Box and Fiddle
Year 17 No 03
November 1993
Price 60p
12 pages
7 month subscription £7.00
Editor – Editor – Doug Adamson, 22 Westfield Drive, Forfar, Angus, DD8 1EQ
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
Last month I made mention of the new Scottish programmes on Radio Scotland. Since then I have spoken to many of you at clubs and quite a few of you have phoned me with complaints about the timing and content of the programmes. The letter from John Caskie (below) covers most of the points and my editorial comments at the end make it unnecessary to add anything here.
While on the subject of radio broadcasts, Ian Lees had a very interesting interview on Radio Tay with John Huband. John had many worthwhile things to say but the highlight was a suggestion that guest artistes might pass on worthwhile tips on technique etc., as well as supplying the usual two spots of music. How about your views on this subject.
The October issue was two days late in being printed mainly due to the fact that by press date there was not enough material to fill 12 pages. Consequently, although all Clubs meeting in the first week of October should have received their papers in time, private subscribers did not have their papers sent out till Thursday. 7th.
Because of this lateness, Margaret and I have been the subject of abusive phone calls and I can only endorse everything Margaret has to say on Page 6. It is a great pity that a very small minority of people have to act in this manner.
I have always found Margaret extremely hard-working and efficient and, although I obviously cannot comment on my own credentials, I can tell you that, on average, I spend four days per month editing and putting together your paper, not forgetting the time my wife takes to proof-read it.
Finally, Charlie Todd is at present compiling an up-to-date guest list which will be available to Secretaries shortly.
Doug Adamson
Violet Tulloch – ‘The Star’
by Gussie Angus
The title was conferred by compere, Jeemie Burgess, at a Club Night following one of Violet’s many TV appearances and it stuck – our very own star.
This particular star was born in Lerwick where her first musical memories are of her father’s accordion playing – sadly he was to die a young man but the home was, and remains, a very musical one. An adept pupil, she had already acquired from him sufficient of an accordion technique and repertoire for the late Dr Tom Anderson (Tammy) to propel her directly into the front line of the Islesburgh Dance Band at the age of 13. A shock, this, to her musical system as she struggled to keep abreast of the legendary Tammy, Frankie Sinclair and Alice Sutherland (later Nicolson), Peerie Willie and Drew Robertson. Soon, however, she was an established player although the school headmaster had decreed that her public playing be restricted to weekends and then only as long as it did not interfere with her studies!
With the Islesburgh Band the most popular around in the 1950s there were few free weekends. Nevertheless, when her pal, the local brass bandmaster’s daughter, invited her to join the band to help swell the ranks, Violet readily obliged and graduated, through choice, to 2nd cornet, playing opposite her mentor, Tammy, who also played brass. As if that were not enough, she was also developing her piano playing, sneaking away to the local community centre to find an instrument, so out-of-tune was the household’s Joanna.
Soon, her solitary, self-taught, keyboard skills came to the attention of another emerging local talent, near neighbour and family friend, Ronnie Cooper, and Wednesday afternoon (Violet’s half day from work) became a regular musical date for the duo. It was around this period in her life that Violet began developing her own style of piano accompaniment, a style which was to become so distinctive in time to come.
Music inevitably had to take second place, as first a spell at college in Edinburgh and then marriage to a local businessman, Drew Tulloch, became the principal focus of her life. Bringing up sons Stewart and then Andrew meant that music-making for some years was more or less restricted to occasional home-based sessions.
A chance phone call from fiddler, Arthur Scott Robertson, in the late 1970s requesting that she accompany him on an Overseas Radio Broadcast, signaled her return to the scene and, before long, other fiddlers – Tammy, of course, Frankie Jamieson, Willie Hunter, and so on – were filling her diary with gigs, and old friend, Ronnie Cooper, and she resumed their musical partnership.
The Shetland Fiddlers’ Society, under Tammy’s direction, was by this time an established musical entity and Violet was invited to share piano accompaniment with the late Marjory Smith.
