Box and Fiddle
Year 13 No 05
January 1990
Price 40p
12 pages
8 month subscription £4.60
Editor – Tom Clark, 55 Sutherland Crescent, Dundee, DD2 2HP
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Apologies
As I told you in the last issue, this issue would be late due to holiday commitments. Oliver McPhersons, who now do much of the preparation work are on holiday from December 22nd to January 4th and work will commence from there on.
It is because of these holiday commitments that the January issue will be late. Please accept our apologies.
A.S.M.A. West of Scotland Festival
I have been asked by Irene Cunningham, who is just recovering from ‘flu, to explain that she has not been able to produce a full report on the Festival. This will follow in the next issue.
Tom Clark
He’s Ower Young tae hae been a General
Alex MacArthur – An Appreciation
by Norrie Williams
October, 1988, and shepherd – Scottish dance band pianist, Ian Wilson of Leadburn Farm near Elvanfoot in Lanarkshire, had just had a hernia operation and was back in the ward dozing his way fitfully out of the anesthetic.
During one of his brief, semi-conscious interludes he sensed someone by his bed but he quickly relapsed to surface some time later, again aware of a presence. This time a familiar voice said, “Are ye wakened faither?” It was his friend and dance band leader colleague Alex MacArthur, alias “The General”.
No-one was officially permitted to visit so soon after the operation, not even Ian’s wife Bertha, but this did not deter Alex who just went straight in. How he did it no-one knows, but more importantly, why did he do it? Simple, above all else he cared for people.
Yes I know music is normally quoted as his first love, but I would say his fellow beings had it by a short head. However, the order of precedence of these two passions is of no great and lasting benefit to the Scottish music scene. More of that later.
We all know that every person is unique in themselves but Alex, a larger than life figure, was more unique than most. Third youngest of a family of ten, he was born in 1930 in the small Perthshire village of Kinbuck, situated about 1½ miles north of Dunblane.
All the family were musically inclined with good singing voices. Mother played the mouth organ; one brother had a go at the melodeon and one of the uncles on his mother’s side, Ned McGibbon, a very good fiddler, played in The Keltryburn Accordion Band, which was based at Kenmore, on Loch Tay.
Alex’s natural talent as a player surfaced at the age of three when he would pick out recognisable tunes on the piano in a cousin’s house. When about eight years old he fell heir to a harmonium bequeathed by an elderly lady, and this he played almost non-stop until his mother bunged it out into the garden.
But, nothing daunted, he continued his sessions from underneath a tarpaulin! However, this insatiable appetite for making music got him into a spot of bother at the school. There was a harmonium in the woodwork room (which also doubled as a music room) and Alex would skip classes to have a tune, needless to say with painful consequences.
At this time also Alex was showing a keen interest in the accordion, having a “wee shottie” whenever the opportunity presented itself. Then at the age of fifteen came the break – one of his sisters who had been in the W.A.A.F. presented him with a small piano accordion, probably 24 bass.
He attended music lessons in Stirling under a Mr McFarlane but called it a day after a couple of years, a decision no doubt prompted by the need for self-expression and the desire to do his own thing.
To enlarge on this “formal training” for a few moments; because in later years he never ever had the written music in front of him during any performance whatsoever, public or private, his musical colleagues firmly believed that he couldn’t read the “dots” or at best only very little and yet they were aware that he would take music away and come back with it off pat. How was it done? Well, his wife, Evelyn, confided that he had remarkable powers of absorption and retention. He would take the music and read it as one would a book or newspaper with not an accordion in sight, and after ten or fifteen minutes he would dispense with the printed copy and go and play it.
This particular technique also prompted a request from Alex en route to a Scottish dance music broadcast with the Powrie band, “Could I possibly get the music the night before, rather than on the bus?”
The Arthur MacLeod Trio
But to backtrack. Between leaving secondary school in Dunblane and doing National Service in the Royal Engineers, Alex worked on the railway as a porter at Dunblane, not surprisingly as his father was also with the company in the same capacity but up the ladder, initially at Kinbuck and latterly at Dunblane, and his uncle Neil MacArthur was a signalman at Callander.
One of Alex’s contemporaries who did his National Service with the RAF was demobbed about the same time and had only been back in civvy street for a few days when he was approached by a Miss Hay of “Hay’s Music Shop” in Stirling, who told him that the “Forest Hills Hotel” in Aberfoyle was looking for a trio to do a ceilidh/dance function.
Being a big band enthusiast and pianist with the local “Palais” band, this request presented our ex-RAF type with a problem, because up to that point Scottish music had evaded him. His name – Jim MacLeod. What to do? It was then that Alex MacArthur sprang to mind. Although Jim had never worked with him, “I knew of him as a very accomplished accordion player with a penchant for Scottish Dance Music.”
To cut a long story short, they teamed up with a drummer and did the “Forest Hills” job. It was a resounding success and the lads were quite overwhelmed by the enthusiasm and reaction of the dancers. It was also an engagement which was to have a profound effect on their respective musical careers.
One thing led to another, their reputation spread, someone suggested they apply for an audition with the BBC. They were duly called to Dundee and, despite the fact that they thought they hadn’t a chance, the panel, which included Jimmy Shand, passed them with flying colours.
As the Scottish Dance Music at the time did not entertain trios, prospects were not too bright, but within a week Kathleen Garscadden (Auntie Kathleen) had enlisted them for her “Down at the Mains” programme, a slot which they filled for almost six years as “The Arthur MacLeod Trio” an amalgam of the two names which in retrospect they felt was unfortunate and rather stupid but they were young and inexperienced at the time.
It was in 1950 that I first heard the trio on the radio during working hours. I was very impressed indeed, so much so, that I approached my boss who lived in the flat adjacent to the office block and every Tuesday he would leave his front door open so that I could hear the music from the office. And he was English!
My first live encounter with Alex was at a Dunblane dance in 1951 when he relieved the Shand band at half time using George McKelvie’s accordion. Despite the “heavy” sound of this instrument the unmistakable MacArthur lift shone through. Later in the same year at another dance where The Arthur MacLeod Trio was officiating, I stood at the side of the stage fascinated by Alex’s style.
His technique of clipping a note an octave below the melody line was intriguing and greatly enhanced what were normally somewhat hackneyed tunes such as Bonnie Dundee etc. A year later I had the good fortune to be best man at a wedding in Doune and at the reception it was again The Trio, now fielding a 15-year-old Billy Thom on drums and as I was “compere” at the dance I had a ball, if you see what I mean.
After a couple of cracking 2/4s for a barn dance, I asked Alex what the second tune was, “I hadn’t heard that one before.” “That makes two of us” came the deadpan reply. Apparently he had forgotten what he had intended to play and busked his way through a “makey-up”.
With the help of radio, which was a big thing in those days, The Trio went from strength to strength on its own merits. Work poured in from all directions, some of the venues being remote and isolated. Alex loved this scene, the wee village halls, the couthie country folk and so on, whereas Jim, whilst also enjoying it, tended to favour a more settled existence and even then was looking towards the hotel world. So it was inevitable that they would follow their own separate ways. However, prior to this parting, The Trio augmented by the addition of a fiddle player and on occasion bass, became resident at The Dunblane Hydro.
The Powrie Band
Also for a short period in the early ’50s, Alex played with a small group of his own, his drummer being a Callander lad, Arthur Easson. Then in 1955, by which time Alex’s reputation as a top class accordionist had spread far and wide, he was invited to join The Ian Powrie Band which had a vacancy, the second box player, Jack Ewen, having left due to pressure of work.
Our man jumped at the chance staying with them until 1957/8 and doing at least two “The Kilt is my Delight” TV programmes and a whole series of radio’s “On Tour with Robert Wilson”. On one occasion when the full Powrie band had to fulfil engagements in Skye, drummer George Grant was unable to go and Alex suggested Ian approach Arthur Easson.
Arthur subsequently did one or two random jobs with the band, and then in January 1957, he joined as permanent drummer. For two or three years prior to this he had been running his own group, “The Glengarry Band”, which had as its fiddler a certain Bill Black – yes Bill Black of Stanley, who was latterly replaced by Hamish Menzies. What a tangled web we weave!
MARRIED
But to go back to The Arthur MacLeod Trio era, what must surely rank as the most important step in anyone’s life took place during that period. At a dance at Braco one evening, Alex was introduced to Evelyn Blair of Crieff. They were married in December 1954 and took up residence in Comrie in early 1955.
By this time, Alex, who had returned to the railway for a short time after demob, was working with the Springbank Sand and Gravel Company at Doune. In 1958 he took up a job as a travelling representative with Vandenberg (Unilever) who amongst other delicacies marketed “Stork” margarine – the “g” is hard as in “gosh”. As Alex used to crack, “I take the orders, the midwife makes the deliveries!”
As this job necessitated extensive travelling, he had to leave The Powrie Band, his successor being Mickie Ainsworth. Then in 1959, by now the proud father of a baby daughter, Fiona, he was moved to Elgin by his firm. A second happy event took place in 1961 with the birth of a son, Gordon. Nine years later and another shift with Vandenberg to Balerno, an attractive wee town a mile or two southwest of Edinburgh in the lee of the Pentland Hills.
MARK 1 BROADCASTING BAND
Once the dust had settled following the move to Elgin, Alex started up a band, or strictly speaking two bands, one for Scottish and the other, with trumpet, clarinet or baritone sax, for mixed or modern dancing – he himself was a very competent modern player.
Now the second accordion player in the Scottish Dance group was a local man, Rhynas Mitchell, a talented player and arranger, and a jazz fanatic. He had previously played second box in the Elgin based Ian Mearns Broadcasting Band in the early ’50s and in 1965, when Alex needed a fiddler to start broadcasting again, Rhynas approached Ian to see if he would be interested. He was, went for a run through at the MacArthur dwelling on the Sunday, adapted perfectly to Alex’s style, joined the band and did about fifteen broadcasts in the five years prior to the Edinburgh move.
MARK 2 BROADCASTING BAND AND RECORDS
Ian, who was taught fiddle by Kim Murray and who as a small boy had broadcast with her “Strathspey and Reel Players” has a Law Degree from Aberdeen University and in 1973 he moved to Girvan to take up the post of Town Clerk in the Ayrshire town.
At this time Alex was with The Jim Johnstone Band (we’ll come back to that later). One evening in 1978 Ian got a phone call from Alex, “How would you like to make a record?” Not having played together for some time, Ian was naturally slightly apprehensive but was reassured there would be no problem.
The promised run-through never materialised and they went cold into The Bluebell Studio in Glasgow’s Kersland Street. However, the material was familiar and, after only a few minutes’ warm-up, everything clicked into place and “Scottish Country Dances, Volume 1” was in the ‘can’. In addition to Ian and Alex the line-up for this recording was Davie Stewart of Kirriemuir (second accordion), the aforementioned Ian Wilson on piano, Bill Craib (double bass), and Billy Grant from Glasgow on drums.
Volume 1, released in 1978 was a success and things just took off from there, the Mark 2 band was on the map. Engagements followed thick and fast, dances, accordion clubs, and in 1979, a first BBC Broadcast from Max Houliston’s “Oughtens” restaurant in Dumfries.
Many other broadcasts followed, both for Radio Forth and “The Beeb”, and on one occasion the latter did three recordings in one week, two outside and one in the studio with Chris Worrall as producer. Just consider the amount of material required for three broadcasts – the mind boggles, but Alex could cope, partly because of his tireless enthusiasm and dedication and partly because of his belief in using good, well tried, traditional tunes. For example on the three commercial recordings made by the Mark 2 band, “Scottish Country Dances Volumes 1 & 2” and “The Biggar and Better Sound of Alex MacArthur” , out of 125 tunes used, no less than 90 are traditional. And with the unique MacArthur style and the Rhynas Mitchell and Ian Wilson arrangements, they all sound great. Rhynas’s Willie Davie bass progressions with the piano handing over to the double bass halfway up and vice-versa on the way down, must be an all time classic.
JIM JOHNSTONE
But to fill in the gap in the proceedings. In the late ’60s, while still up in Elgin, Alex met up with Jim Johnstone on several occasions when the latter was up with Jimmy Blue’s Band. So when he landed down in the Edinburgh area, he popped in to see Jim one day in 1973.
Coincidentally, Jim’s second accordionist, Tommy Lees, had just gone to London to work. Alex was invited to help out with an engagement; he filled the bill perfectly and became a permanent member of the band for three years or so taking part in lots of “Tellys” with the popular “Songs of Scotland” series. Alex’s method of learning a tune has already been expounded, but this could not easily be put into practice with parts for singers etc, but with his musicianship and experience he only had to hear a number a couple of times through and he knew what was wanted.
During these three years he also did a number of radio recordings with the band, twelve for Radio Forth and five or six for the BBC Scottish Dance Music programmes. Jim recounts with amusement how Alex in his inimitable, unruffled style would be happily playing away at a dance, his microphone pointing away from him, with the result that he couldn’t hear himself through the speakers, and consequently played up, thus obliterating the rest of the band.
The “boss” would then remonstrate with him, “I pay forty quid for a mike and you don’t use it!” No problem, mike re-orientated and all was well.
BIGGAR
The Vandenberg rep job began to interfere more and more with the music. Alex became somewhat disenchanted with it and decided to go into the hotel business taking over The Clydesdale Hotel in Biggar in 1974, a fully blown establishment with residents, functions and so on.
It was very hard work for Evelyn and himself but it gave him greater flexibility and he could devote more time to music. However, latterly it proved to be too much of a hassle and they sold up in 1985 and moved to The Farmer’s Arms, a public house in Thornhill, 14 miles north of Dumfries.
Incidentally it was apparently the locals in Biggar who christened mein host “The General”. In view of this and the MacArthur sense of humour it was decided to name Alex’s dispensary “The General’s Bar” and Evelyn quotes an amusing incident where two elderly ladies were passing as a painter was putting the finishing touches to the sign and one said to the other “He’s ower young tae hae been a General!”
It should not have come as a surprise to anyone that, given the new found flexibility and ready made premises on the doorstep, an Accordion and Fiddle Club was started up at The Clydesdale before very long.
