Norrie Williams
"There's pipe music and there's other music"
By Charlie Todd
Anyone who has looked at the Archived Articles section of the Box and Fiddle website will quickly realise, as I did, that many of the finest, and fullest, articles emanate from the pen of one ‘N.Y.W.’. They are an important and enduring record of several of the great names on our scene. A quick search reveals :
Oct 1987 - P/M Willie Lawrie (2,543 words)
Feb 1989 – P/M Donald Shaw Ramsay (6,472)
Mar 1989 – Jimmy Yeaman (4,622)
Oct 1989 – Bill Wilkie (7,165)
Jan 1990 – Alex MacArthur (5.692)
Nov 1990 – Jimmy Blue (5,299)
Feb 1991 – Tony Reid of Balnakilly (3,071)
Mar 1991 – Bobby MacLeod (11,115)
EARLY DAYS
So who is the courteous, thoughtful, unassuming gentleman who gave us such a wealth of detail? Norman Yorston Williams was born in Montrose in December 1927, at the home of his maternal grandparents, his mother, Nan, having returned there for the birth, as was the Scottish custom in those days. A few days later he was taken to the family home in the nearby parish of Maryton (on the south side of Montrose Basin) where dad, George Bruce Williams was Headmaster at the Primary School. In 1929 the family moved to the village of Hillside – two miles north of Montrose - where dad took over as Headmaster of the slightly larger primary school, a post he held until retirement in 1959. Sister Valerie was born on St Valentine’s Day 1931. Some Headmaster dad’s see no conflict of interest and are happy to educate their own children, but for Norrie it wasn’t to be, and at five years of age a daily bus journey to Montrose Elementary Academy began. At twelve he transferred to Montrose Academy where his grandfather, John Yorston, by then retired, had once been Rector.
There was some music in the family with dad, Bruce, having played drums and ‘Flexatone’ in his early days and mum, Nan, was an accomplished classical pianist, a popular accompanist with singers and she also played regularly for Scottish Country Dancing.. Norrie himself started, as many boys of that era did, with a mouthorgan before progressing to a 10 key, single-row melodeon which was purchased for him by his parents from Largs Music Shop in Montrose. Then when Norrie was in his late teens, the well known accordionist Jack Forsyth who worked for J.T. Forbes in Dundee, sold him a two-row British Chromatic accordion
Oct 1987 - P/M Willie Lawrie (2,543 words)
Feb 1989 – P/M Donald Shaw Ramsay (6,472)
Mar 1989 – Jimmy Yeaman (4,622)
Oct 1989 – Bill Wilkie (7,165)
Jan 1990 – Alex MacArthur (5.692)
Nov 1990 – Jimmy Blue (5,299)
Feb 1991 – Tony Reid of Balnakilly (3,071)
Mar 1991 – Bobby MacLeod (11,115)
EARLY DAYS
So who is the courteous, thoughtful, unassuming gentleman who gave us such a wealth of detail? Norman Yorston Williams was born in Montrose in December 1927, at the home of his maternal grandparents, his mother, Nan, having returned there for the birth, as was the Scottish custom in those days. A few days later he was taken to the family home in the nearby parish of Maryton (on the south side of Montrose Basin) where dad, George Bruce Williams was Headmaster at the Primary School. In 1929 the family moved to the village of Hillside – two miles north of Montrose - where dad took over as Headmaster of the slightly larger primary school, a post he held until retirement in 1959. Sister Valerie was born on St Valentine’s Day 1931. Some Headmaster dad’s see no conflict of interest and are happy to educate their own children, but for Norrie it wasn’t to be, and at five years of age a daily bus journey to Montrose Elementary Academy began. At twelve he transferred to Montrose Academy where his grandfather, John Yorston, by then retired, had once been Rector.