Violet was enjoying her return to public playing, but more particularly, the renaissance of traditional music, and was a founder as well as a committee member of the newly formed Shetland Accordion and Fiddle Club which remains an important musical venue for her. Whilst much in demand as an accompanist, her accordion playing was also in demand, principally by Jeemie Burgess whose band she joined in the mid-1980s along with Willie Hunter, Alan Bruce on piano and May Gair on bass – ‘The Milkshakes’, as they were affectionately to be known (a reference to Jeemie Burgess’ then career as a dairy owner) can still be relied upon to entertain on Club Nights.
Round about the same time, Aly Bain, probably Tammy’s best known pupil and an established folk musician with an international reputation, had been invited by BBC TV to play a programme of traditional music in the Assembly Rooms in Edinburgh. Aly was anxious that the broadcast would satisfy the purists as well as the viewing public and wanted high quality, non-intrusive accompaniment to enhance his own playing – old pals Peerie Willie and Violet readily agreed to help out. The programme was widely acclaimed and marked Violet’s TV debut and led to the long running series ‘Down Home’, featuring Aly and herself with a host of other musicians. Other recent TV spots include, ‘The Riverside Club’ and ‘The Shetland Sessions’.
A chance encounter with that other keyboard maestro, Phil Cunningham, led to yet another harmonious partnership which, when Aly was added, has developed into the now familiar trio playing to packed halls all over the place – they have, in fact, just completed a successful tour of Shetland!
Throughout all this, Violet continued her association with Tammy and was a great support in the formation and the early musical development of the group of youngsters now well established as Shetland’s Young Heritage and provided piano accompaniment to the group until Tammy’s death in 1991. The group tended to form the core around which Tammy’s celebrated fiddling Summer Schools at Stirling University were built and, once again, Violet provided that all-important backing.
She has particularly fond memories of one particular summer when the grand old man himself, Jimmy Shand, turned up at Stirling where, to a most appreciative audience, Jimmy, Tammy and she gave an impromptu rendering of ‘Snow in Summer’ – later, she recalls, she and husband, Drew, were graciously entertained in the Shand household at Auchtermuchty.
Tammy transplanted the Summer School idea to Shetland when he persuaded the local Education Authority to run one in Shetland and, in his own inimitable style, also saw to it that a piano accompaniment workshop ran in tandem – tutored by Violet, of course, and attracting pupils from all over the mainland as well as Shetland.
Elsewhere, she has found time to make recordings with Iain MacPhail, play with the Bill Black Band, accompany Ian Powrie, make four records with Aly and one with Willie Hunter. She has had ample opportunity for more varied and extended musical work but that would have meant sacrificing some home life which she was not prepared to consider. Preferring to keep her feet tapping firmly on Shetland soil, she has turned her attention to teaching piano, both at night school and privately with some very able pupils about to emerge – no names, but look out for a very talented 12 year old lass in the near future.
She is reluctant to be drawn on musical highlights, but recalls accompanying Willie Hunter at the Capitol Theatre in Aberdeen during the 1990 Alternative Music Festival. She was apprehensive at being separated by the width of the stage from Willie, against the backdrop of massed fiddlers but, such were the acoustics that Willie’s playing was inspired to new heights and his interpretation of the air ‘Glenmore’ visibly moved some of the audience.
Violet enjoys the atmosphere of Accordion and Fiddle Clubs and feels their influence will be all the more important given the recent shift of focus on our kind of music by an insensitive BBC Radio Scotland. She also, naturally, wants to see much greater emphasis placed on supporting musicians and on sympathetic accompaniment to our music.
Her own musical tastes range from classical to folk but’ if drawn, will confess to a secret passion for Scots and Shetland slow airs written for the fiddle.
Her other passion in life, after husband Drew naturally, is playing bridge – now there’s a surprise for you all – she’s a leading light in the Lerwick Bridge Club and takes a trick or two there I can tell you. Drew and son, Stewart, remain her most outspoken critics whilst younger son, Andrew, is too busy playing guitar with another local group ‘Home Bru’ – you may also have heard of them. Drew is also her principal supporter and their home in central Lerwick is a bit of a musical oasis – the scene of many a mighty night of music and venue for alternative festivals, both of the Folk and Accordion and Fiddle variety.