This was the vehicle that Alex needed to give full expression to his desire to help others who shared his love and enthusiasm for our music and also as an outlet for his priceless ready wit and good humour. He had the ability to say the most outrageous things with a disarmingly innocent postscript, which made the victim or victims proud to be the butt of the banter. Who else would get away with calling the Lochgilphead 3-row maestro “Grazer McFlynn”!
The ways in which he helped and encouraged the younger players are legion. Just consider the boost to a youngster’s confidence when a player of Alex’s ability and standing sat down to back them on second accordion or piano, or when visiting other Clubs as guest artiste asked them to come up and back him. Whenever circumstances permitted it was his policy to go to Clubs with either a duo or trio, with the twofold purpose of saving the Club undue expense and also of involving young or inexperienced players.
Many are the times he charged only travelling expenses and a fee for his pianist or whoever. His selflessness was an example to all and to list those he has helped would take pages.
Suffice it to say that they will be eternally grateful and the fruits of his labours will be there for years to come. Many are the players who made their first broadcast with The MacArthur Band and it was Alex who introduced Paddy Neary to the Scottish stage.
Ian Wilson, the erstwhile owner of the hernia and a Powrie fan, had seen Alex many times with that band, but he had never had a tune with him until the Biggar Club started up and then one evening he was invited to accompany him to Stranraer and that was the start of Ian’s very happy association with the Mark 2 band. He had, by the way, been pianist with The Eric Goodfellow Band until its demise in 1977. Alex, incidentally, was a great fan of this particular group.
HUMOUR AND STYLE
Alex’s highly developed, inimitable sense of humour, which endeared him to audiences everywhere, from packed concert halls to wee day rooms in old folks’ homes, began to show itself in his schooldays when his essays had his English teacher rolling about.
Ian Wilson has, of course, a fund of stories which illustrate the MacArthur style of communication and one which typified this was when he compered a Border Strathspey and Reel Society concert attended by the Duchess of Roxburgh. When he was making his introductory remarks he spotted the Duchess, an elderly, dignified lady in the centre of the front row. As the concert progressed the Duchess gradually subsided into a blissful snooze and Alex made great play of this by winking knowingly and making asides to a tall young lady further along the row. At the interval the players and compere were given refreshments and met various dignitaries, and lo and behold the tall young lady was there and Alex was introduced to her – the Duchess of Roxburgh!
And another example. If at a function or Club there happened to be a group of older ladies in the front, three of them would be singled out as the “Beverley Sisters from Crawfordjohn” or some other exotic local resort. He had the audience and the “Bevs” eating out of his hand within minutes. Sometimes he would look over his specs or turn them upside down and on one occasion when he had broken one of the lenses just before the start, he had the place in fits by periodically scratching his nose by poking his finger through the hole in the frame from the back.
At a dance one evening at Thornhill with Keith Dickson of Dolphinton on second accordion, they kicked off with a “Gay Gordons” and no-one got up. This, as most players will know, is somewhat demoralising, but nothing daunted Alex comes away with, “Right, all change partners.” The ice was broken and the floor was filled for the second bout.
Another of his classic ploys at a dance was to have the dancers in full cry at an old fashioned waltz singing I Belong to Glasgow or something of that nature at the top of their voices and then he would stop playing, light a fag, cross his legs, turn to the rest of the band, say, “Stop!” and engage them in animated conversation while the punters continued to dance round to their own singing, falling about with laughter at the same time. Then suddenly, fag out, tune picked up perfectly by band, and dance brought to a satisfactory conclusion.
One evening at Blairgowrie Club where Jim Johnstone was guesting solo, Alex was in the audience and at some stage in the proceedings he was asked up to do a wee spot. He surrounded himself with an all star cast, Angus Cameron, Jim Johnstone, Billy Craib, Bill Cormack (piano) and Bill Jarvis (drums) then proceeded to tell the audience hilarious stories for ten minutes, got up, thanked his colleagues and left the stage without a note being struck!
On returning to the railway after National Service, Alex did a spell at Doune station and at that time a young fiddler and Scottish Dance Music enthusiast Hamish Menzies was telegraph boy in Doune. He knew Alex well and occasionally took himself down to the station for a crack and to indulge in their common obsession, in other words have a wee tune.
On one such visit they were in the porter’s room, Alex had the box strapped on, “What do you think of this one?” as he launched into a pipe march or some other delicacy. He was in full flight when a train came in. Nothing daunted, and still playing, he backed out on to the platform looked up and down, a passenger tossed him a penny, he touched his cap, pocketed the coin and carried on with the tune. One could go on and on.
INSTRUMENTS AND MUSIC
When I first saw Alex in 1951 he was playing a black ‘Gaudini’. I don’t know what followed that particular accordion but in 1955 he bought a hand made Hohner Morino IV (1950 vintage), one of that select band of instruments which were made to order. Alex’s particular Morino had very distinctive straight tuning, he would not have changed it for any other and played it right up to and including that fateful October Saturday concert in the Edinburgh Playhouse.
It was his own instantly recognisable sound. Imitation is the sincerest form of flattery and one or two admirers have had their accordions similarly tuned.
As has already been said Alex never played off music but just scribbled the names of dances or tune sets on fag packets or wee scraps of paper which he invariably lost before he reached the stage, then it was just a case of working off the top of his head. During one broadcast the producer, a perfectionist, was querying a harmony and over the wall-speaker came, “I think you should change that.” Alex picked up his list of tunes from the stand, written I believe on a “Stork” Order Form, put it down again and said, “That’s all right now, sir” and off they went no bother at all.
ODDS AND ENDS
Because of the long distances covered travelling to and from engagements, Alex always had good cars, at least two of them being Mercedes, one a big 4.8 with a cruise control which must have had some pretty high settings judging by some of the quoted journey times! In later years it became the practice to take a driver along (Tom Hope), so that the players could safely have a bit of shuteye on the way home.
From the earlier reference to fag packets it will have been gleaned that Alex liked a cigarette or two – in fact the band christened the cars “mobile kippering sheds”.
Stemming from his days with Vandenberg, Alex knew all the back roads and cobbled streets in every town in Scotland and could thread his way across a built-up area in record time. He also knew people all over the country, in the most outlandish and isolated spots and could call in on friends and acquaintances for a cuppa virtually anywhere and everywhere.
For example, on the way to the Kinlochsheil Club beyond Kyle of Lochalsh, Alex would look at his watch and say, “4 o’clock, we’ll go to such and such a croft and visit so and so”. When they got there the elderly lady tenant would say in a broad Highland tongue, “Whaatt are you doing here, MacArthur?” “Never mind whit ah’m daein’ here, just get the kettle on!” And a good time was had by all.
As well as being a tea addict, Alex was also very partial to gingerbread men, especially a brand only to be found in Clackmannan and also to girdle and tattie scones indigenous to the Leadhills area. He would track these goodies down with unerring judgement.
Such was Alex’s intense interest in, and dedication to the Scottish Dance Music scene, that he developed an outstanding talent for recognising bands sometimes after only a couple of notes or at worst a couple of bars and in most cases he could identify the individual players as well. This was partly because of the “rent-a-band” principle of which he was not greatly enamoured, whereby a number of top bandleaders would draw from a nucleus of twenty or so backing musicians.
The complete entity band units were and still are becoming scarce and the lead apart, the sameness of sound saddened Alex more than a little. There were certainly no worries on this score as regards his own band.
Alex was a bit hard on drummers or possibly “firm with” would be a better expression. If for example a tune such as The Highland Wedding was slowed up slightly at some point to gain maximum expression, but the drummer kept on with the initial beat regardless, Alex wouldn’t say anything, but my goodness his foot would get going to some tune and the errant percussionist was soon pulled into line.
HOBBIES AND FAMILY
“Hobbies,” said Evelyn, “well music came first, second, third and last. But Alex was also a very keen reader, not of books, but newspapers, cover to cover, kept himself very well informed on all manner of subjects including politics – he was also an avid watcher of political programmes on TV, but he had no particular leanings, one way or the other. In the hotel business one has to speak knowledgeably on all kinds of subjects.”
One other, perhaps surprising, hobby was Bridge, he and Evelyn being members of the local club at Thornhill.
Then of course Alex was the proud grandfather of three – Scott, Heather and Craig, the family of daughter Fiona and husband Robert Lawson who is in the sheep business. They have a 400-acre farm at Newbigging near Carnwath, which in turn is not far from Carstairs. Fiona is very keen on animals, works hard on the farm and enjoys it immensely.
Alex had a great rapport with the young ones but never forced his music on them. However, Scott was taken along to hear “Papa’s” band do an outside broadcast in a two-band session at Thornhill a couple of years ago. Alex’s band was on first and when Scott had sat through the performance, quoth he, “Well that’s enough for me,” and “Gran” thought, “How profound Scott, my sentiments exactly.” Out of the mouths of babes and sucklings……….
The other half of the family, son Gordon, is an actor, plays piano and sings a bit. At the November meeting of the Biggar Club he paid tribute to his father by playing one of his favourite tunes Durrisdeer as a piano solo. Club Secretary, John Anderson, and guest player Paddy Neary added their own personal appreciation during the evening.
Gordon did his drama training in London, but was then faced with the chicken and egg situation, to get work he needed an agent, but to get an agent he needed to have worked. However, luck was with him, he eventually did a spell in the “Young Vic”, moved back to Scotland, got a part in a Border production, was spotted, did a one-liner as a taxi driver in STV’s “Take the High Road”, and finally landed a couple of much more substantial roles in the series. He then appeared in pantomime in Stirling where he had to do a bit of everything, singing, acting and dancing.
Now back to Mum (Evelyn) – the hotel business doesn’t leave much time for hobbies but she shared Alex’s enthusiasm for Bridge and in fact attended classes in the same. She also enjoys Scottish Country Dancing and in earlier years, the mid-50s to be precise, when spare time was more plentiful, she attended the weekly sessions in a crowded Perth City Hall, with music supplied by The Powrie Band which of course at that time included Alex in its line up.
Evelyn’s musical tastes are fairly broad based, she enjoys many types including light classical and the lighter modern style.
A LIVING TRIBUTE
It would require a whole volume to record the tributes of admiration and gratitude paid to Alex by enthusiasts, players, family, relations, friends and colleagues, but as a fitting conclusion let just one or two of these folk who were so dear to his heart speak for themselves.
Evelyn MacArthur “He had a style of his own, it came from the heart…” “…he was always thinking of others, totally unselfish and self-effacing.”
Jim MacLeod “It’s still with me and always will be – Alex’s tremendous enthusiasm for Scottish Music, he introduced me to it. He was Jimmy Shand daft and got me interested in all the good tunes, it was new to me.”
Alan Gardiner “I was torn between the pipes and the accordion but I was so strongly influenced by Alex MacArthur – he was my idol – that the box won.”
Ian Mearns “It was a marvellous time, playing with Alex. He had a unique style, lots of lift in the music and a background of humour and fun. Always laughter wherever he went without any hurtful side effects.”
Ian Wilson “He was just great to work with, always appeared even tempered. He was kind hearted but strict and hated any form of injustice. He was a very intelligent man.”
Robin Brock “Alex’s fun and enthusiasm for the music, he underplayed his own capabilities – a tremendous musician. He had a unique style, nobody else ever played like Alex.”
Ian Powrie “Sandy never had an ill word against anybody.”
Jack Delaney “It was the man’s tremendous ability in communicating with people. His personality came out in his playing.”
Jim Johnstone “I never saw Alex reading music, he latched on very quickly, a natural musician. His humour was always to the fore, great company in the band and always the same.”
Jennifer Forrest “I actually doubt if I’d be playing the accordion today if it hadn’t been for Alex, because he gave me so much encouragement in the first couple of years of my playing – he made such a big impact on all my views. When I was out of work on leaving school, he gave me the chance to play second box with him all over the country from Thurso to the south of Wales.”
Just a few comments from fellow musicians which typify those from players and non players alike from every corner of Scotland, indeed far beyond, wherever Alex and his music were known.
Finally a couple of snippets from a “Shepherd’s Fancy” programme which I feel sums up the philosophy of the man – his consideration for and understanding of the real people and his dedication to Scottish Music.
Alex – “…something new coming in where youngsters now are looking for rhythm. Tremendous players, they’ve all got the message or are keen to get the message.”
And now a very pertinent observation – “I think some get too serious and they play far too complicated stuff. The average listener that’s sitting up on the hillsides on the West Coast or on the hills this way, the shepherds etc., they’re no’ interested in five thoosand notes, they want something they can do their knitting to or have a puff at the pipe and recognise a lot of the stuff. It’s okay bringing in new tunes, but sometimes I think some of them forget who they are actually playing for.”
As Robbie Shepherd commented, “Wise words indeed”.
Alex MacArthur, “The General”, irreplaceable, an act that no-one can follow, but the enthusiasm he generated amongst the younger players and the lead and encouragement he gave to so many have ensured a healthy future for our music and will remain a living tribute to his memory.
The names of all those who helped me, either directly or indirectly with material for this write up, appear in the text. May I thank them all most sincerely for their assistance.
Accordions Galore 1989
by Peter Paterson
The 11th Annual Concert in memory of Will Starr certainly had an upsurge in attendance this year. I strap the credit firmly on the shoulders of the quiet Irishman, Paddy Neary.
Paddy was the top-of-the-bill artiste in the Civic Centre Concert Hall, Motherwell, where the show was staged. His name, and of course his reputation, goes on ahead of him, that’s why the numbers were up.
On Saturday, the 11th of November, the 10th Anniversary show began. On stage prompt at 7, the fine strains of the Peter Gardiner Accordion Orchestra filled the hall. This set the atmosphere for the evening.
Peter had asked to do the opening spot as some of his players had other gigs that evening. I thank Peter and all the orchestra, and a special thanks to those young players who found time to do my show also this evening – I hope they made their other engagements.
The fine Scottish tenor, Charles Greville, was next on the bill. He sang two songs and then finished off with the well known song for the tenor voice ‘Goodbye’. He was accompanied at the piano by Gerard McGuiness.
With the Irish theme running through the programme, who next on stage, The Lappin Irish Dancers. This proved a very colourful and energetic display as they moved through the jigs and the reels of the dances of Ireland.