There was some music in the family with dad, Bruce, having played drums and ‘Flexatone’ in his early days and mum, Nan, was an accomplished classical pianist, a popular accompanist with singers and she also played regularly for Scottish Country Dancing.. Norrie himself started, as many boys of that era did, with a mouthorgan before progressing to a 10 key, single-row melodeon which was purchased for him by his parents from Largs Music Shop in Montrose. Then when Norrie was in his late teens, the well known accordionist Jack Forsyth who worked for J.T. Forbes in Dundee, sold him a two-row British Chromatic accordion
In 1945 the war came to an end after six years and 17½ year old Norrie missed being called up (a close call !) and had his National Service deferred to continue his education. He attended what was then called the Heriot Watt College in Chambers Street, Edinburgh and emerged three years later, in 1948, with a B.Sc. in Mechanical Engineering. But with that under his belt it was time for his past to catch up with him and he joined the R.E.M.E. in October of that year for his National Service and trained as a gun fitter, serving at Blandford, Plymouth and Bicester Garrison.
YEARS IN EXILE
His National Service finished in May 1950 and always having been interested in farm work and agriculture in general, even as a boy he had worked on local farms during the school holidays, he took a job with the Scottish Machinery Testing Station at Howden near Mid Calder. In October 1950 he attended a six week course at the National Institute of Agricultural Engineering at Wrest Park, near Silsoe, in Bedfordshire where he met a certain Sheila Jack, originally from Elgin, working in the canteen. A year later he made application and was transferred there permanently.
Norrie and Sheila were married in 1953 and lived in Bedfordshire right through till their move to East Kilbride in October 1970 when Norrie took a job with the National Engineering Laboratory based there. He took compulsory retirement in December 1987 at the age of 60. Daughter Norma and son Fraser were born and raised down south and as many readers will know Norma married farmer and fine 3-row accordionist Jimmy Lindsay from Amulree and is the mother of Alexander, one of our few, young Shand Morino experts.
Throughout his years in the musical wilderness down south Norrie displayed grim determination in ensuring that he heard as much good Scottish Dance music as possible. Radio reception for the Scottish Home Service was poor that far down south but the rather technical solution to that one was to coil 50 feet of aerial round his waist and to sit up on the top floor of the house.
His National Service finished in May 1950 and always having been interested in farm work and agriculture in general, even as a boy he had worked on local farms during the school holidays, he took a job with the Scottish Machinery Testing Station at Howden near Mid Calder. In October 1950 he attended a six week course at the National Institute of Agricultural Engineering at Wrest Park, near Silsoe, in Bedfordshire where he met a certain Sheila Jack, originally from Elgin, working in the canteen. A year later he made application and was transferred there permanently.
Norrie and Sheila were married in 1953 and lived in Bedfordshire right through till their move to East Kilbride in October 1970 when Norrie took a job with the National Engineering Laboratory based there. He took compulsory retirement in December 1987 at the age of 60. Daughter Norma and son Fraser were born and raised down south and as many readers will know Norma married farmer and fine 3-row accordionist Jimmy Lindsay from Amulree and is the mother of Alexander, one of our few, young Shand Morino experts.
Throughout his years in the musical wilderness down south Norrie displayed grim determination in ensuring that he heard as much good Scottish Dance music as possible. Radio reception for the Scottish Home Service was poor that far down south but the rather technical solution to that one was to coil 50 feet of aerial round his waist and to sit up on the top floor of the house.
And obviously he took every opportunity to hear any live bands who were in the area, Jimmy Shand always being a particular favourite. Norrie and Sheila went to dances in Luton and Watford where the Jimmy Shand Band was playing and also to a Bobby MacLeod dance in London. At the Watford dance he had a word with the band members and met the late Alan Humberstone who sometimes deputised on piano with Jimmy’s band at dances down south. Norrie had one or two very enjoyable wee dance sessions with him over the years he lived down south. Occasionally there were other visiting players too. Norrie joined John Ellis on fiddle and Alan Humberstone on second box at a dance in Cambridge and was in a quartet at a Harpenden dance with Willie Hunter on fiddle. McBain’s Band were very popular in the London area, frequently appearing at dances.