So, that’s a glimpse into the life and times of Violet, our very own star.
Introducing the Clubs
No 18 Thurso
by Margaret MacGregor
On the 11th May, 1981, a group of like-minded people met in the Royal Hotel, Thurso, to discuss the feasibility of forming an A&F Club. Just 20 miles away, the Wick Club had been running successfully for about six years, but Caithness boasts a wealth of players and Scottish music enthusiasts and it was felt that there was enough support to base a Club in Thurso.
Office bearers were duly elected – James Mackay, President, Alex Campbell, Vice-President, Dave Terrace, Chairman, Ann Wall, Treasurer. A Committee was formed and it was decided that monthly meetings would be held in the Royal Hotel with membership fees set at £2. Ceilidhs were held to raise funds and the ‘Sausage Roll contract’ was settled after fierce competition from the town’s bakeries.
Bill Black’s Band was booked for the opening night in September. Unfortunately, Bill had to cancel and the planned opening was postponed.
On Monday, 5th October, 1981, the Club held its first meeting, compered by John MacCrea, with guest artistes, the Donaldson Brothers.
In 1983, the venue was switched to the Pentland Hotel, where the Club still meets today.
Over the next twelve tears the Club enjoyed visits from many fine artistes and bands, many of whom had to travel considerable distances. Weather can play havoc with the best laid schemes in our part of the world. For this reason, local band nights are usually held in February, thereby avoiding having to ask guests to travel at such an unpredictable time of year. It is not so much that we suffer severe winters in Caithness, but that the Grampians separate us from many of the visiting artistes.
In recent years, Thurso has been hit by financial difficulties and the Club have had occasion to be grateful to Caithness Arts Council and Caithness and Sutherland Enterprise for their support. However, we can also rely on the often innovative fund-raising ideas of the members, not least last year’s quiz, compiled by Committee members, Margaret and Willie Mackay. This consisted of a list of anagrams, the solution to each being the name of a Scottish dance. The quiz boosted the funds and may have done so for other Clubs, as it was passed on to them.
This season the Club has interspersed the usual Monday night format with evenings of cabaret and dancing. There is a keen interest in Scottish Country Dancing in Caithness, and dances are well supported.
It would be remiss of me to write about Thurso Club without mentioning the audiences, many of them regulars (from North Sutherland as well as Caithness). Without their continuous support the Club would undoubtedly fold and people would be denied the opportunity to enjoy our kind of music LIVE
Thurso A&F Club can look back over the past 12 years with some pride. Many difficulties have had to be surmounted and much enjoyment and entertainment has been provided. With the continued support of audiences, members and performers, we can look forward to the next twelve.
Andy Stewart (1933 – 1993) – Obituary
by Jimmy Blue
I first met Andy when, with the Ian Powrie Band, I had the pleasure of taking part in some of the first ‘White Heather Clubs’. Andy had many talents – the gift of telling a story through his songs, his musical movements, his amazing memory for words and tunes, and – what I possibly admire most – his ability to write a monologue of many verses and commit it to memory just before a show, and recite it, with actions, word perfect on live TV. His powers of concentration were quite fantastic.
My band became his backing group from 1967 until 1977 and in that time we traveled a great deal – Australia, New Zealand, Tasmania, South Africa, the then Southern Rhodesia, and, of course, Canada and America. These tours could be very tiring but Andy worked at keeping a happy cast – and he was always very patient and courteous to people who came to see him. He was a real professional and a great ambassador for Scotland.
Andy was a literary man. He read widely and always had an apt quote for an occasion, but he was particularly a Burns’ man and worked a lot of Robert Burns’ material into his stage performances with great effect.
