border Regiment Club, Carlisle Castle) -
Castle Douglas (Urr Valley Hotel) – 21st Feb 95 – Fiona Cuthbertson Trio
Coalburn (Miners’ Welfare) - 16th Feb 95 – Gary Blair
Crieff & District (Arduthie Hotel)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 1st Feb 95 – Angie Smith & Friends
Dunblane (Westlands Hotel) – 21st Feb 95 – Ian Muir Trio
Dundee (Park Hotel) – 2nd Feb 95 – Billy Anderson & Albany
Dunfermline (Roadhouse) – 14th Feb 95 – Dick Black Band 24th Feb Annual Dance
Dunoon & Cowal (McColl’s Hotel) 10th Feb 95 – McAllister Brothers
East Kilbride (Sweepers, Cambuslang) – 23rd Feb 95 - Fergie MacDonald & Farquhar MacRae
Ellon (Ladbroke Hotel) –
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Brig Motel) – 8th Feb 95 – Willie McGuire
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) – 16th Feb 95 – Edward Galley
Glenrothes (Victoria Hall, Coaltown of Balgownie) -
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) – Feb 95 – Lynne Christie SDB
Inveraray (Loch Fyne Hotel) - 7th Feb 95 – MacColl’s Ceilidh Band
Islay (White Hart Hotel) -
Isle of Skye -
Islesteps (Waterhole, Lochfoot) – 7th Feb 95 – Jim Cleland Trio
Kelso (Ednam House Hotel) – 22nd Feb 95 – Morag Robertson & Frank Henery
Kinlochshiel (Islander Function Room) -
Kintore (Crown Hotel) – 1st Feb 95 – Graeme Mitchell SDB
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 9th Feb 95 – Seamus O’Sullivan Trio
Livingston (Deans Community Centre) 21st Feb 95 – Iain MacPhail SDB
Lockerbie (Bluebell Hotel) - 28th Feb 95 – Lynne Bradshaw 10th Feb Dance to Bill Black SDB
Mauchline (Sorn Village Hall) 21st Feb 95 – Sandy Leggate SDB 25th Feb Dance to Jim Anderson Band
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) –
Muirhead (Belmont Arms, Meigle) - 15th Feb 95 – Club Night
Newtongrange (Dean Tavern) – 27th Feb 95 – Morag Robertson & Frank Henery
North East (Royal British Legion, Keith) –
Oban (Caledonian Hotel) – 2nd Feb 95 – Local Artistes Night
Orkney (Ayre Hotel, Kirkwall) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) – 23rd Feb 95 – Marie Fielding & Friends
Perth (Salutation Hotel) – 21st Feb 95 – Neil McEachern SDB
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 14th Feb 95 – Seamus O’Sullivan Trio
Rothbury (Queen’s Head) - 2nd Feb 95 – Alasdair MacCuish and the Black Rose Ceilidh Band
Shetland (venue?) -
Stirling (Terraces Hotel) - 12th Feb 95 – Alan Gardiner SDB
Thornhill (?)
Thurso (Pentland Hotel) –
Tranent (East Lothian Labour Club)
Turriff (Royal Oak Hotel) – 2nd Feb 95 – Susan Simpson & Friends
Tynedale (Hexham Ex Service Club) – 7th Feb 95 – Archie Duncan
Wick (McKay’s Hotel) –
Yarrow (Gordon Arms) - 15th Feb 95 – David Scott
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Arbroath
3. Balloch
4. Banchory
5. Banff
6. Biggar
7. Blairgowrie
8. Carlisle
9. Castle Douglas
10. Coalburn
11. Crieff
12. Dingwall
13. Glendale (Wooler)
14. Dunblane
15. Dundee
16. East Kilbride
17. Gretna
18. Highland
19. Islay
20. Inveraray
21. Islesteps
22. Kelso
23. Kintore
24. Lesmahagow
25. vingston
26 Lockerbie
27 Montrose
28 Newtongrange
29 Oban
30. Peebles
31. Perth
32. Renfrew
33. Rothbury
34. Shetland
35. Stirling
36. Thurso
37. Turriff
38. Tynedale
39. Wick
40. Yarrow
CLUB DIRECTORY AS AT SEPT 1994 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Carlisle A&F Club (joined Sept 1993 -
17. Castle Douglas A&F Club (c Sept 1980 – present)
18. Coalburn A&F Club (
19. Crieff A&F Club (cSept 1981)
20. Dalriada A&F Club (Feb 1981)
21. Derwentside A&F Club
22. Dingwall & District A&F Club (May 1979 – per first report)
23. Dunblane & District A&F Club (1971 – present)
24. Dundee & District A&F Club (1970? -
25. Dunfermline & District A&F Club (1974 – per first edition)
26. Dunoon & Cowal A&F Club (
27. East Kilbride A&F Club (Sept 1980)
28. Ellon A&F Club (
29. Etterick & Yarrow (Jan 1989 -
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Grena when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Oct 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Langholm A&F Club (Oct 1967 - present)
47. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
48. Livingston A&F Club (Sept 1973 – present)
49. Lockerbie A&F Club (Nov 1973 - present)
50. M.A.F.I.A. (1966 – 1993?)
51. Mauchline A&F Club (first mention 1986? - present)
52. Montrose A&F Club (joined Sept 1982 - present)
53. Muirhead A&F Club (Dec 1994 -
54. Mull A&F Club
55. Newtongrange A&F Club (joined Sept 1977 - present)
56. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
57. North East A&F Club aka Keith A&FC (Sept 1971 - present)
58. Oban A&F Club (Nov 1975 - present)
59. Orkney A&F Club (Mar 1978 - present)
60. Peebles A&F Club (26 Nov 1981 - present)
61. Perth & District A&F Club (Aug 1970 - present)
62. Premier A&F Club NI (April 1980)
63. Renfrew A&F Club (
64. Rothbury Accordion Club (1987??)
65. Shetland A&F Club (Sept 1978 - present)
66. Stirling A&F Club (Oct 1991 - )
67. Sutherland A&F Club (
68. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
69. Thurso A&F Club (Oct 1981 - present)
70. Tranent A&F Club
71. Turriff A&F Club (March 1982 - present)
72. Tynedale A&F Club (Nov 1980 - present)
73. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
74. Acharacle & District A&F Club (cMay 1988)
75. Bonchester Accordion Club (Closed?)
76. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
77. Buchan A&F Club
78. Callander A&F Club (
79. Campbeltown & District A&F Club (c Dec 1980)
80. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
81. Club Accord
82. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
83. Coupar Angus A&F Club (cSept 1978 - ?)
84. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
85. Denny & Dunipace A&F Club (Feb 1981)
86. Dornoch A&F Club (first mention in directory 1986)
87. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
88. Dunbar Cement Works A&F Club (Closed?)
89. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
90. Falkirk A&F Club (Sept 1978 - )
91. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
92. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
93. Kirriemuir A&F Club (cSept 1981)
94. Monklands A&F Club (Nov 1978 – closed cApril 1983)
95. Morecambe A&F Club (joined Sept 1982)
96. Newcastleton Accordion Club
97. New Cumnock A&F Club (cMarch 1979)
98. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
99. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
100. Straiton Accordion Club (c1968 – closed March 1979)
101. Stranraer & District Accordion Club (1974 – per first edition)
102. Torthorwald A&F Club (near Dumfries)
103. Walmer (Bridge of Allan) A&F Club
104. Wellbank A&F Club
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