PLAYING DAYS
But back to the music. While based at Howden in 1951 Norrie travelled to nearby Pumpherston (and you never mention that town without saying it was the birthplace of ‘Paraffin’ Young) for a few lessons on the button key. When his manager asked him to play for a local Farmers Dance in Mid Calder a remarkable transformation took place to our melodeon player. Aware that increasing his repertoire on the button key was a slow, painstaking process Norrie borrowed a 48 bass, piano-keyed accordion, practiced hard for a fortnight and successfully played for the dance. He found the piano keyed so straightforward that he never changed back. He took himself off to Edinburgh and bought a 120 bass ‘La Vera’ for £25. It was this accordion which accompanied him south to Bedfordshire in 1952. Once there he did a dance for the Luton Caledonian Society, who also required a player for a Scottish Country Dance class. Thus began a 60 year association with SCD classes. Initially in the fifties and sixties he played for classes in Luton (for the Luton Reel Club) and Bedford.
But back to the music. While based at Howden in 1951 Norrie travelled to nearby Pumpherston (and you never mention that town without saying it was the birthplace of ‘Paraffin’ Young) for a few lessons on the button key. When his manager asked him to play for a local Farmers Dance in Mid Calder a remarkable transformation took place to our melodeon player. Aware that increasing his repertoire on the button key was a slow, painstaking process Norrie borrowed a 48 bass, piano-keyed accordion, practiced hard for a fortnight and successfully played for the dance. He found the piano keyed so straightforward that he never changed back. He took himself off to Edinburgh and bought a 120 bass ‘La Vera’ for £25. It was this accordion which accompanied him south to Bedfordshire in 1952. Once there he did a dance for the Luton Caledonian Society, who also required a player for a Scottish Country Dance class. Thus began a 60 year association with SCD classes. Initially in the fifties and sixties he played for classes in Luton (for the Luton Reel Club) and Bedford.
Around 1954 he formed the ‘Glenallan Trio’ with fellow N.I.A.E. colleagues Ken Charlton (a Geordie) on piano and Sandy Mitchell (from the south of England) on drums. They played acoustically, the fee being £4 10/- with each player getting 25 bob and the balance being for transport. In November 1955 Norrie bought a white Galanti 120 bass for £96 from Bell Accordions of Surbiton, in Surrey and paid it up over two years (he was earning £7 a week at that time). It has required servicing only once in the intervening 56 years and has proved totally reliable.
The trio, if not the fee, lasted right through till 1970 and his move to EK. As soon as he was settled in there he began playing for Country Dance classes at Claremont High School and St Leonard’s R.C. High School and he also did a class in Bearsden for ten years. Again he formed a Trio, this time called the ‘Ptarmigan Trio’ with himself on accordion and either Bob Christie from Stirling or Alastair Herron from Glasgow on fiddle and Morag McAskill or Grant Crawford on piano (occasionally augmented by local EK drummer Neil Ronnie). He played for Claremont Parish church Country Dance class (wife Sheila, who had qualified back in Bedfordshire, being the teacher) for several years and he currently (at 84) still plays for a class at E.K. Old Parish Church and claims he’s now “getting the hang of it”.
From 1991 – 98 inclusive, Norrie and Ivor Britton were the accordion tutors at the Stirling University Summer Schools (taking over from Douglas Muir of Huntly) on their Accordion Playing (Scottish Traditional Style) course. Norrie finds a certain irony in the fact that he received no formal tuition on the piano accordion – it just shows how far he’s come though!
His dedication in playing for local dance classes in turn led to some rather interesting and/or exotic trips abroad to play for country dancing. On 12th May 1990 he accompanied a team of dancers on ‘British Faeroe Week’ to commemorate the 50th Anniversary of the landing of British troops on the Faroe Islands in 1940 in the company of the Band of the Royal Marines, the Drums and Pipes of the Gordon Highlanders and the Vadre Male Voice Choir. In 1995 he began a series of annual dance trips with the well known and respected Glasgow dance teacher Margaret Prentice. In 1995 the group travelled to Tenerife, 1996 Lanzarote, 1997 Benalmadena, 1998 the Algarve and finally in 1999 back to Lanzarote.