He loved Scottish music and was always on the lookout for a melody which would be suitable for a lyric. He could pen these with great speed and was certainly a very clever rhymer. His ‘Scottish Soldier’ was a masterpiece then it was endless – ‘Donald Whaur’s Your Troosers’, ‘The Battle’s O’er’, ‘By the Lochside’, ‘Take Me Back’, etc, etc. In fact, his great friend, the late Roddy MacMillan gave him the chorus he had written of ‘Campbeltown Loch’ just prior to leaving for the first tour of New Zealand in 1963. Andy had the song completed very quickly, and it was first performed in a small town called Wanganui. As everyone knows, it became an international hit.
He particularly enjoyed performing at His Majesty’s Theatre in Aberdeen, as he did on countless occasions. (In fact he liked the North East so much that for a number of years he had him home in nearby Banchory). The support he got at HM Aberdeen was really tremendous. Thousands came from all over the North East to see him year after year. He could talk in ‘the Doric’ and he sounded just like one of them. He always, of course, included his ‘ploughmen’ and sang bothy ballads which they loved. His first big year in Aberdeen was 1964, the year of the typhoid epidemic, and this was allegedly started by a bad tin of corned beef. Andy made a lovely story out of it by saying that Aberdeen was the only city in the world that could have had 400 cases of typhoid because it was the only city in the world that could have got 400 slices of corned beef ‘oot o’ the wan tin’.
I was delighted when Andy was honoured by the N.A.A.F.C. for his services to Scottish music. No-one did more to promote Scottish music throughout the world than Andy, he being the first entertainer to take a full Scottish Band with him on his overseas tours. And Andy loved the Accordion and Fiddle movement. When he was able and his health permitted, he and Sheila joined us at the Station Hotel for the Annual Weekend, and his Odes to Honoured Guests were always a highlight of the weekend. I am sure these will be forever treasured.
Scotland has lost its greatest national and international entertainer, and for me, it was a great privilege to have known and worked with him for all those years. Nothing will ever be the same again.
Notice To All Subscribers
by Margaret Smith
Due to no fault of mine, the October issue of the ‘B&F’ was a week late in being dispatched. My papers arrived in Dalkeith on Friday 8th and I spent that night and all weekend writing labels, wrapping papers ready to post. In all 279 of them.
I’m sick of abusive phone calls and letters telling me the papers were late. I know, but it is outwith my control.
Also, anyone wishing to continue supply should pay their subs which were due on 1st Seprember.
I’m not prepared to waste any more time of mine sending papers if there’s no payment from quite a lot of readers, at the time of writing. After all, this sending of papers and doing accounts is voluntary work for the love of the N.A.A.F.C. It’s almost a full time job, but I’m prepared to do it, but not to take stick from people who think the papers should be on their doorstep whenever they shout.
A.S.M.A. 6th Annual Accordion and Fiddle Festival
Saturday, 2nd October,1993 at the Magnum Centre, Irvine
Well, that is another successful Festival completed. It was a most enjoyable…………….
Idle Thoughts of an Idle Fellow
by Sandy Tulloch
I find the study of our music fascinating. Childhood memories of music lessons started with the knowledge that a scale consisted of eight notes – Doh, Ray, Me, Fah, Soh, Lah, Ti, Doh. But of course, there are many other scales and these are often of significance in Western Folk and Dance music, especially for simple instruments such as penny whistle, 10 key melodeon and zither, as well as fiddle and accordion.
Taking middle C as tonic, the following scales are recognised.
Ionian (Sandy gives examples of all these scales but I cannot reproduce them)
Lydian
Dorian
Pentatonic
Hexatonic 1
Hexatonic 2
Phrygian
Mixolydian
Aeolian
Highland Bagpipe
The scales, of course, may be written with any note as the tonic, with the exception of the Highland bagpipe which has its own scale restricted to the nine notes of the chanter.
Many of our older Scottish tunes were played using a pentatonic or hexatonic scale and some Irish music has a very special sound of its own. Much Irish music is of course written on the familiar Ionian scale, but some which sounds curious to our ears is played on ‘modal’ scales. Key signatures as such do not have much significance. The fact the ‘F’ is shown sharpened means just that. The scale is not necessarily ‘G’.