They all showed an enjoyment in what they were doing which came across and delighted everyone watching. The brilliant accordion playing of their accompanist , Martin Daly, was the ‘icing’ to this act.
The highlight, as usual, was the 1989 Will Starr Memorial Shield Contest. We had four contestants lined up, but the young lady of the group did not come along.
First to compete was Bob Logan. I was delighted when I first met Bob to see he is in his seventies and plays a 3-row box. When Bob took the stage he certainly mad that squeeze box speak out in its own right, playing selections in the style only people of his generation can do.
Right bang up to date was our second contestant, Liam Howitt. Liam on the piano box showed us a new style, his expertise and fantastic fingerwork held the audience as he went through his spot.
Thirdly, a young man from a fine family of accordionists, Craig Skinner. Craig is brother of Ian Skinner who won the Shield Contest in 1980. By the way, Ian was backstage, a giant of a man. It’s hard to believe I looked down on him once, now he’s head and shoulders over me.
Craig fitted up his power bass and was off taking us into some marvelous playing. Listening to him without looking at him he was reminiscent of his brother, Ian, all those years ago. The audience certainly liked him. By the way, he was wearing the kilt Ian wore in 1980.
With the contest over it was curtain open for Paddy Neary. As the spotlight hit him all looked very technical as he sat in the midst of all his electrical equipment. Then, in that clear brogue of his he spoke to his audience preparing as he set the digits for his first number. We all probably expected jigs and reels for a starter, but he gave us the unexpected, a brilliant selection of tangos, and I mean brilliant!
From then on the variation of his selections proved to me and to the audience, the total mastery this gentleman has over the complex he uses. In saying that, it couldn’t be done if he wasn’t a master accordionist to start with.
Paddy completed his act to continual shouts of ‘more’. He left the stage to meet his fans in the foyer, to sign autographs and help to promote the sale of his audio cassettes. This was interval time.
SECOND HALF
The curtain opened for the second half on the veteran entertainer, Sandy Moir. Sandy, resplendent in his tartan trews, with his red piano box, broke into a toe-tapping selection. For a man also in his seventies I was amazed at the calibre of his act. He kept the momentum flowing with gags, accordion selections and songs, and his famous yodeling songs seemed to do the trick. We only saw and heard a snippet if the act, I believe he can do around two 45 minute spots if required.
Sandy, I would say is the only Scottish entertainer working professionally over the age of seventy and still doing an act duration that many a young man would find hard.
The splendour of the Lappin Irish Dancers took the stage after Sandy.
Their second spot excelled their first, filling the stage with the high energy of the dance.
After the dancers, Theresa Starrs joined me on stage. Theresa was standing in for her sister, Margaret, who could not come along due to ill health. Get well soon Margaret.
This part of the proceedings was the presentation of the Will Starr Shield for 1989. As usual, the judges had a hard tast, but the outcome was 3rd Bob Logan from Larkhall, 2nd Craig Skinner from Blackridge and 1st Liam Howitt from Cambuslang. By the applause we got it seemed a favourable decision. Theresa Starrs presented the trophies and the Will Starr Memorial Shield was passed over to Liam Howitt.
I asked Liam to get his box to give us another selection. This he did and he pulled the place down – we have a new accordion star in this young man. By the way, when he finished I mentioned to the audience, he was the new Scottish Accordion Champion, who only won the accolade at Perth a couple of weeks before.
After Liam we had the lovely voice of Rose MacPherson. This was Rose’s second appearance in the concert, and her songs were very nuch appreciated. Her accompanist was Gerard McGuiness.
Paddy Neary time again, and what a time it was. Most things have been said of the man and his music, and it’s hard to find new adjectives to describe him, but I thing this statement may sum him up. A lady told me the day after the show, after expressing her enjoyment of his ‘Blue Danube’ selection, “Who needs the Royal Philharmonic Orchestra when Paddy can do it all.”
To sum up the 1989 Concert I would class it as one of the best nights. We were up on numbers, and the MacMillan Nurses Hospice Charity Appeal should have around £520 after things are settled up.
The cause of the Accordions Galore Concert has been fulfilled for another year, Will Starr and his music has been remembered.
And finally, the statement Paddy Neary made on his first appearance on Accordions Galore in 1982, “Thank God for Will Starr; he paved the way for people like me to make a living playing the box.”
I would like to offer a special thank-you to all the artistes and my audience for making it another success.
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Dundee Winner of the First Ever Glenfiddich Fiddle Championship
by Ron Gonella
On Saturday the 29th of October, the historic ballroom of Blair Castle echoed to the fiddle music of Scotland when the first ever Glenfiddich Fiddle Championship was held ther euinder the auspices of the Niel Gow Trust.
The Trust was originally set up in 1986 to raise funds to replace the gravestone in Little Dunkeld Churchyard in the Vale of Atholl where Niel was buried in 1807.
The main aim of the Niel Gow Memorial Trust is nowadays to ‘encourage, stimulate and perpetuate the art of fiddle playing throughout the country.’ Since Niel Gow’s life and music were closely linked with Blair Castle through the 2nd, 3rd and 4th Dukes of Atholl, it is very fitting that the Glenfiddich Fiddle Championship be held at Blair, by courtesy of His Grace, the 10th Duke of Atholl.
Following an earlier round in Glasgow, six players were chosen to go forward to the final. They were asked to give a fifteen minute recital, incorporating all the various styles of composition and including a set of pieces composed by the Gow family.
The Lothian Schools’ Strathspey and Reel Society conducted by Yla Steven opened the afternoon’s proceedings and set the musical mood for the large, expectant audience.
The eventual winner was Dundee-born Maureen Turnbull, whose overall performance was described by one adjudicator as ‘immaculate and professional’.
Maureen is a second year medical student at Glasgow University and her musical experience is already wide. She led the Dundee Schools’ Symphony Orchestra and is a member of the National Youth Orchestra of Scotland, at present.
Her fiddle music has been learned with both the Dundee and Angus Strathspey and Reels Societies and she has been a Golden Fiddle Award winner.
She was accompanied by Morag MacAskill and played a wide variety of top class fiddle music with her rendering of J. Scott Skinner’s ‘Ossian’ being outstanding.
Another young lady who reached the finals was Lynda Harkness, whose musical activities run similar to those of Maureen Turnbull.
Lynda was born in Alloway in Burns Country and now lives in Perth. She joined the local S&R Society, finished her schooling at the Douglas Academy Music School in Glasgow and presently is a student at the Royal College of Music in London.
Lynda has also played with the National Youth Orchestra of Scotland and with the Scottish Fiddle Orchestra and studies traditional fiddle playing with Douglas Lawrence. Douglas, in turn, was taught by the late Hector McAndrew and their joint influence is evident in Lynda’s choice of music, which included airs by William Marshall and the classic ‘Master Francis Sitwell’ by Nathanial Gow.
One very interesting feature of the competition as a whole was that because it attracted fiddle players from many different parts of Scotland, and from diverse backgrounds, this meant we had a variety or repertoire and styles.
And this variety was particularly evident in the repertoire of three finalists, Aiden O’Rourke, Duncan Chisholm and Louise Jolly.
Aiden O’Rourke was born in Glasgow but now lives in Oban, where he is a member of the Oban and Lorne S&R Society. Despite being the youngest of our finalists, Aiden has already won prizes at the National Gaelic Mod and at local competitions in Oban. He had the difficult job of playing first in the finals, but got to grips with the situation well.
His first set included the march ‘Leaving Glenurquhart’ and an interesting strathspey and reel consisting of tunes by J. Murdoch Henderson, the noted North-East fiddle authority, and named after James Scott Skinner.
Another young finalist whose musical activities are varied and interesting, Duncan Chisholm from Kirkhill, near Inverness, has three Gaelic National Mod firsts to his credit and was Junior Golden Fiddle winner in 1983.
He is prominent in the Folk scene being a member of the Celtic group ‘Wolfstone’, and a guest at various times with bands such as ‘The Waterboys’ and ‘The Battlefield Band’. Perhaps his most memorable contribution was a beautiful rendering of the Gaelic air,’McLeod’s Daughter’.
Louise Jolly, the third finalist from the fair sex is equally at home in a professional symphony orchestra or providing cabaret in some of Scotland’s great houses and hotels. She studied with Leonora Friedman in Edinburgh and, to my mind, such distinguished tuition is probably one good reason why her bumper bundle Gow set was so ingeniously arranged and so elegantly played.
The seven tunes covered the whole Gow family as composers – from Niel himself, down through his sons, Andrew, John, William and Nathaniel to Nathaniel’s son, Niel Jnr.
The remaining finalist was Alex. Bain, who began lessons with Sandy Milne from Banchory and subsequently studied with Hector MacAndrew. He is presently reading music art at Aberdeen University.
Alex. Played a typical MacAndrew programme with some memorable tunes in the difficult key of E major, ‘J.O. Forbes of Corse’ and ‘The Hawk Hornpipe’.
The first prize was a replica of the famous Raeburn portrait on Niel Gow plus a cash award while each of the finalists received a medallion plus £50. The prizes were graciously presented by the Duke of Atholl, the adjudicators were Bill McCue, John Mason and Ron Gonella and the compere was Robbie Shepherd.
Brunton Halls – Saturday 3rd March 1990
By Norrie Williams
In comparison to its Perthshire stablemate which has just celebrated its 40th Anniversary ‘Musselburgh’ is a mere stripling, but an extremely healthy one mark you and fit for all comers. Saturday 3rd March 1990 sees the 16th N.A.A.F.C. Festival in the excellent Brunton Halls complex – there couldn’t be a better venue – and all interested in traditional fiddle, and traditional and classical accordion should be homing on this hallowed spot on that date.
To permit the two new sections introduced in 1988, viz the Fiddle Group and Button Key Accordion, to consolidate no further additions have been made. The number of classes remaining at 21 i.e. 6 classical and 15 traditional.
We have three new adjudicators on the panel this time but before introducing them, a couple of points relating to the competitions themselves. Firstly for the solo fiddle competitions – up to now these players, if they wished to have piano backing, had to use the official accompanist but this rule has been amended and although an official pianist will still be available, a competitor may now employ an accompanist of their own choice if desired.
The second point refers to the piano used for the Trio, Band and Fiddle Group classes. Until a couple of years ago this was an upright model which sat up on the stage beside the group in full view of the audience. However as the years went by this instrument deteriorated until it would have put Winnifred Attwell’s ‘other piano’ firmly in the shade and understandably a number of competitors complained. The Brunton Halls management then gave us the use of their ‘Steinway’ concert grand which was a great hit with the players, but as the stage could not support the half ton monster it had to sit down a floor level which of course put it out of sight for the majority of the audience. In fact the groups became almost totally invisible because they all clustered round the piano and then it was the audience’s turn to complain! In subsequent discussions with the authorities two possibilities were explored (1) strengthen the stage (2) purchase a new upright piano – the three existing machines are in an advanced stage of the honky-tonks. The first option was practical enough but the cost of hoisting and lowering the big ‘grand’ on and off the stage was to be prohibitive. As for buying a new instrument, the Halls management are keen to do this but as it is not included in the current year’s budget it will have to wait a bit. So we can only apologise to our audience in advance and ask them to be patient.
Now back to the adjudicators. Out of six, three have previously officiated at Musselburgh. On classical accordion Mr Cyril Pasby of Slough, a well known and respected figure at festivals north of the Border. As one of the three traditional accordion judges we welcome back very experienced broadcasting bandleader from Balmullo, Bobby Crowe, and to share the load of the fiddle classes that well known and popular character of the Scottish music scene Bobby Harvey of Milngavie.
Our newcomers include our first ever lady adjudicator who was also the first ever solo winner of the ‘Daily Record Golden Fiddle Awards’ in 1976, Miss Yla Steven of Edinburgh. Yla who started playing classical violin at the age of seven is now fulltime violin/viola teacher with Lothian Region Education Authority. For the past seven years she has also been instructor, concuctor, you name it, for the Lothian Schools Strathspey and Reel Society, an orchestra which is making quite a name for itself and is certainly a force to be reckoned with. Although classically trained, Scottish traditional fiddle music has always been Yla’s first love and between 1973 and 1977 she lifted top honours at most of the top Scottish competitive festivals. She also used to go frequently to Banchory for a week at a time to get wrinkles on traditional fiddle playing from the late Sandy Milne. We look forward to having Yla with us.
Our second new face doesn’t really need any introduction. He has eluded capture for years, in fact until he had mastered joined up writing, but we’ve got him at last! He will officiate in the pipe music and button key classes – from Lochgilphead the one and only Fraser McGlynn. Great to have him.
The last of our first timers will be judging traditional accordion along with Bobby Crowe. He is Norman Currie from Milngavie. Norman, a self employed piano tuner, took up the accordion at the comparatively ripe old age of sixteen starting on the piano key version with tuition from Archie Duncan. After a year and a half he switched to the 5-row Continental chromatic which he has played ever since, his current instrument being a free-bass DALLAPE made to his own specification. So keen was he on the sound of button-key models, especially that of the ‘Shand Morino’, that he had one concerted to ‘continental’ operation even going so far as to have the keyboard stepped but it wasn’t a world beater – more development was needed. Norman has had over 25 years experience with Scottish Dance Bands playing both the lead and second accordios and also piano. Amongst other he broadcast with the Alastair Herron Band and he is at present a member of a three-piece traditional Scottish entertainment group called ‘CRAIGALLIAN’. He is arranger / accompanist with this trio which also features the accomplished tenor Sandy Hay and the equally accomplished S.N.O. flautist and piper George MacIlwham.
Norman has always admired the playing of Jimmy Shand and Jimmy Blue and for him the definitive band sound was that of Ian Powrie. We welcome him aboard.
As always on Festival day the competition will be followed by the All Winners concert which this year will include the finals of the Senior Scottish Solo Class. To round off the evening on a high note, the ‘Grand Dance’ to the music of Craig McCallum’s Band, a previous Musselburgh Winner, albeit with a different line up.
See you on March 3rd.