To return briefly to Bedfordshire, Norrie also provided the music from 1957 – 61 for the dance class at the Canford Summer School of Music which was held in Canford School near Wimbourne in Dorset. The classes were in “Scottish Country and Highland Dancing” and lasted for a week every summer with Mr John Armstrong as the dance instructor.
He also met another notable dance instructor, but I’ll let Norrie tell the story –“While playing for classes in Bedfordshire on two or three occasions the one and only Miss Jean Milligan was invited to instruct the class. On the first occasion after the first dance she said “Is that piano open?” She went over and lifted the keyboard lid and did a big ‘plonk, plonk’ with left and right hands respectively, then turned to me and said “That’s how a chord should be played!” Of course she was right – you learn something every day.
“Then on the last occasion I played for her, she said at the end “You are going to be all right boy!” That was a compliment because she didn’t have much time for accordionists. The piano was her favourite.”
He also met another notable dance instructor, but I’ll let Norrie tell the story –“While playing for classes in Bedfordshire on two or three occasions the one and only Miss Jean Milligan was invited to instruct the class. On the first occasion after the first dance she said “Is that piano open?” She went over and lifted the keyboard lid and did a big ‘plonk, plonk’ with left and right hands respectively, then turned to me and said “That’s how a chord should be played!” Of course she was right – you learn something every day.
“Then on the last occasion I played for her, she said at the end “You are going to be all right boy!” That was a compliment because she didn’t have much time for accordionists. The piano was her favourite.”
COMPETITIONS AND CLUBS
Shortly after Norrie moved back to Scotland in 1970 he competed in Bill Wilkie’s Perth Festival in the City Halls, entering the Senior March, Strathspey and Reel section. After he played his pipe set the M.C. came off the stage and said to someone “That bu--er played the whole lot in flats!” – which was true, because in reality the pipes are normally a semitone above concert pitch and a march in the key of A comes across in Bb. Despite being a dedicated player for Scottish Country dancing, Norrie is passionate about pipe music and is also a stickler for the G natural when playing it - he never sharpens the G.
Throughout the 1970’s Norrie competed in the solos, trio and bands, all with some success, but knowing the man all in the true spirit of friendly competition – it wasn’t all about winning regardless. Lorna Mair, has been good enough to look back the records, and has confirmed the Norrie won the Musselburgh Trios in 1976, 77 and 79 and the Bands in 1978 and 79 – no mean feat. He stopped competing in 1980 when he was asked to Chair the Musselburgh Festival Sub-Committee. I asked him how his interest and involvement in Accordion & Fiddle Clubs came about? One word – the M.A.F.I.A. (okay two words but it’s still easier than saying the Milngavie Accordion, Fiddle and Instrumentalists Association I’ll grant you that). As we all know fiddler Bobby Harvey, was one of Max Houliston’s earliest guests at the Hole in the Wa’, Dumfries and Bobby thus was an early disciple of the A&F Clubs. Norrie joined the Club at the Black Bull in Milngavie and loved the monthly experience, in time becoming Chairman for 4 or 5 years in the mid 70’s. It gave him, and many others, a chance to put faces to what previously had only been names on the radio’s dance music broadcasts. In fact during his time as Chairman B.B.C. producer Ben Lyons recorded a broadcast from the M.A.F.I.A. in June 1976 using only their regular local artistes, such was their calibre. Club involvement in turn led to an interest in the Association, which had been formed in 1971. As mentioned above, in 1980 Norrie took over the Chair of the Musselburgh Festival Sub-Committee from Alex Little. Again to quote Norrie this time from an April 1991 article in the Accordion Times “In 1974 Ray Millbourne took it upon himself to organise the first Musselburgh Festival. At that time, there were only between 30 and 40 actual competitors in the 6 classes and the audience was mainly made up of relations and friends. In fact, the whole event was over in less than two hours! Now, over seventeen years later with the Festival doing from strength to strength, there have been as many as 310 competitors taking part and coming from all over the country.”