A ‘Doh’ modal scale is Ionian.
The ‘Ray’ mode is Dorian.
The ‘Soh’ mode is mixolydian
And the ‘Lah’ mode Aeozian.
The modes may mix and change in one tune making it difficult for us to play without previous study and practice.
The Highland bagpipe with its own scale is a special case. The ‘C’ and ‘F’ are sharpened, although slightly less than a full semi-tone.
With ‘G’ as tonic the scale is Lydian.
With ‘A’ as tonic the scale is mixolydian giving the distinctive ‘G’ sound of pipes.
With ‘D’ as tonic the scale is ‘normal’ Ionian and like ‘B minor’ (Aeolian) easily acceptable and melodic to our ears.
With regard to the ‘G’ pipers can play this two ways, one slightly flatter than the other and more suitable for Pioboreachd than light music. Some pipe tunes require accompaniment in ‘A’ minor, and this is curious since there is no C# (without special fingering) to form a minor 3rd. But on analysis, these tunes are found to be hexatonic. ‘MacGregor of Rora’s Retreat’ is a beautiful example. ‘C’ is not used and only our ear tells us that an ‘A minor’ chord alternating with a ‘G major’ is required for accompaniment. These double tonic tones are common in pipe music, either major or minor, or minor and major, but the lower is always major. Bagpipe drones are tuned to ‘A’ and the ‘E’ we think we hear is only a harmonic.
Another curious fact is that the pipes have not updated the pitch of ‘A’ to modern standards and continue to tune to a note akin to ‘Bb’. Purist accordion-pipers please note however, most of us compromise and play in ‘A’, ‘D’, ‘G’ or their relative minors.
I was not going to comment again on the G natural, but someone said it was Bobby MacLeod who first introduced it to accordionists. Sorry to disagree, but Jimmy shand was playing ‘heavy’ 2/4 marches in the mid-30s and many were using it in Scottish music 200 years before.
The mixolydian scale is used worldwide. Listen to women singing in the paddy fields – the sound could come from the outer isles. The one unique contribution from Scotland is the Scottish snap, and the distinctive sound of the strathspey. It’s curious why we seldom hear strathspeys – can it be that they are difficult to play well?
Book Review
The 10th Collection of Tunes by Iain Peterson for Scottish Dance Music.
Letters
In your Editorial of the October issue of the ‘B&F’, you give details of the changes on Radio Scotland – namely ‘Take the Floor’ increased to 1½ hours and ‘The Reel Blend’ increased to 2 hours. I however, feel for the life of Scottish music your Editorial should have read ‘For God’s Sake Listen, or Our Music Is Dead’. But how do I come about such ‘harsh’ advice.
Well, it’s really quite simple, for many years local radio outputs from Radio Scotland in Highland, Aberdeen, Solway, Tweed, etc., were very healthy stations, producing all aspects of life to the local communities, but also weekly and monthly Scottish music programmes (I myself was fortunate to present Radio Solway’s ‘Sounds Scottish’). Along came Mr James Boyle, Head of Radio Scotland and says ‘Not enough listening to local radio, so it must stop’ and even though everyone in the various regions thought otherwise, Mr Boyle had the last say and the end result no more local radio output from Radio Scotland.
Already on Radio Scotland we’ve lost Robbie Shepherd’s Monday night programme ‘Shepherd’s Fancy’, but we have the increased time on both Saturday nights and Sunday mornings. Is this what we want?
Will we have time to listen? Many people, whether musicians, organizers or punters are either at or on their way to concerts on Saturday nights and by 8 o’clock (Take the Floor’s new finishing time) are occupied in ways other than listening to the radio.
Then there’s Sunday mornings – does everybody have 2 hours to sit beside the radio between 10am and 12 noon. People attend church, walk dogs, Sunday papers are popular and also local T.V. programmes. We’ve got all this on Sunday mornings, so do we want 2 hours of radio? Whether or not we’ve got it, just the same as Saturday nights, we’ve got to listen to it.