CLASSICAL v TRADITIONAL
Now let’s remove the Musselburgh hat and reflect on those ‘high-tech’ tunes which are now being played in the Scottish ‘traditional’ classes at competitive festivals. Incidentally the word traditional was dropped from the Musselburgh literature some time back. Following ‘Perth’ where 20-year-old Liam Howitt of Cambuslang turned in a virtuoso performance to win the ‘Jimmy Shand Shield’ the perennial subject of these new tunes is once again in the news having been discussed by interested parties on two consecutive ‘Shepherds Fancy’ programmes. These interested parties were Liam himself, the adjudicator Jim Johnstone and Peter Farnan composer of two of the winning tunes. In addition the recorded reactions of a number of enthusiasts who had attended the Festival were given an airing. Music being such an emotive and personal thing opinions are strongly held and often differ radically. What about yours truly – well I have previously expressed my personal views on the subject both in print and on the air and I have not changed my standpoint. Whilst conceding that this new breed of ‘classical’ Scottish tunes lacks the variety and emotional appeal of the older traditional style composition where expression and interpretation, rather than digital dexterity are the telling points, I feel that these modern tunes are essential to fully exploit the tremendous ability and technique of today’s young players. In any sport or pursuit a champion by definition is ‘one who has excelled all others’ which means always reaching beyond current standards. When going for gold the sky is the limit. There can be no holding the clock, far less turning it back. Let’s face it, today’s talented young players could eat the older ‘traditional’ tunes for breakfast including the correct interpretation. The creation of an additional class for the ‘modern’ compositions or the restriction of the choice of tunes by specifying the format to be used would I am sure be counterproductive. It would pose the question raised by one of Robbie Shepherd’s interviewees, viz. which class winner would be the true champion.
In speaking to a number of these younger players I have found that they don’t feel forced to play the technical tunes just to win, they enjoy the challenge and they enjoy playing them, and after all, they are the ones who will be carrying our music forward when we’re not around. Despite the fact that these compositions lack the ‘Scottishness’ which puts goosepimples on the neck, there is no denying that they are very melodious with nifty progressions and modulations. Also they are written in Scottish rhythms by Scottish composers, and despite assertions to the contrary one can dance a strathspey to the appropriate tunes albeit relying a wee bit on automatic pilot during the more hectic passages. No, I feel that things should be allowed to take their natural course and we (I quote) ‘old fogeys’ must accept that musical evolution continues, as witness, the jazz, classical and pipe scenes. Agreed, we may not enjoy the music to the same extent, but it is the players ability and overall performance that are being judges, not the entertainment value. When all’s said and done our tastes are still catered for in the pipe music, fiddle, trio and band classes at the various festivals and, of course, there is the good company.
One very interesting revelation on the first of the two ‘Shepherd’s Fancy’ programmes was when Jim Johnstone admitted to feeling incapable of adjudicating these super technical pieces. A very pertinent comment and one which could usefully be noted by Festival organisers for serious consideration.
In conclusion, there is a somewhat unlikely but nevertheless fairly legitimate parallel to the situation in the motor racing world of all places. Throughout the late 40’s and 50’s I was one of the thousands of avid spectators of this sport. In those days all the various marques of racing car had their own distinctive shape and noise, Gordini, Talbot, Ferrari, E.R.A. and so on, and the drivers who were fully visible in action were the equivalent of today’s pop stars. The spectacle and sound of these machines proceeding round Silverstone in a series of 4 wheel drifts was something else – talk about goose pimples! Average race speeds crept up very gradually from the upper 70’s to the upper 80’s and I well remember that brilliant afternoon when Fangio the Argentinian bus driver became the first to crack the 100m.p.h. barrier. The crowd went daft. But as I said earlier you cannot hold the clock back. Racing technology and driving techniques then developed a pace with the result that on the same circuit today race averages over 145m.p.h. are becoming commonplace with laps at over 150!
BUT, and here’s the rub, this development has produced a crop of little flat ‘lookalike’ beetles on barrel type tyres with the drivers almost hidden from view. Again for the ‘old fogeys’, as with our music, a lot of the enjoyment has gone – with this boring procession of noisy robots – nevertheless, despite this, the circuits are still thronged, but with a new generation of enthuisiasts. And odds on it will be the same with our scene.
Mind you we are a fickle lot. We make a great fuss about retaining ‘traditional’ sounding tunes yet a few years ago ‘Caddam Wood’ and other compositions of that ilk were welcomed with open arms. Popular, yes maybe, but Scottish traditional??!!
With these few words I rest my case, don my steel helmet and duck.
Letters to the Editor
Sir – London’s Big but Biggar’s Biggar as they say. Sounds great. The sounds were great too at the Biggar High School, where on Saturday, 2nd December the N.A.O. Borders and North of England Accordion Championships were held. Knowing Biggar very well (having been brought up in the nearby Glenholm Valley) nostalgia no doubt together with the esteem I hold for the accordion player, had me on my way from Blackpool and it was certainly worth the journey.
The weather was ideal and Biggar High Schoolas a venue couldn’t be bettered in my view. The arrangement for the 300+ competitors were very well organized and I am sure the spectators were well satisfied with the facilities afforded to them.
The catering was to everyone’s taste and the dining arrangements enabled participants to sit in comfort and enjoy reasonably priced meals.
The atmosphere was enhanced by the presence of the trade in the form of Rolston’s of Motherwell, with Robert himself present with George and also Thomson’s of Glasgow represented by Jim Cleland and Neil Fodden.
As the day proceeded it became clear that events were slightly behind schedule, but with some skillful readjustments combined with a good communication system this was soon rectified.
The adjudicators had a difficult task, having regard to the number of competitors and the high standard of play. Their advice and criticisms were no doubt appeaciated by all (well maybe not all).
Arranging an event such as this is not without its problems. It takes much hard work, much planning and is time consuming. It is with this in mind that I extend appreciation to Mr Alistair Gillespie and his team for their untiring efforts which enabled us all to enjoy such a memorable day with the accordion.
During a relaxed moment I was able to speak to Alistair and he informed me that this was only the econf year that the event had been held at Biggar, and he was delighted with the response, and the support which he had been given. Well, Alistair, I am sure that all who attended Biggar High School on the 2nd of December will demand that you organize the event next year, and I am sure that it will be even bigger if it is held at Biggar.
Tom Duncan (Secretary Wyre Accordion Club)
Sir – Reading your lead article (Dec 89 issue), I found myself nodding agreement several times. There seem to be three standards of playing. The ‘traditional’ (for the moment). The so-called ‘liberated’, and the curiously stilted sound of some competition playing.
I get the feeling that if one of the eighteen notes in the thirteenth bar of ‘Rita Duncan’ was misplaced by as much as a hairsbreadth, all would be lost.
When someone plays well and straight from the heart, it is like a breath of fresh air. We should not equate dexterity with musicianship.
Pipe music has almost taken over in the Clubs these days, interpreted with varying degrees of success. I wonder if pipers are as impressed with the accordion sound?
Nevertheless, it is the fashion of the day to play yet another lookalike 4/4 or 6/8 in pipe style. As one who has a vast collection of music I find that many of today’s themes are familiar and feel we are suffering from a predictable formula for pipe tunes in particular, much the same as fiddle tunes suffered in the 19th century.
Given the first measure, I think most experienced players would make a reasonable attempt at the other three. Budding composers please note and remember there are many thousands of tunes to choose from, but in the end it is the way they are played that produces the magic.
Lastly, it is a pity that competition does not appeal to me. As I love my music and do not gain from it I could qualify for the new ‘Amateur’ as well as the ‘Veteran’ Class.
Sandy Tulloch
CLUB DIARY Aberdeen (Dee Motel) – Jan 90 Willie McGuire
Alnwick (Golden Fleece) – members only
Armadale (Masonic Arms Hotel) –
Ayr (Gartferry Hotel) –
Balloch (Bell Centre, Dumbarton) – 21st Jan 90 Seamus O’Sullivan
Banchory (Burnett Arms Hotel) –
Banff & District (Royal Oak Hotel) –
Beith & District (Hotel de Croft, Dalry) –
Belford (Community Club) –
Biggar (Municipal Hall) – 14th Jan 90 Annie Robertson & John Houston
Blairgowrie (Moorfield Hotel) - 9th Jan 90 Gordon Pattullo
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) – 16th Jan 90 Isobel Hurst
Coalburn (Miners Welfare) - 18th Jan 90 Tom Veldon Orchestra
Crieff & District (Drummond Arms Hotel)
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 10th Jan 90 Gregor Borland
Dunblane (Westlands Hotel) – 16th Jan 90 Stuart McKeown SDB
Dundee (The Marquee) –
Dunfermline (Northern Roadhouse) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (King’s Park Hotel, Rutherglen) – 25th Jan 90 The Glasgow Caledonian S&R Society
Ellon (Ladbroke Hotel) –
Fintry (Fintry Sports Centre) – 22nd Jan 90 Newtongramge Club
Forfar (Plough Inn) -
Forres (Brig Motel) – 10th Jan 90 The Fochabers Fiddlers
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) –
Highland (Drumossie Hotel) – 15th Jan 90 Iain Anderson SDB
Isle of Skye -
Islesteps (Driveway Inn) – 3rd Jan 90 Eric Goodfellow SDB
Kelso (Ednam House Hotel) – 31st Jan 90 Alan McIntosh & Callum Ross
Kinlochshiel (Tingle Creek Hotel) -
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Jan 90 Simon Howie SDB
Livingston (Golden Circle Hotel, Bathgate) 16th Jan 90 Alex McPhee SDB
Lockerbie (Bluebell Hotel) - 30th Jan 90 Local artistes
Mauchline (The Jean Armour Restaurant) 16th Jan 90 AlistairHeron & George Stirrat
M.A.F.I.A. (Masonic Hall, Milngavie) – 15th Jan 90 Laurie School of Accordions
Montrose (Park Hotel) –
Newtongrange (Dean Tavern) – 29th Jan 90 Billy McGuire
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Seafield Hotel, Keith) – 9th Jan 90 Bill Brian
Oban (Highlander Restaurant) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) – 18th Jan 90 Ian Johnstone
Peebles (Greentree Hotel) – 25th Jan 90 Ian Muir Trio
Perth (Station Hotel) – 16th Jan 90 Jim Johnstone SDB
Premier NI (Camlin function Rooms) -
Renfrew (Masonic Hall, Broadloom) – 9th Jan 90 Bobby Harvey Trio
Rothbury (Jubilee Hall) - 4th Jan 90 Members night
Shetland (venue?) -
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) –
Wooler ( ) - 18th Jan 90 Fiddlers 3 + 2
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Banchory
3. Banff
4. Beith
5. Biggar
6. Blairgowrie
7. Castle Douglas
8. Coalburn
9. Dingwall
10. Dunblane
11. Dunoon & Cowal
12. East Kilbride
13. Forres
14. Highland
15. Isle of Skye
16. Kinlochshiel
17. Isle of Skye
18. Lesmahagow
19. Livingston
20. Lockerbie
21. M.A.F.I.A.
22. Mauchline
23. North Cumbria
24. North East
25. Peebles
26. Renfrew
27. Rothbury
28. Shetland
29. Wick
30. Wooler
CLUB DIRECTORY AS AT SEPT 1989 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Acharacle & District A&F Club (cMay 1988)
3. Alnwick A&F Club (Sept 1976)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Blairgowrie A&F Club (
12. Button Key A&F Club (
13. Castle Douglas A&F Club (c Sept 1980)
14. Coalburn A&F Club
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District A&F Club (May 1979 – per first report)
19. Dunblane & District A&F Club (1971)
20. Dundee & District A&F Club
21. Dunfermline & District A&F Club (1974 – per first edition)
22. Dunoon & Cowal A&F Club (
23. East Kilbride A&F Club (Sept 1980)
24. Ellon A&F Club (
25. Fintry A&F Club
26. Forfar A&F Club
27. Forres A&F Club (Jan 1978)
28. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
29. Galashiels A&F Club (joined Sept 1982)
30. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
31. Glendale Accordion Club (Jan 1973)
32. Highland A&F Club (Inverness)
33. Islesteps A&F Club (Jan 1981)
34. Isle of Skye A&F Club (
35. Kelso A&F Club (May 1976)
36. Kintore A&F Club
37. Langholm A&F Club (Oct 1967)
38. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
39. Livingston A&F Club (Sept 1973 – per first edition)
40. Lockerbie A&F Club (Nov 1973)
41. M.A.F.I.A. (early)
42. Mauchline A&F Club (first mention 1986?)
43. Montrose A&F Club (joined Sept 1982)
44. Mull A&F Club
45. Newtongrange A&F Club (joined Sept 1979)
46. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
47. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
48. North East A&F Club aka Keith A&FC (Sept 1971)
49. Oban A&F Club (Nov 1975)
50. Orkney A&F Club (Mar 1978)
51. Ormiston Miners’ Welfare Society A&F Club
52. Peebles A&F Club (26 Nov 1981)
53. Perth & District A&F Club (Aug 1970)
54. Premier A&F Club NI (cNov 1980)
55. Rothbury Accordion Club (1987??)
56. Shetland A&F Club (Sept 1978)
57. Sutherland A&F Club (
58. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
59. Thurso A&F Club (cSept 1981)
60. Turriff A&F Club (March 1982)
61. Tynedale A&F Club (Nov 1980)
63. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
64. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
65. Bonchester Accordion Club (Closed?)
66. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
67. Buchan A&F Club
68. Callander A&F Club (
69. Campbeltown & District A&F Club (c Dec 1980)
70. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
71. Club Accord
72. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
73. Coupar Angus A&F Club (cSept 1978 - ?)
74. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
75. Denny & Dunipace A&F Club (Feb 1981)
76. Dornoch A&F Club (first mention in directory 1986)
77. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
78. Dunbar Cement Works A&F Club (Closed?)
79. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
80. Falkirk A&F Club (Sept 1978 - )
81. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
82. Gretna A&F Club (June 1966)
83. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
84. Kinlochsheil A&F Club (
85. Kirriemuir A&F Club (cSept 1981)
86. Monklands A&F Club (Nov 1978 – closed cApril 1983)
87. Morecambe A&F Club (joined Sept 1982)
88. Newcastleton Accordion Club
89. New Cumnock A&F Club (cMarch 1979)
90. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
91. Straiton Accordion Club (c1968 – closed March 1979)
92. Stranraer & District Accordion Club (1974 – per first edition)
93. Torthorwald A&F Club (near Dumfries)
94. Walmer (Bridge of Allan) A&F Club
95. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Apologies
As I told you in the last issue, this issue would be late due to holiday commitments. Oliver McPhersons, who now do much of the preparation work are on holiday from December 22nd to January 4th and work will commence from there on.