Shortly after Norrie moved back to Scotland in 1970 he competed in Bill Wilkie’s Perth Festival in the City Halls, entering the Senior March, Strathspey and Reel section. After he played his pipe set the M.C. came off the stage and said to someone “That bu--er played the whole lot in flats!” – which was true, because in reality the pipes are normally a semitone above concert pitch and a march in the key of A comes across in Bb. Despite being a dedicated player for Scottish Country dancing, Norrie is passionate about pipe music and is also a stickler for the G natural when playing it - he never sharpens the G.
Throughout the 1970’s Norrie competed in the solos, trio and bands, all with some success, but knowing the man all in the true spirit of friendly competition – it wasn’t all about winning regardless. Lorna Mair, has been good enough to look back the records, and has confirmed the Norrie won the Musselburgh Trios in 1976, 77 and 79 and the Bands in 1978 and 79 – no mean feat. He stopped competing in 1980 when he was asked to Chair the Musselburgh Festival Sub-Committee. I asked him how his interest and involvement in Accordion & Fiddle Clubs came about? One word – the M.A.F.I.A. (okay two words but it’s still easier than saying the Milngavie Accordion, Fiddle and Instrumentalists Association I’ll grant you that). As we all know fiddler Bobby Harvey, was one of Max Houliston’s earliest guests at the Hole in the Wa’, Dumfries and Bobby thus was an early disciple of the A&F Clubs. Norrie joined the Club at the Black Bull in Milngavie and loved the monthly experience, in time becoming Chairman for 4 or 5 years in the mid 70’s. It gave him, and many others, a chance to put faces to what previously had only been names on the radio’s dance music broadcasts. In fact during his time as Chairman B.B.C. producer Ben Lyons recorded a broadcast from the M.A.F.I.A. in June 1976 using only their regular local artistes, such was their calibre. Club involvement in turn led to an interest in the Association, which had been formed in 1971. As mentioned above, in 1980 Norrie took over the Chair of the Musselburgh Festival Sub-Committee from Alex Little. Again to quote Norrie this time from an April 1991 article in the Accordion Times “In 1974 Ray Millbourne took it upon himself to organise the first Musselburgh Festival. At that time, there were only between 30 and 40 actual competitors in the 6 classes and the audience was mainly made up of relations and friends. In fact, the whole event was over in less than two hours! Now, over seventeen years later with the Festival doing from strength to strength, there have been as many as 310 competitors taking part and coming from all over the country.”
Norrie emphasizes that this was always a joint effort, Sheila leading the team doing the admin and secretarial work and Norrie did the rest – including resolving the grievances of irate parents. His advice – determine exactly what the problem is, say you’ll look into the matter, act promptly to discover the facts, communicate with all parties and resolve timeously. They may not get the answer they want but they know it has been properly investigated and in good time.
NAME THAT TUNE
Recognition of Norrie and Sheila’s contribution to Scottish music has also come in the form of the following tunes written for them :
Norrie Williams Reel by Ian Powrie
Norman Yorston Williams (2/4 pipe march) by Ian Crichton
Oor Norrie (Reel) by Bobby Crowe
Norman Williams Welcome to Oban by Willie Lawrie
Sheila Williams Polka and Sheila Williams Strathspey by Ian Crichton
Recognition of Norrie and Sheila’s contribution to Scottish music has also come in the form of the following tunes written for them :
Norrie Williams Reel by Ian Powrie
Norman Yorston Williams (2/4 pipe march) by Ian Crichton
Oor Norrie (Reel) by Bobby Crowe
Norman Williams Welcome to Oban by Willie Lawrie
Sheila Williams Polka and Sheila Williams Strathspey by Ian Crichton
CONCLUSION
This write-up began with reference to Norrie’s splendid articles, therefore it seems appropriate to conclude by using an excerpt which amply demonstrates his dedication to Scottish Dance music.