Back to the local issue. Mr Boyle says ‘Not enough people listen’, so where is local radio today? – non-existent.
So, switch off on Saturday nights or Sunday mornings at your peril. Mr Boyle will argue – not enough people listening and Scottish music will get the chop. It’s our choice and I know what I want – Scottish music and plenty of it! So remember “For God’s sake listen or our music is dead”.
P.S. There are, of course, local Scottish music programmes on independent radio stations, so if in your area they deserve our listening ear.
I’m glad you have written this letter John, as you are echoing the views of many other enthusiasts and musicians alike.
I have spoken to someone within the radio network and it has been suggested that letters of complaint should be directed to …………
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Golden Fleece) – members only
Arbroath (Viewfield Hotel) - 7th Nov 93 – Jennifer Forrest SDB
Armadale (Masonic Hall) – 4th Nov 93 – Paddy Neary
Ayr (Gartferry Hotel) – 7th Nov 93 – Dochie McCallum & Friends
Balloch (St. Kessog’s Hall) – 21st Nov 93 – Michael Philip SDB
Banchory (Burnett Arms Hotel) – 29th Nov 93 – Jim & Jean McConnachie & Friends
Banff & District (Knowes Hotel, Macduff) – 24th Nov 93 – Paddy Neary
Beith & District (Hotel de Croft, Dalry) – 15th Nov 93 – Gordon Pattullo
Belford (Community Club) –
Biggar (Municipal Hall) – 14th Nov 93 – Iain Cathcart 27th Nov Dance to Jim Johnstone
Blairgowrie (Moorfield Hotel) - 9th Nov 93 – Brian Morrison Quartet 19th Nov Dance to Jennifer Forrest SDB
Brigmill (Guardbridge Sports & Social Club)
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Carlisle (Border Regiment Club, Carlisle Castle) - 4th Nov 93 – Gordon Pattullo
Castle Douglas (Urr Valley Hotel) – 16th Nov 93 – Iain Cathcart Trio
Coalburn (Miners’ Welfare) -
Crieff & District (Drummond Arms Hotel)
Dalriada (Argyll Arms Hotel, Lochgilphead) 16th Nov 93 - Black Rose Ceilidh Band
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 3rd Nov 93 – Ross MacPherson 20th Nov Dance to Ian Muir SDB
Dunblane (Westlands Hotel) – 16th Nov 93 – Dick Black Band
Dundee (Park Hotel) – 4th Nov 93 – Club Night
Dunfermline (Jubilee House) –
Dunoon & Cowal (McColl’s Hotel) 12th Nov 93 – Jimmy Lindsay Band
East Kilbride (Sweepers, Cambuslang) – 25th Nov 93 – Paddy Neary
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 17th Nov 93 – Max Houliston & Friends
Fintry (Fintry Sports Centre) – 22nd Nov 93 – Karl Sandeman & Bill Buchan
Forfar (Plough Inn) - 28th Nov 93 – Strathmore Sound
Forres (Brig Motel) – 10th Nov 93 – Dick Black Band
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) –
Glenrothes (Victoria Hall, Coaltown of Balgownie) -
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) – 15th Nov 93 – Forres Club
Inveraray (Loch Fyne Hotel) - 2nd Nov 93 – Jorgen Sundequist
Islay (White Hart Hotel) - 27th Nov 93 – Dance to MacAllister’s Band
Isle of Skye -
Islesteps (Mabie House Hotel) – 2nd Nov 93 – Roger Dobson SDB
Kelso (Ednam House Hotel) – 24th Nov 93 – James Lindsay Trio
Kinlochshiel (Strathcarron Hotel) - 8th Nov 93 – Alastair Hunter Trio
Kintore (Crown Hotel) – 3rd Nov 93 – James Coutts SDB
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Nov 93 – Roberto Enzo
Livingston (Golden Circle Hotel, Bathgate) 16th Nov 93 – George Stirrat SDB
Lockerbie (Bluebell Hotel) - 30th Nov 93 – Jock Fraser Trio 12th Nov Supper Dance in the Balcastle Hotel, Lochmaben
Mauchline (The Jean Armour Function Suite) 16th Nov 93 – Pauline Lavery Trio
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) – 3rd Nov 93 – Bill Black SDB
Newtongrange (Dean Tavern) – 29th Nov 93 – Dochie McCallum & Friends
North East (Royal British Legion, Keith) –
Oban (Harbour Lights Restaurant) – 4th Nov 93 - Jorgen Sundequist
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) – 25th Nov 93 – Jim Johnstone SDB
Perth (Salutation Hotel) – 16th Nov 93 – Andrew Knight & the West Telferton Caledonian SDB
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 9th Nov 93 – Gary Blair
Rothbury (Queen’s Head) - 4th Nov 93 – Eric Goodfellow SDB
Shetland (venue?) -
Stirling (Terraces Hotel) - 14th Nov 93 – Charlie Kirkpatrick Trio 19th Nov Dance to Bill Black SDB
Thornhill (?)