It is because of these holiday commitments that the January issue will be late. Please accept our apologies.
A.S.M.A. West of Scotland Festival
I have been asked by Irene Cunningham, who is just recovering from ‘flu, to explain that she has not been able to produce a full report on the Festival. This will follow in the next issue.
Tom Clark
He’s Ower Young tae hae been a General
Alex MacArthur – An Appreciation
by Norrie Williams
October, 1988, and shepherd – Scottish dance band pianist, Ian Wilson of Leadburn Farm near Elvanfoot in Lanarkshire, had just had a hernia operation and was back in the ward dozing his way fitfully out of the anesthetic.
During one of his brief, semi-conscious interludes he sensed someone by his bed but he quickly relapsed to surface some time later, again aware of a presence. This time a familiar voice said, “Are ye wakened faither?” It was his friend and dance band leader colleague Alex MacArthur, alias “The General”.
No-one was officially permitted to visit so soon after the operation, not even Ian’s wife Bertha, but this did not deter Alex who just went straight in. How he did it no-one knows, but more importantly, why did he do it? Simple, above all else he cared for people.
Yes I know music is normally quoted as his first love, but I would say his fellow beings had it by a short head. However, the order of precedence of these two passions is of no great and lasting benefit to the Scottish music scene. More of that later.
We all know that every person is unique in themselves but Alex, a larger than life figure, was more unique than most. Third youngest of a family of ten, he was born in 1930 in the small Perthshire village of Kinbuck, situated about 1½ miles north of Dunblane.
All the family were musically inclined with good singing voices. Mother played the mouth organ; one brother had a go at the melodeon and one of the uncles on his mother’s side, Ned McGibbon, a very good fiddler, played in The Keltryburn Accordion Band, which was based at Kenmore, on Loch Tay.
Alex’s natural talent as a player surfaced at the age of three when he would pick out recognisable tunes on the piano in a cousin’s house. When about eight years old he fell heir to a harmonium bequeathed by an elderly lady, and this he played almost non-stop until his mother bunged it out into the garden.
But, nothing daunted, he continued his sessions from underneath a tarpaulin! However, this insatiable appetite for making music got him into a spot of bother at the school. There was a harmonium in the woodwork room (which also doubled as a music room) and Alex would skip classes to have a tune, needless to say with painful consequences.
At this time also Alex was showing a keen interest in the accordion, having a “wee shottie” whenever the opportunity presented itself. Then at the age of fifteen came the break – one of his sisters who had been in the W.A.A.F. presented him with a small piano accordion, probably 24 bass.
He attended music lessons in Stirling under a Mr McFarlane but called it a day after a couple of years, a decision no doubt prompted by the need for self-expression and the desire to do his own thing.
To enlarge on this “formal training” for a few moments; because in later years he never ever had the written music in front of him during any performance whatsoever, public or private, his musical colleagues firmly believed that he couldn’t read the “dots” or at best only very little and yet they were aware that he would take music away and come back with it off pat. How was it done? Well, his wife, Evelyn, confided that he had remarkable powers of absorption and retention. He would take the music and read it as one would a book or newspaper with not an accordion in sight, and after ten or fifteen minutes he would dispense with the printed copy and go and play it.
This particular technique also prompted a request from Alex en route to a Scottish dance music broadcast with the Powrie band, “Could I possibly get the music the night before, rather than on the bus?”
The Arthur MacLeod Trio
But to backtrack. Between leaving secondary school in Dunblane and doing National Service in the Royal Engineers, Alex worked on the railway as a porter at Dunblane, not surprisingly as his father was also with the company in the same capacity but up the ladder, initially at Kinbuck and latterly at Dunblane, and his uncle Neil MacArthur was a signalman at Callander.
One of Alex’s contemporaries who did his National Service with the RAF was demobbed about the same time and had only been back in civvy street for a few days when he was approached by a Miss Hay of “Hay’s Music Shop” in Stirling, who told him that the “Forest Hills Hotel” in Aberfoyle was looking for a trio to do a ceilidh/dance function.
Being a big band enthusiast and pianist with the local “Palais” band, this request presented our ex-RAF type with a problem, because up to that point Scottish music had evaded him. His name – Jim MacLeod. What to do? It was then that Alex MacArthur sprang to mind. Although Jim had never worked with him, “I knew of him as a very accomplished accordion player with a penchant for Scottish Dance Music.”
To cut a long story short, they teamed up with a drummer and did the “Forest Hills” job. It was a resounding success and the lads were quite overwhelmed by the enthusiasm and reaction of the dancers. It was also an engagement which was to have a profound effect on their respective musical careers.
One thing led to another, their reputation spread, someone suggested they apply for an audition with the BBC. They were duly called to Dundee and, despite the fact that they thought they hadn’t a chance, the panel, which included Jimmy Shand, passed them with flying colours.
As the Scottish Dance Music at the time did not entertain trios, prospects were not too bright, but within a week Kathleen Garscadden (Auntie Kathleen) had enlisted them for her “Down at the Mains” programme, a slot which they filled for almost six years as “The Arthur MacLeod Trio” an amalgam of the two names which in retrospect they felt was unfortunate and rather stupid but they were young and inexperienced at the time.
It was in 1950 that I first heard the trio on the radio during working hours. I was very impressed indeed, so much so, that I approached my boss who lived in the flat adjacent to the office block and every Tuesday he would leave his front door open so that I could hear the music from the office. And he was English!
My first live encounter with Alex was at a Dunblane dance in 1951 when he relieved the Shand band at half time using George McKelvie’s accordion. Despite the “heavy” sound of this instrument the unmistakable MacArthur lift shone through. Later in the same year at another dance where The Arthur MacLeod Trio was officiating, I stood at the side of the stage fascinated by Alex’s style.
His technique of clipping a note an octave below the melody line was intriguing and greatly enhanced what were normally somewhat hackneyed tunes such as Bonnie Dundee etc. A year later I had the good fortune to be best man at a wedding in Doune and at the reception it was again The Trio, now fielding a 15-year-old Billy Thom on drums and as I was “compere” at the dance I had a ball, if you see what I mean.
After a couple of cracking 2/4s for a barn dance, I asked Alex what the second tune was, “I hadn’t heard that one before.” “That makes two of us” came the deadpan reply. Apparently he had forgotten what he had intended to play and busked his way through a “makey-up”.
With the help of radio, which was a big thing in those days, The Trio went from strength to strength on its own merits. Work poured in from all directions, some of the venues being remote and isolated. Alex loved this scene, the wee village halls, the couthie country folk and so on, whereas Jim, whilst also enjoying it, tended to favour a more settled existence and even then was looking towards the hotel world. So it was inevitable that they would follow their own separate ways. However, prior to this parting, The Trio augmented by the addition of a fiddle player and on occasion bass, became resident at The Dunblane Hydro.
The Powrie Band
Also for a short period in the early ’50s, Alex played with a small group of his own, his drummer being a Callander lad, Arthur Easson. Then in 1955, by which time Alex’s reputation as a top class accordionist had spread far and wide, he was invited to join The Ian Powrie Band which had a vacancy, the second box player, Jack Ewen, having left due to pressure of work.
Our man jumped at the chance staying with them until 1957/8 and doing at least two “The Kilt is my Delight” TV programmes and a whole series of radio’s “On Tour with Robert Wilson”. On one occasion when the full Powrie band had to fulfil engagements in Skye, drummer George Grant was unable to go and Alex suggested Ian approach Arthur Easson.
Arthur subsequently did one or two random jobs with the band, and then in January 1957, he joined as permanent drummer. For two or three years prior to this he had been running his own group, “The Glengarry Band”, which had as its fiddler a certain Bill Black – yes Bill Black of Stanley, who was latterly replaced by Hamish Menzies. What a tangled web we weave!
MARRIED
But to go back to The Arthur MacLeod Trio era, what must surely rank as the most important step in anyone’s life took place during that period. At a dance at Braco one evening, Alex was introduced to Evelyn Blair of Crieff. They were married in December 1954 and took up residence in Comrie in early 1955.
By this time, Alex, who had returned to the railway for a short time after demob, was working with the Springbank Sand and Gravel Company at Doune. In 1958 he took up a job as a travelling representative with Vandenberg (Unilever) who amongst other delicacies marketed “Stork” margarine – the “g” is hard as in “gosh”. As Alex used to crack, “I take the orders, the midwife makes the deliveries!”
As this job necessitated extensive travelling, he had to leave The Powrie Band, his successor being Mickie Ainsworth. Then in 1959, by now the proud father of a baby daughter, Fiona, he was moved to Elgin by his firm. A second happy event took place in 1961 with the birth of a son, Gordon. Nine years later and another shift with Vandenberg to Balerno, an attractive wee town a mile or two southwest of Edinburgh in the lee of the Pentland Hills.
MARK 1 BROADCASTING BAND
Once the dust had settled following the move to Elgin, Alex started up a band, or strictly speaking two bands, one for Scottish and the other, with trumpet, clarinet or baritone sax, for mixed or modern dancing – he himself was a very competent modern player.
Now the second accordion player in the Scottish Dance group was a local man, Rhynas Mitchell, a talented player and arranger, and a jazz fanatic. He had previously played second box in the Elgin based Ian Mearns Broadcasting Band in the early ’50s and in 1965, when Alex needed a fiddler to start broadcasting again, Rhynas approached Ian to see if he would be interested. He was, went for a run through at the MacArthur dwelling on the Sunday, adapted perfectly to Alex’s style, joined the band and did about fifteen broadcasts in the five years prior to the Edinburgh move.
MARK 2 BROADCASTING BAND AND RECORDS
Ian, who was taught fiddle by Kim Murray and who as a small boy had broadcast with her “Strathspey and Reel Players” has a Law Degree from Aberdeen University and in 1973 he moved to Girvan to take up the post of Town Clerk in the Ayrshire town.
At this time Alex was with The Jim Johnstone Band (we’ll come back to that later). One evening in 1978 Ian got a phone call from Alex, “How would you like to make a record?” Not having played together for some time, Ian was naturally slightly apprehensive but was reassured there would be no problem.
The promised run-through never materialised and they went cold into The Bluebell Studio in Glasgow’s Kersland Street. However, the material was familiar and, after only a few minutes’ warm-up, everything clicked into place and “Scottish Country Dances, Volume 1” was in the ‘can’. In addition to Ian and Alex the line-up for this recording was Davie Stewart of Kirriemuir (second accordion), the aforementioned Ian Wilson on piano, Bill Craib (double bass), and Billy Grant from Glasgow on drums.
Volume 1, released in 1978 was a success and things just took off from there, the Mark 2 band was on the map. Engagements followed thick and fast, dances, accordion clubs, and in 1979, a first BBC Broadcast from Max Houliston’s “Oughtens” restaurant in Dumfries.
Many other broadcasts followed, both for Radio Forth and “The Beeb”, and on one occasion the latter did three recordings in one week, two outside and one in the studio with Chris Worrall as producer. Just consider the amount of material required for three broadcasts – the mind boggles, but Alex could cope, partly because of his tireless enthusiasm and dedication and partly because of his belief in using good, well tried, traditional tunes. For example on the three commercial recordings made by the Mark 2 band, “Scottish Country Dances Volumes 1 & 2” and “The Biggar and Better Sound of Alex MacArthur” , out of 125 tunes used, no less than 90 are traditional. And with the unique MacArthur style and the Rhynas Mitchell and Ian Wilson arrangements, they all sound great. Rhynas’s Willie Davie bass progressions with the piano handing over to the double bass halfway up and vice-versa on the way down, must be an all time classic.
JIM JOHNSTONE
But to fill in the gap in the proceedings. In the late ’60s, while still up in Elgin, Alex met up with Jim Johnstone on several occasions when the latter was up with Jimmy Blue’s Band. So when he landed down in the Edinburgh area, he popped in to see Jim one day in 1973.
Coincidentally, Jim’s second accordionist, Tommy Lees, had just gone to London to work. Alex was invited to help out with an engagement; he filled the bill perfectly and became a permanent member of the band for three years or so taking part in lots of “Tellys” with the popular “Songs of Scotland” series. Alex’s method of learning a tune has already been expounded, but this could not easily be put into practice with parts for singers etc, but with his musicianship and experience he only had to hear a number a couple of times through and he knew what was wanted.
During these three years he also did a number of radio recordings with the band, twelve for Radio Forth and five or six for the BBC Scottish Dance Music programmes. Jim recounts with amusement how Alex in his inimitable, unruffled style would be happily playing away at a dance, his microphone pointing away from him, with the result that he couldn’t hear himself through the speakers, and consequently played up, thus obliterating the rest of the band.
The “boss” would then remonstrate with him, “I pay forty quid for a mike and you don’t use it!” No problem, mike re-orientated and all was well.
BIGGAR
The Vandenberg rep job began to interfere more and more with the music. Alex became somewhat disenchanted with it and decided to go into the hotel business taking over The Clydesdale Hotel in Biggar in 1974, a fully blown establishment with residents, functions and so on.
It was very hard work for Evelyn and himself but it gave him greater flexibility and he could devote more time to music. However, latterly it proved to be too much of a hassle and they sold up in 1985 and moved to The Farmer’s Arms, a public house in Thornhill, 14 miles north of Dumfries.
Incidentally it was apparently the locals in Biggar who christened mein host “The General”. In view of this and the MacArthur sense of humour it was decided to name Alex’s dispensary “The General’s Bar” and Evelyn quotes an amusing incident where two elderly ladies were passing as a painter was putting the finishing touches to the sign and one said to the other “He’s ower young tae hae been a General!”
It should not have come as a surprise to anyone that, given the new found flexibility and ready made premises on the doorstep, an Accordion and Fiddle Club was started up at The Clydesdale before very long.
This was the vehicle that Alex needed to give full expression to his desire to help others who shared his love and enthusiasm for our music and also as an outlet for his priceless ready wit and good humour. He had the ability to say the most outrageous things with a disarmingly innocent postscript, which made the victim or victims proud to be the butt of the banter. Who else would get away with calling the Lochgilphead 3-row maestro “Grazer McFlynn”!