“The Cairn o’ Mount road between Banchory and Fettercairn which peaks at 1,488 feet above sea level, is not the most hospitable of places in the small hours of the morning and even less so in a thick mist. But, at 3am on a June morning in 1951, there was “yours truly” heading for home in the village of Hillside and peching over the top on a bike in a “pea-souper” with the dynamo-powered front light glowing like a wet fag end when going uphill, and throwing up a glaring white disc and weird patterns on the fog on the down grades. The hair on the back of my neck fairly bristled with the spookiness of the whole thing, especially when confronted with the shadows of sheep which loomed the size of Highland bulls. It was very scary stuff right enough.
So why was I putting myself through all this at such an early hour. Simple – about three weeks previously there had been an advert in the “Farming News” for the annual Tarland (4 miles N.W. of Aboyne) Show and the customary après-show marquee dance. Nothing world-shattering about that maybe, but three worlds in the last line of the dance notice certainly were – “BOBBY MacLEOD’S BAND.
That was it, a chance that could not be missed under any circumstances, because although an ardent fan, and unashamedly hooked on B.M’s music and style, I had up till then never managed to hear him live. Hence this two-wheeled mountain safari in the middle of the night and my goodness, it had been more than worth every ounce of the effort and despite being slightly on edge, I was a happy and contented soul because at long last I had seen and heard at first hand both the player and the accordion which produced the glorious sound on a record I had bought several months previously, viz. the “Beltona 78” BL2511. Side A – ‘The Dunoon Barn Dance’.”
Can I see myself going to all that effort nowadays to hear a live band – I doubt it – he was made of sterner stuff than I. Norrie himself is now 84 years of age and after 60 years of playing for Scottish Country Dance classes has finally decided to call it a day this year – although even that is brought about by his concern for Sheila who has some health issues and he wants to be on hand at all times. My sincere thanks to them both for their hospitality and co-operation in the writing of this article on my recent visits. May they enjoy Norrie’s latest retirement for many years to come.
This write-up began with reference to Norrie’s splendid articles, therefore it seems appropriate to conclude by using an excerpt which amply demonstrates his dedication to Scottish Dance music.
“The Cairn o’ Mount road between Banchory and Fettercairn which peaks at 1,488 feet above sea level, is not the most hospitable of places in the small hours of the morning and even less so in a thick mist. But, at 3am on a June morning in 1951, there was “yours truly” heading for home in the village of Hillside and peching over the top on a bike in a “pea-souper” with the dynamo-powered front light glowing like a wet fag end when going uphill, and throwing up a glaring white disc and weird patterns on the fog on the down grades. The hair on the back of my neck fairly bristled with the spookiness of the whole thing, especially when confronted with the shadows of sheep which loomed the size of Highland bulls. It was very scary stuff right enough.
So why was I putting myself through all this at such an early hour. Simple – about three weeks previously there had been an advert in the “Farming News” for the annual Tarland (4 miles N.W. of Aboyne) Show and the customary après-show marquee dance. Nothing world-shattering about that maybe, but three worlds in the last line of the dance notice certainly were – “BOBBY MacLEOD’S BAND.
That was it, a chance that could not be missed under any circumstances, because although an ardent fan, and unashamedly hooked on B.M’s music and style, I had up till then never managed to hear him live. Hence this two-wheeled mountain safari in the middle of the night and my goodness, it had been more than worth every ounce of the effort and despite being slightly on edge, I was a happy and contented soul because at long last I had seen and heard at first hand both the player and the accordion which produced the glorious sound on a record I had bought several months previously, viz. the “Beltona 78” BL2511. Side A – ‘The Dunoon Barn Dance’.”
Can I see myself going to all that effort nowadays to hear a live band – I doubt it – he was made of sterner stuff than I. Norrie himself is now 84 years of age and after 60 years of playing for Scottish Country Dance classes has finally decided to call it a day this year – although even that is brought about by his concern for Sheila who has some health issues and he wants to be on hand at all times. My sincere thanks to them both for their hospitality and co-operation in the writing of this article on my recent visits. May they enjoy Norrie’s latest retirement for many years to come.
NORRIE WILLIAMS GALLERY
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