The ways in which he helped and encouraged the younger players are legion. Just consider the boost to a youngster’s confidence when a player of Alex’s ability and standing sat down to back them on second accordion or piano, or when visiting other Clubs as guest artiste asked them to come up and back him. Whenever circumstances permitted it was his policy to go to Clubs with either a duo or trio, with the twofold purpose of saving the Club undue expense and also of involving young or inexperienced players.
Many are the times he charged only travelling expenses and a fee for his pianist or whoever. His selflessness was an example to all and to list those he has helped would take pages.
Suffice it to say that they will be eternally grateful and the fruits of his labours will be there for years to come. Many are the players who made their first broadcast with The MacArthur Band and it was Alex who introduced Paddy Neary to the Scottish stage.
Ian Wilson, the erstwhile owner of the hernia and a Powrie fan, had seen Alex many times with that band, but he had never had a tune with him until the Biggar Club started up and then one evening he was invited to accompany him to Stranraer and that was the start of Ian’s very happy association with the Mark 2 band. He had, by the way, been pianist with The Eric Goodfellow Band until its demise in 1977. Alex, incidentally, was a great fan of this particular group.
HUMOUR AND STYLE
Alex’s highly developed, inimitable sense of humour, which endeared him to audiences everywhere, from packed concert halls to wee day rooms in old folks’ homes, began to show itself in his schooldays when his essays had his English teacher rolling about.
Ian Wilson has, of course, a fund of stories which illustrate the MacArthur style of communication and one which typified this was when he compered a Border Strathspey and Reel Society concert attended by the Duchess of Roxburgh. When he was making his introductory remarks he spotted the Duchess, an elderly, dignified lady in the centre of the front row. As the concert progressed the Duchess gradually subsided into a blissful snooze and Alex made great play of this by winking knowingly and making asides to a tall young lady further along the row. At the interval the players and compere were given refreshments and met various dignitaries, and lo and behold the tall young lady was there and Alex was introduced to her – the Duchess of Roxburgh!
And another example. If at a function or Club there happened to be a group of older ladies in the front, three of them would be singled out as the “Beverley Sisters from Crawfordjohn” or some other exotic local resort. He had the audience and the “Bevs” eating out of his hand within minutes. Sometimes he would look over his specs or turn them upside down and on one occasion when he had broken one of the lenses just before the start, he had the place in fits by periodically scratching his nose by poking his finger through the hole in the frame from the back.
At a dance one evening at Thornhill with Keith Dickson of Dolphinton on second accordion, they kicked off with a “Gay Gordons” and no-one got up. This, as most players will know, is somewhat demoralising, but nothing daunted Alex comes away with, “Right, all change partners.” The ice was broken and the floor was filled for the second bout.
Another of his classic ploys at a dance was to have the dancers in full cry at an old fashioned waltz singing I Belong to Glasgow or something of that nature at the top of their voices and then he would stop playing, light a fag, cross his legs, turn to the rest of the band, say, “Stop!” and engage them in animated conversation while the punters continued to dance round to their own singing, falling about with laughter at the same time. Then suddenly, fag out, tune picked up perfectly by band, and dance brought to a satisfactory conclusion.
One evening at Blairgowrie Club where Jim Johnstone was guesting solo, Alex was in the audience and at some stage in the proceedings he was asked up to do a wee spot. He surrounded himself with an all star cast, Angus Cameron, Jim Johnstone, Billy Craib, Bill Cormack (piano) and Bill Jarvis (drums) then proceeded to tell the audience hilarious stories for ten minutes, got up, thanked his colleagues and left the stage without a note being struck!
On returning to the railway after National Service, Alex did a spell at Doune station and at that time a young fiddler and Scottish Dance Music enthusiast Hamish Menzies was telegraph boy in Doune. He knew Alex well and occasionally took himself down to the station for a crack and to indulge in their common obsession, in other words have a wee tune.
On one such visit they were in the porter’s room, Alex had the box strapped on, “What do you think of this one?” as he launched into a pipe march or some other delicacy. He was in full flight when a train came in. Nothing daunted, and still playing, he backed out on to the platform looked up and down, a passenger tossed him a penny, he touched his cap, pocketed the coin and carried on with the tune. One could go on and on.
INSTRUMENTS AND MUSIC
When I first saw Alex in 1951 he was playing a black ‘Gaudini’. I don’t know what followed that particular accordion but in 1955 he bought a hand made Hohner Morino IV (1950 vintage), one of that select band of instruments which were made to order. Alex’s particular Morino had very distinctive straight tuning, he would not have changed it for any other and played it right up to and including that fateful October Saturday concert in the Edinburgh Playhouse.
It was his own instantly recognisable sound. Imitation is the sincerest form of flattery and one or two admirers have had their accordions similarly tuned.
As has already been said Alex never played off music but just scribbled the names of dances or tune sets on fag packets or wee scraps of paper which he invariably lost before he reached the stage, then it was just a case of working off the top of his head. During one broadcast the producer, a perfectionist, was querying a harmony and over the wall-speaker came, “I think you should change that.” Alex picked up his list of tunes from the stand, written I believe on a “Stork” Order Form, put it down again and said, “That’s all right now, sir” and off they went no bother at all.
ODDS AND ENDS
Because of the long distances covered travelling to and from engagements, Alex always had good cars, at least two of them being Mercedes, one a big 4.8 with a cruise control which must have had some pretty high settings judging by some of the quoted journey times! In later years it became the practice to take a driver along (Tom Hope), so that the players could safely have a bit of shuteye on the way home.
From the earlier reference to fag packets it will have been gleaned that Alex liked a cigarette or two – in fact the band christened the cars “mobile kippering sheds”.
Stemming from his days with Vandenberg, Alex knew all the back roads and cobbled streets in every town in Scotland and could thread his way across a built-up area in record time. He also knew people all over the country, in the most outlandish and isolated spots and could call in on friends and acquaintances for a cuppa virtually anywhere and everywhere.
For example, on the way to the Kinlochsheil Club beyond Kyle of Lochalsh, Alex would look at his watch and say, “4 o’clock, we’ll go to such and such a croft and visit so and so”. When they got there the elderly lady tenant would say in a broad Highland tongue, “Whaatt are you doing here, MacArthur?” “Never mind whit ah’m daein’ here, just get the kettle on!” And a good time was had by all.
As well as being a tea addict, Alex was also very partial to gingerbread men, especially a brand only to be found in Clackmannan and also to girdle and tattie scones indigenous to the Leadhills area. He would track these goodies down with unerring judgement.
Such was Alex’s intense interest in, and dedication to the Scottish Dance Music scene, that he developed an outstanding talent for recognising bands sometimes after only a couple of notes or at worst a couple of bars and in most cases he could identify the individual players as well. This was partly because of the “rent-a-band” principle of which he was not greatly enamoured, whereby a number of top bandleaders would draw from a nucleus of twenty or so backing musicians.
The complete entity band units were and still are becoming scarce and the lead apart, the sameness of sound saddened Alex more than a little. There were certainly no worries on this score as regards his own band.
Alex was a bit hard on drummers or possibly “firm with” would be a better expression. If for example a tune such as The Highland Wedding was slowed up slightly at some point to gain maximum expression, but the drummer kept on with the initial beat regardless, Alex wouldn’t say anything, but my goodness his foot would get going to some tune and the errant percussionist was soon pulled into line.
HOBBIES AND FAMILY
“Hobbies,” said Evelyn, “well music came first, second, third and last. But Alex was also a very keen reader, not of books, but newspapers, cover to cover, kept himself very well informed on all manner of subjects including politics – he was also an avid watcher of political programmes on TV, but he had no particular leanings, one way or the other. In the hotel business one has to speak knowledgeably on all kinds of subjects.”
One other, perhaps surprising, hobby was Bridge, he and Evelyn being members of the local club at Thornhill.
Then of course Alex was the proud grandfather of three – Scott, Heather and Craig, the family of daughter Fiona and husband Robert Lawson who is in the sheep business. They have a 400-acre farm at Newbigging near Carnwath, which in turn is not far from Carstairs. Fiona is very keen on animals, works hard on the farm and enjoys it immensely.
Alex had a great rapport with the young ones but never forced his music on them. However, Scott was taken along to hear “Papa’s” band do an outside broadcast in a two-band session at Thornhill a couple of years ago. Alex’s band was on first and when Scott had sat through the performance, quoth he, “Well that’s enough for me,” and “Gran” thought, “How profound Scott, my sentiments exactly.” Out of the mouths of babes and sucklings……….
The other half of the family, son Gordon, is an actor, plays piano and sings a bit. At the November meeting of the Biggar Club he paid tribute to his father by playing one of his favourite tunes Durrisdeer as a piano solo. Club Secretary, John Anderson, and guest player Paddy Neary added their own personal appreciation during the evening.
Gordon did his drama training in London, but was then faced with the chicken and egg situation, to get work he needed an agent, but to get an agent he needed to have worked. However, luck was with him, he eventually did a spell in the “Young Vic”, moved back to Scotland, got a part in a Border production, was spotted, did a one-liner as a taxi driver in STV’s “Take the High Road”, and finally landed a couple of much more substantial roles in the series. He then appeared in pantomime in Stirling where he had to do a bit of everything, singing, acting and dancing.
Now back to Mum (Evelyn) – the hotel business doesn’t leave much time for hobbies but she shared Alex’s enthusiasm for Bridge and in fact attended classes in the same. She also enjoys Scottish Country Dancing and in earlier years, the mid-50s to be precise, when spare time was more plentiful, she attended the weekly sessions in a crowded Perth City Hall, with music supplied by The Powrie Band which of course at that time included Alex in its line up.
Evelyn’s musical tastes are fairly broad based, she enjoys many types including light classical and the lighter modern style.
A LIVING TRIBUTE
It would require a whole volume to record the tributes of admiration and gratitude paid to Alex by enthusiasts, players, family, relations, friends and colleagues, but as a fitting conclusion let just one or two of these folk who were so dear to his heart speak for themselves.
Evelyn MacArthur “He had a style of his own, it came from the heart…” “…he was always thinking of others, totally unselfish and self-effacing.”
Jim MacLeod “It’s still with me and always will be – Alex’s tremendous enthusiasm for Scottish Music, he introduced me to it. He was Jimmy Shand daft and got me interested in all the good tunes, it was new to me.”
Alan Gardiner “I was torn between the pipes and the accordion but I was so strongly influenced by Alex MacArthur – he was my idol – that the box won.”
Ian Mearns “It was a marvellous time, playing with Alex. He had a unique style, lots of lift in the music and a background of humour and fun. Always laughter wherever he went without any hurtful side effects.”
Ian Wilson “He was just great to work with, always appeared even tempered. He was kind hearted but strict and hated any form of injustice. He was a very intelligent man.”
Robin Brock “Alex’s fun and enthusiasm for the music, he underplayed his own capabilities – a tremendous musician. He had a unique style, nobody else ever played like Alex.”
Ian Powrie “Sandy never had an ill word against anybody.”
Jack Delaney “It was the man’s tremendous ability in communicating with people. His personality came out in his playing.”
Jim Johnstone “I never saw Alex reading music, he latched on very quickly, a natural musician. His humour was always to the fore, great company in the band and always the same.”
Jennifer Forrest “I actually doubt if I’d be playing the accordion today if it hadn’t been for Alex, because he gave me so much encouragement in the first couple of years of my playing – he made such a big impact on all my views. When I was out of work on leaving school, he gave me the chance to play second box with him all over the country from Thurso to the south of Wales.”
Just a few comments from fellow musicians which typify those from players and non players alike from every corner of Scotland, indeed far beyond, wherever Alex and his music were known.
Finally a couple of snippets from a “Shepherd’s Fancy” programme which I feel sums up the philosophy of the man – his consideration for and understanding of the real people and his dedication to Scottish Music.
Alex – “…something new coming in where youngsters now are looking for rhythm. Tremendous players, they’ve all got the message or are keen to get the message.”
And now a very pertinent observation – “I think some get too serious and they play far too complicated stuff. The average listener that’s sitting up on the hillsides on the West Coast or on the hills this way, the shepherds etc., they’re no’ interested in five thoosand notes, they want something they can do their knitting to or have a puff at the pipe and recognise a lot of the stuff. It’s okay bringing in new tunes, but sometimes I think some of them forget who they are actually playing for.”
As Robbie Shepherd commented, “Wise words indeed”.
Alex MacArthur, “The General”, irreplaceable, an act that no-one can follow, but the enthusiasm he generated amongst the younger players and the lead and encouragement he gave to so many have ensured a healthy future for our music and will remain a living tribute to his memory.
The names of all those who helped me, either directly or indirectly with material for this write up, appear in the text. May I thank them all most sincerely for their assistance.
Accordions Galore 1989
by Peter Paterson
The 11th Annual Concert in memory of Will Starr certainly had an upsurge in attendance this year. I strap the credit firmly on the shoulders of the quiet Irishman, Paddy Neary.
Paddy was the top-of-the-bill artiste in the Civic Centre Concert Hall, Motherwell, where the show was staged. His name, and of course his reputation, goes on ahead of him, that’s why the numbers were up.
On Saturday, the 11th of November, the 10th Anniversary show began. On stage prompt at 7, the fine strains of the Peter Gardiner Accordion Orchestra filled the hall. This set the atmosphere for the evening.
Peter had asked to do the opening spot as some of his players had other gigs that evening. I thank Peter and all the orchestra, and a special thanks to those young players who found time to do my show also this evening – I hope they made their other engagements.
The fine Scottish tenor, Charles Greville, was next on the bill. He sang two songs and then finished off with the well known song for the tenor voice ‘Goodbye’. He was accompanied at the piano by Gerard McGuiness.
With the Irish theme running through the programme, who next on stage, The Lappin Irish Dancers. This proved a very colourful and energetic display as they moved through the jigs and the reels of the dances of Ireland.
They all showed an enjoyment in what they were doing which came across and delighted everyone watching. The brilliant accordion playing of their accompanist , Martin Daly, was the ‘icing’ to this act.
The highlight, as usual, was the 1989 Will Starr Memorial Shield Contest. We had four contestants lined up, but the young lady of the group did not come along.
First to compete was Bob Logan. I was delighted when I first met Bob to see he is in his seventies and plays a 3-row box. When Bob took the stage he certainly mad that squeeze box speak out in its own right, playing selections in the style only people of his generation can do.
Right bang up to date was our second contestant, Liam Howitt. Liam on the piano box showed us a new style, his expertise and fantastic fingerwork held the audience as he went through his spot.
Thirdly, a young man from a fine family of accordionists, Craig Skinner. Craig is brother of Ian Skinner who won the Shield Contest in 1980. By the way, Ian was backstage, a giant of a man. It’s hard to believe I looked down on him once, now he’s head and shoulders over me.
Craig fitted up his power bass and was off taking us into some marvelous playing. Listening to him without looking at him he was reminiscent of his brother, Ian, all those years ago. The audience certainly liked him. By the way, he was wearing the kilt Ian wore in 1980.
With the contest over it was curtain open for Paddy Neary. As the spotlight hit him all looked very technical as he sat in the midst of all his electrical equipment. Then, in that clear brogue of his he spoke to his audience preparing as he set the digits for his first number. We all probably expected jigs and reels for a starter, but he gave us the unexpected, a brilliant selection of tangos, and I mean brilliant!
From then on the variation of his selections proved to me and to the audience, the total mastery this gentleman has over the complex he uses. In saying that, it couldn’t be done if he wasn’t a master accordionist to start with.
Paddy completed his act to continual shouts of ‘more’. He left the stage to meet his fans in the foyer, to sign autographs and help to promote the sale of his audio cassettes. This was interval time.
SECOND HALF
The curtain opened for the second half on the veteran entertainer, Sandy Moir. Sandy, resplendent in his tartan trews, with his red piano box, broke into a toe-tapping selection. For a man also in his seventies I was amazed at the calibre of his act. He kept the momentum flowing with gags, accordion selections and songs, and his famous yodeling songs seemed to do the trick. We only saw and heard a snippet if the act, I believe he can do around two 45 minute spots if required.
Sandy, I would say is the only Scottish entertainer working professionally over the age of seventy and still doing an act duration that many a young man would find hard.
The splendour of the Lappin Irish Dancers took the stage after Sandy.
Their second spot excelled their first, filling the stage with the high energy of the dance.
After the dancers, Theresa Starrs joined me on stage. Theresa was standing in for her sister, Margaret, who could not come along due to ill health. Get well soon Margaret.
This part of the proceedings was the presentation of the Will Starr Shield for 1989. As usual, the judges had a hard tast, but the outcome was 3rd Bob Logan from Larkhall, 2nd Craig Skinner from Blackridge and 1st Liam Howitt from Cambuslang. By the applause we got it seemed a favourable decision. Theresa Starrs presented the trophies and the Will Starr Memorial Shield was passed over to Liam Howitt.
I asked Liam to get his box to give us another selection. This he did and he pulled the place down – we have a new accordion star in this young man. By the way, when he finished I mentioned to the audience, he was the new Scottish Accordion Champion, who only won the accolade at Perth a couple of weeks before.
After Liam we had the lovely voice of Rose MacPherson. This was Rose’s second appearance in the concert, and her songs were very nuch appreciated. Her accompanist was Gerard McGuiness.
Paddy Neary time again, and what a time it was. Most things have been said of the man and his music, and it’s hard to find new adjectives to describe him, but I thing this statement may sum him up. A lady told me the day after the show, after expressing her enjoyment of his ‘Blue Danube’ selection, “Who needs the Royal Philharmonic Orchestra when Paddy can do it all.”
To sum up the 1989 Concert I would class it as one of the best nights. We were up on numbers, and the MacMillan Nurses Hospice Charity Appeal should have around £520 after things are settled up.
The cause of the Accordions Galore Concert has been fulfilled for another year, Will Starr and his music has been remembered.
And finally, the statement Paddy Neary made on his first appearance on Accordions Galore in 1982, “Thank God for Will Starr; he paved the way for people like me to make a living playing the box.”
I would like to offer a special thank-you to all the artistes and my audience for making it another success.
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Dundee Winner of the First Ever Glenfiddich Fiddle Championship
by Ron Gonella
On Saturday the 29th of October, the historic ballroom of Blair Castle echoed to the fiddle music of Scotland when the first ever Glenfiddich Fiddle Championship was held ther euinder the auspices of the Niel Gow Trust.
The Trust was originally set up in 1986 to raise funds to replace the gravestone in Little Dunkeld Churchyard in the Vale of Atholl where Niel was buried in 1807.
The main aim of the Niel Gow Memorial Trust is nowadays to ‘encourage, stimulate and perpetuate the art of fiddle playing throughout the country.’ Since Niel Gow’s life and music were closely linked with Blair Castle through the 2nd, 3rd and 4th Dukes of Atholl, it is very fitting that the Glenfiddich Fiddle Championship be held at Blair, by courtesy of His Grace, the 10th Duke of Atholl.
Following an earlier round in Glasgow, six players were chosen to go forward to the final. They were asked to give a fifteen minute recital, incorporating all the various styles of composition and including a set of pieces composed by the Gow family.
The Lothian Schools’ Strathspey and Reel Society conducted by Yla Steven opened the afternoon’s proceedings and set the musical mood for the large, expectant audience.
The eventual winner was Dundee-born Maureen Turnbull, whose overall performance was described by one adjudicator as ‘immaculate and professional’.
Maureen is a second year medical student at Glasgow University and her musical experience is already wide. She led the Dundee Schools’ Symphony Orchestra and is a member of the National Youth Orchestra of Scotland, at present.
Her fiddle music has been learned with both the Dundee and Angus Strathspey and Reels Societies and she has been a Golden Fiddle Award winner.
She was accompanied by Morag MacAskill and played a wide variety of top class fiddle music with her rendering of J. Scott Skinner’s ‘Ossian’ being outstanding.
Another young lady who reached the finals was Lynda Harkness, whose musical activities run similar to those of Maureen Turnbull.
Lynda was born in Alloway in Burns Country and now lives in Perth. She joined the local S&R Society, finished her schooling at the Douglas Academy Music School in Glasgow and presently is a student at the Royal College of Music in London.
Lynda has also played with the National Youth Orchestra of Scotland and with the Scottish Fiddle Orchestra and studies traditional fiddle playing with Douglas Lawrence. Douglas, in turn, was taught by the late Hector McAndrew and their joint influence is evident in Lynda’s choice of music, which included airs by William Marshall and the classic ‘Master Francis Sitwell’ by Nathanial Gow.
One very interesting feature of the competition as a whole was that because it attracted fiddle players from many different parts of Scotland, and from diverse backgrounds, this meant we had a variety or repertoire and styles.
And this variety was particularly evident in the repertoire of three finalists, Aiden O’Rourke, Duncan Chisholm and Louise Jolly.
Aiden O’Rourke was born in Glasgow but now lives in Oban, where he is a member of the Oban and Lorne S&R Society. Despite being the youngest of our finalists, Aiden has already won prizes at the National Gaelic Mod and at local competitions in Oban. He had the difficult job of playing first in the finals, but got to grips with the situation well.
His first set included the march ‘Leaving Glenurquhart’ and an interesting strathspey and reel consisting of tunes by J. Murdoch Henderson, the noted North-East fiddle authority, and named after James Scott Skinner.
Another young finalist whose musical activities are varied and interesting, Duncan Chisholm from Kirkhill, near Inverness, has three Gaelic National Mod firsts to his credit and was Junior Golden Fiddle winner in 1983.
He is prominent in the Folk scene being a member of the Celtic group ‘Wolfstone’, and a guest at various times with bands such as ‘The Waterboys’ and ‘The Battlefield Band’. Perhaps his most memorable contribution was a beautiful rendering of the Gaelic air,’McLeod’s Daughter’.
Louise Jolly, the third finalist from the fair sex is equally at home in a professional symphony orchestra or providing cabaret in some of Scotland’s great houses and hotels. She studied with Leonora Friedman in Edinburgh and, to my mind, such distinguished tuition is probably one good reason why her bumper bundle Gow set was so ingeniously arranged and so elegantly played.
The seven tunes covered the whole Gow family as composers – from Niel himself, down through his sons, Andrew, John, William and Nathaniel to Nathaniel’s son, Niel Jnr.
The remaining finalist was Alex. Bain, who began lessons with Sandy Milne from Banchory and subsequently studied with Hector MacAndrew. He is presently reading music art at Aberdeen University.
Alex. Played a typical MacAndrew programme with some memorable tunes in the difficult key of E major, ‘J.O. Forbes of Corse’ and ‘The Hawk Hornpipe’.
The first prize was a replica of the famous Raeburn portrait on Niel Gow plus a cash award while each of the finalists received a medallion plus £50. The prizes were graciously presented by the Duke of Atholl, the adjudicators were Bill McCue, John Mason and Ron Gonella and the compere was Robbie Shepherd.
Brunton Halls – Saturday 3rd March 1990
By Norrie Williams
In comparison to its Perthshire stablemate which has just celebrated its 40th Anniversary ‘Musselburgh’ is a mere stripling, but an extremely healthy one mark you and fit for all comers. Saturday 3rd March 1990 sees the 16th N.A.A.F.C. Festival in the excellent Brunton Halls complex – there couldn’t be a better venue – and all interested in traditional fiddle, and traditional and classical accordion should be homing on this hallowed spot on that date.
To permit the two new sections introduced in 1988, viz the Fiddle Group and Button Key Accordion, to consolidate no further additions have been made. The number of classes remaining at 21 i.e. 6 classical and 15 traditional.
We have three new adjudicators on the panel this time but before introducing them, a couple of points relating to the competitions themselves. Firstly for the solo fiddle competitions – up to now these players, if they wished to have piano backing, had to use the official accompanist but this rule has been amended and although an official pianist will still be available, a competitor may now employ an accompanist of their own choice if desired.
The second point refers to the piano used for the Trio, Band and Fiddle Group classes. Until a couple of years ago this was an upright model which sat up on the stage beside the group in full view of the audience. However as the years went by this instrument deteriorated until it would have put Winnifred Attwell’s ‘other piano’ firmly in the shade and understandably a number of competitors complained. The Brunton Halls management then gave us the use of their ‘Steinway’ concert grand which was a great hit with the players, but as the stage could not support the half ton monster it had to sit down a floor level which of course put it out of sight for the majority of the audience. In fact the groups became almost totally invisible because they all clustered round the piano and then it was the audience’s turn to complain! In subsequent discussions with the authorities two possibilities were explored (1) strengthen the stage (2) purchase a new upright piano – the three existing machines are in an advanced stage of the honky-tonks. The first option was practical enough but the cost of hoisting and lowering the big ‘grand’ on and off the stage was to be prohibitive. As for buying a new instrument, the Halls management are keen to do this but as it is not included in the current year’s budget it will have to wait a bit. So we can only apologise to our audience in advance and ask them to be patient.
Now back to the adjudicators. Out of six, three have previously officiated at Musselburgh. On classical accordion Mr Cyril Pasby of Slough, a well known and respected figure at festivals north of the Border. As one of the three traditional accordion judges we welcome back very experienced broadcasting bandleader from Balmullo, Bobby Crowe, and to share the load of the fiddle classes that well known and popular character of the Scottish music scene Bobby Harvey of Milngavie.
Our newcomers include our first ever lady adjudicator who was also the first ever solo winner of the ‘Daily Record Golden Fiddle Awards’ in 1976, Miss Yla Steven of Edinburgh. Yla who started playing classical violin at the age of seven is now fulltime violin/viola teacher with Lothian Region Education Authority. For the past seven years she has also been instructor, concuctor, you name it, for the Lothian Schools Strathspey and Reel Society, an orchestra which is making quite a name for itself and is certainly a force to be reckoned with. Although classically trained, Scottish traditional fiddle music has always been Yla’s first love and between 1973 and 1977 she lifted top honours at most of the top Scottish competitive festivals. She also used to go frequently to Banchory for a week at a time to get wrinkles on traditional fiddle playing from the late Sandy Milne. We look forward to having Yla with us.
Our second new face doesn’t really need any introduction. He has eluded capture for years, in fact until he had mastered joined up writing, but we’ve got him at last! He will officiate in the pipe music and button key classes – from Lochgilphead the one and only Fraser McGlynn. Great to have him.
The last of our first timers will be judging traditional accordion along with Bobby Crowe. He is Norman Currie from Milngavie. Norman, a self employed piano tuner, took up the accordion at the comparatively ripe old age of sixteen starting on the piano key version with tuition from Archie Duncan. After a year and a half he switched to the 5-row Continental chromatic which he has played ever since, his current instrument being a free-bass DALLAPE made to his own specification. So keen was he on the sound of button-key models, especially that of the ‘Shand Morino’, that he had one concerted to ‘continental’ operation even going so far as to have the keyboard stepped but it wasn’t a world beater – more development was needed. Norman has had over 25 years experience with Scottish Dance Bands playing both the lead and second accordios and also piano. Amongst other he broadcast with the Alastair Herron Band and he is at present a member of a three-piece traditional Scottish entertainment group called ‘CRAIGALLIAN’. He is arranger / accompanist with this trio which also features the accomplished tenor Sandy Hay and the equally accomplished S.N.O. flautist and piper George MacIlwham.
Norman has always admired the playing of Jimmy Shand and Jimmy Blue and for him the definitive band sound was that of Ian Powrie. We welcome him aboard.
As always on Festival day the competition will be followed by the All Winners concert which this year will include the finals of the Senior Scottish Solo Class. To round off the evening on a high note, the ‘Grand Dance’ to the music of Craig McCallum’s Band, a previous Musselburgh Winner, albeit with a different line up.
See you on March 3rd.
CLASSICAL v TRADITIONAL
Now let’s remove the Musselburgh hat and reflect on those ‘high-tech’ tunes which are now being played in the Scottish ‘traditional’ classes at competitive festivals. Incidentally the word traditional was dropped from the Musselburgh literature some time back. Following ‘Perth’ where 20-year-old Liam Howitt of Cambuslang turned in a virtuoso performance to win the ‘Jimmy Shand Shield’ the perennial subject of these new tunes is once again in the news having been discussed by interested parties on two consecutive ‘Shepherds Fancy’ programmes. These interested parties were Liam himself, the adjudicator Jim Johnstone and Peter Farnan composer of two of the winning tunes. In addition the recorded reactions of a number of enthusiasts who had attended the Festival were given an airing. Music being such an emotive and personal thing opinions are strongly held and often differ radically. What about yours truly – well I have previously expressed my personal views on the subject both in print and on the air and I have not changed my standpoint. Whilst conceding that this new breed of ‘classical’ Scottish tunes lacks the variety and emotional appeal of the older traditional style composition where expression and interpretation, rather than digital dexterity are the telling points, I feel that these modern tunes are essential to fully exploit the tremendous ability and technique of today’s young players. In any sport or pursuit a champion by definition is ‘one who has excelled all others’ which means always reaching beyond current standards. When going for gold the sky is the limit. There can be no holding the clock, far less turning it back. Let’s face it, today’s talented young players could eat the older ‘traditional’ tunes for breakfast including the correct interpretation. The creation of an additional class for the ‘modern’ compositions or the restriction of the choice of tunes by specifying the format to be used would I am sure be counterproductive. It would pose the question raised by one of Robbie Shepherd’s interviewees, viz. which class winner would be the true champion.
In speaking to a number of these younger players I have found that they don’t feel forced to play the technical tunes just to win, they enjoy the challenge and they enjoy playing them, and after all, they are the ones who will be carrying our music forward when we’re not around. Despite the fact that these compositions lack the ‘Scottishness’ which puts goosepimples on the neck, there is no denying that they are very melodious with nifty progressions and modulations. Also they are written in Scottish rhythms by Scottish composers, and despite assertions to the contrary one can dance a strathspey to the appropriate tunes albeit relying a wee bit on automatic pilot during the more hectic passages. No, I feel that things should be allowed to take their natural course and we (I quote) ‘old fogeys’ must accept that musical evolution continues, as witness, the jazz, classical and pipe scenes. Agreed, we may not enjoy the music to the same extent, but it is the players ability and overall performance that are being judges, not the entertainment value. When all’s said and done our tastes are still catered for in the pipe music, fiddle, trio and band classes at the various festivals and, of course, there is the good company.
One very interesting revelation on the first of the two ‘Shepherd’s Fancy’ programmes was when Jim Johnstone admitted to feeling incapable of adjudicating these super technical pieces. A very pertinent comment and one which could usefully be noted by Festival organisers for serious consideration.
In conclusion, there is a somewhat unlikely but nevertheless fairly legitimate parallel to the situation in the motor racing world of all places. Throughout the late 40’s and 50’s I was one of the thousands of avid spectators of this sport. In those days all the various marques of racing car had their own distinctive shape and noise, Gordini, Talbot, Ferrari, E.R.A. and so on, and the drivers who were fully visible in action were the equivalent of today’s pop stars. The spectacle and sound of these machines proceeding round Silverstone in a series of 4 wheel drifts was something else – talk about goose pimples! Average race speeds crept up very gradually from the upper 70’s to the upper 80’s and I well remember that brilliant afternoon when Fangio the Argentinian bus driver became the first to crack the 100m.p.h. barrier. The crowd went daft. But as I said earlier you cannot hold the clock back. Racing technology and driving techniques then developed a pace with the result that on the same circuit today race averages over 145m.p.h. are becoming commonplace with laps at over 150!
BUT, and here’s the rub, this development has produced a crop of little flat ‘lookalike’ beetles on barrel type tyres with the drivers almost hidden from view. Again for the ‘old fogeys’, as with our music, a lot of the enjoyment has gone – with this boring procession of noisy robots – nevertheless, despite this, the circuits are still thronged, but with a new generation of enthuisiasts. And odds on it will be the same with our scene.
Mind you we are a fickle lot. We make a great fuss about retaining ‘traditional’ sounding tunes yet a few years ago ‘Caddam Wood’ and other compositions of that ilk were welcomed with open arms. Popular, yes maybe, but Scottish traditional??!!
With these few words I rest my case, don my steel helmet and duck.
Letters to the Editor
Sir – London’s Big but Biggar’s Biggar as they say. Sounds great. The sounds were great too at the Biggar High School, where on Saturday, 2nd December the N.A.O. Borders and North of England Accordion Championships were held. Knowing Biggar very well (having been brought up in the nearby Glenholm Valley) nostalgia no doubt together with the esteem I hold for the accordion player, had me on my way from Blackpool and it was certainly worth the journey.
The weather was ideal and Biggar High Schoolas a venue couldn’t be bettered in my view. The arrangement for the 300+ competitors were very well organized and I am sure the spectators were well satisfied with the facilities afforded to them.
The catering was to everyone’s taste and the dining arrangements enabled participants to sit in comfort and enjoy reasonably priced meals.
The atmosphere was enhanced by the presence of the trade in the form of Rolston’s of Motherwell, with Robert himself present with George and also Thomson’s of Glasgow represented by Jim Cleland and Neil Fodden.
As the day proceeded it became clear that events were slightly behind schedule, but with some skillful readjustments combined with a good communication system this was soon rectified.
The adjudicators had a difficult task, having regard to the number of competitors and the high standard of play. Their advice and criticisms were no doubt appeaciated by all (well maybe not all).
Arranging an event such as this is not without its problems. It takes much hard work, much planning and is time consuming. It is with this in mind that I extend appreciation to Mr Alistair Gillespie and his team for their untiring efforts which enabled us all to enjoy such a memorable day with the accordion.
During a relaxed moment I was able to speak to Alistair and he informed me that this was only the econf year that the event had been held at Biggar, and he was delighted with the response, and the support which he had been given. Well, Alistair, I am sure that all who attended Biggar High School on the 2nd of December will demand that you organize the event next year, and I am sure that it will be even bigger if it is held at Biggar.
Tom Duncan (Secretary Wyre Accordion Club)
Sir – Reading your lead article (Dec 89 issue), I found myself nodding agreement several times. There seem to be three standards of playing. The ‘traditional’ (for the moment). The so-called ‘liberated’, and the curiously stilted sound of some competition playing.
I get the feeling that if one of the eighteen notes in the thirteenth bar of ‘Rita Duncan’ was misplaced by as much as a hairsbreadth, all would be lost.
When someone plays well and straight from the heart, it is like a breath of fresh air. We should not equate dexterity with musicianship.
Pipe music has almost taken over in the Clubs these days, interpreted with varying degrees of success. I wonder if pipers are as impressed with the accordion sound?
Nevertheless, it is the fashion of the day to play yet another lookalike 4/4 or 6/8 in pipe style. As one who has a vast collection of music I find that many of today’s themes are familiar and feel we are suffering from a predictable formula for pipe tunes in particular, much the same as fiddle tunes suffered in the 19th century.
Given the first measure, I think most experienced players would make a reasonable attempt at the other three. Budding composers please note and remember there are many thousands of tunes to choose from, but in the end it is the way they are played that produces the magic.
Lastly, it is a pity that competition does not appeal to me. As I love my music and do not gain from it I could qualify for the new ‘Amateur’ as well as the ‘Veteran’ Class.
Sandy Tulloch
CLUB DIARY Aberdeen (Dee Motel) – Jan 90 Willie McGuire
Alnwick (Golden Fleece) – members only
Armadale (Masonic Arms Hotel) –
Ayr (Gartferry Hotel) –
Balloch (Bell Centre, Dumbarton) – 21st Jan 90 Seamus O’Sullivan
Banchory (Burnett Arms Hotel) –
Banff & District (Royal Oak Hotel) –
Beith & District (Hotel de Croft, Dalry) –
Belford (Community Club) –
Biggar (Municipal Hall) – 14th Jan 90 Annie Robertson & John Houston
Blairgowrie (Moorfield Hotel) - 9th Jan 90 Gordon Pattullo
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) – 16th Jan 90 Isobel Hurst
Coalburn (Miners Welfare) - 18th Jan 90 Tom Veldon Orchestra
Crieff & District (Drummond Arms Hotel)
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 10th Jan 90 Gregor Borland
Dunblane (Westlands Hotel) – 16th Jan 90 Stuart McKeown SDB
Dundee (The Marquee) –
Dunfermline (Northern Roadhouse) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (King’s Park Hotel, Rutherglen) – 25th Jan 90 The Glasgow Caledonian S&R Society
Ellon (Ladbroke Hotel) –
Fintry (Fintry Sports Centre) – 22nd Jan 90 Newtongramge Club
Forfar (Plough Inn) -
Forres (Brig Motel) – 10th Jan 90 The Fochabers Fiddlers
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) –
Highland (Drumossie Hotel) – 15th Jan 90 Iain Anderson SDB
Isle of Skye -
Islesteps (Driveway Inn) – 3rd Jan 90 Eric Goodfellow SDB
Kelso (Ednam House Hotel) – 31st Jan 90 Alan McIntosh & Callum Ross
Kinlochshiel (Tingle Creek Hotel) -
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Jan 90 Simon Howie SDB
Livingston (Golden Circle Hotel, Bathgate) 16th Jan 90 Alex McPhee SDB
Lockerbie (Bluebell Hotel) - 30th Jan 90 Local artistes
Mauchline (The Jean Armour Restaurant) 16th Jan 90 AlistairHeron & George Stirrat
M.A.F.I.A. (Masonic Hall, Milngavie) – 15th Jan 90 Laurie School of Accordions
Montrose (Park Hotel) –
Newtongrange (Dean Tavern) – 29th Jan 90 Billy McGuire
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Seafield Hotel, Keith) – 9th Jan 90 Bill Brian
Oban (Highlander Restaurant) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) – 18th Jan 90 Ian Johnstone
Peebles (Greentree Hotel) – 25th Jan 90 Ian Muir Trio
Perth (Station Hotel) – 16th Jan 90 Jim Johnstone SDB
Premier NI (Camlin function Rooms) -
Renfrew (Masonic Hall, Broadloom) – 9th Jan 90 Bobby Harvey Trio
Rothbury (Jubilee Hall) - 4th Jan 90 Members night
Shetland (venue?) -
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) –
Wooler ( ) - 18th Jan 90 Fiddlers 3 + 2
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Banchory
3. Banff
4. Beith
5. Biggar
6. Blairgowrie
7. Castle Douglas
8. Coalburn
9. Dingwall
10. Dunblane
11. Dunoon & Cowal
12. East Kilbride
13. Forres
14. Highland
15. Isle of Skye
16. Kinlochshiel
17. Isle of Skye
18. Lesmahagow
19. Livingston
20. Lockerbie
21. M.A.F.I.A.
22. Mauchline
23. North Cumbria
24. North East
25. Peebles
26. Renfrew
27. Rothbury
28. Shetland
29. Wick
30. Wooler
CLUB DIRECTORY AS AT SEPT 1989 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Acharacle & District A&F Club (cMay 1988)
3. Alnwick A&F Club (Sept 1976)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Blairgowrie A&F Club (
12. Button Key A&F Club (
13. Castle Douglas A&F Club (c Sept 1980)
14. Coalburn A&F Club
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District A&F Club (May 1979 – per first report)
19. Dunblane & District A&F Club (1971)
20. Dundee & District A&F Club
21. Dunfermline & District A&F Club (1974 – per first edition)
22. Dunoon & Cowal A&F Club (
23. East Kilbride A&F Club (Sept 1980)
24. Ellon A&F Club (
25. Fintry A&F Club
26. Forfar A&F Club
27. Forres A&F Club (Jan 1978)
28. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
29. Galashiels A&F Club (joined Sept 1982)
30. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
31. Glendale Accordion Club (Jan 1973)
32. Highland A&F Club (Inverness)
33. Islesteps A&F Club (Jan 1981)
34. Isle of Skye A&F Club (
35. Kelso A&F Club (May 1976)
36. Kintore A&F Club
37. Langholm A&F Club (Oct 1967)
38. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
39. Livingston A&F Club (Sept 1973 – per first edition)
40. Lockerbie A&F Club (Nov 1973)
41. M.A.F.I.A. (early)
42. Mauchline A&F Club (first mention 1986?)
43. Montrose A&F Club (joined Sept 1982)
44. Mull A&F Club
45. Newtongrange A&F Club (joined Sept 1979)
46. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
47. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
48. North East A&F Club aka Keith A&FC (Sept 1971)
49. Oban A&F Club (Nov 1975)
50. Orkney A&F Club (Mar 1978)
51. Ormiston Miners’ Welfare Society A&F Club
52. Peebles A&F Club (26 Nov 1981)
53. Perth & District A&F Club (Aug 1970)
54. Premier A&F Club NI (cNov 1980)
55. Rothbury Accordion Club (1987??)
56. Shetland A&F Club (Sept 1978)
57. Sutherland A&F Club (
58. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
59. Thurso A&F Club (cSept 1981)
60. Turriff A&F Club (March 1982)
61. Tynedale A&F Club (Nov 1980)
63. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
64. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
65. Bonchester Accordion Club (Closed?)
66. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
67. Buchan A&F Club
68. Callander A&F Club (
69. Campbeltown & District A&F Club (c Dec 1980)
70. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
71. Club Accord
72. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
73. Coupar Angus A&F Club (cSept 1978 - ?)
74. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
75. Denny & Dunipace A&F Club (Feb 1981)
76. Dornoch A&F Club (first mention in directory 1986)
77. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
78. Dunbar Cement Works A&F Club (Closed?)
79. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
80. Falkirk A&F Club (Sept 1978 - )
81. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
82. Gretna A&F Club (June 1966)
83. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
84. Kinlochsheil A&F Club (
85. Kirriemuir A&F Club (cSept 1981)
86. Monklands A&F Club (Nov 1978 – closed cApril 1983)
87. Morecambe A&F Club (joined Sept 1982)
88. Newcastleton Accordion Club
89. New Cumnock A&F Club (cMarch 1979)
90. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
91. Straiton Accordion Club (c1968 – closed March 1979)
92. Stranraer & District Accordion Club (1974 – per first edition)
93. Torthorwald A&F Club (near Dumfries)
94. Walmer (Bridge of Allan) A&F Club
95. Wellbank A&F Club
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