Thurso (Pentland Hotel) –
Tranent (East Lothian Labour Club)
Turriff (Royal Oak Hotel) – 4th Nov 93 – K. Loughlin Band with Mary McCann & Jim Baker
Tynedale (Hexham Ex Service Club) – 9th Nov 93 – Tom Alexander
Wick (McKay’s Hotel) – 16th Nov 93 – Dave Stewart
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Arbroath
3. Banchory
4. Banff
5. Biggar
6. Blairgowrie
7. Carlisle
8. Castle Douglas
9. Coalburn
10. Dalriada
11. Dingwall
12. Dundee
13. Dunoon & Cowal
14. Fintry
15. Forfar
16. Inveraray
17. Islesteps
18. Highland
19. Kinlochshiel
20. Kintore
21. Kelso
22. Lesmahagow
23. Livingston
24. Lockerbie
25. Montrose
26. Newtongrange
27. North East
28. Oban
29. Peebles
30. Renfrew
31. Rothbury
32. Shetland
33. Stirling
34. Sutherland
35. Thurso
36. Turriff
37. Tynedale
CLUB DIRECTORY AS AT SEPT 1991 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Carlisle A&F Club (joined Sept 1993 -
16. Castle Douglas A&F Club (c Sept 1980 – present)
17. Coalburn A&F Club (
18. Crieff A&F Club (cSept 1981)
19. Dalriada A&F Club (Feb 1981)
20. Derwentside A&F Club
21. Dingwall & District A&F Club (May 1979 – per first report)
22. Dunblane & District A&F Club (1971 – present)
23. Dundee & District A&F Club (1970? -
24. Dunfermline & District A&F Club (1974 – per first edition)
25. Dunoon & Cowal A&F Club (
26. East Kilbride A&F Club (Sept 1980)
27. Ellon A&F Club (
28. Etterick & Yarrow (Jan 1989 -
29. Fintry A&F Club (
30. Forfar A&F Club (
31. Forres A&F Club (Jan 1978)
32. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenrothes A&F Club (Mar 93?
37. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Grena when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
38. Highland A&F Club (Inverness)
39. Inveraray A&F Club (Oct 1991)
40. Islay A&F Club (23 Apr 93 -
41. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
42. Isle of Skye A&F Club (
43 Kelso A&F Club (May 1976 – present)
44 Kintore A&F Club (
45. Langholm A&F Club (Oct 1967 - present)
46. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
47. Livingston A&F Club (Sept 1973 – present)
48. Lockerbie A&F Club (Nov 1973 - present)
49. M.A.F.I.A. (1966 - )
50. Mauchline A&F Club (first mention 1986? - present)
51. Montrose A&F Club (joined Sept 1982 - present)
52. Mull A&F Club
53. Newtongrange A&F Club (joined Sept 1977 - present)
54. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
55. North East A&F Club aka Keith A&FC (Sept 1971 - present)
56. Oban A&F Club (Nov 1975 - present)
57. Orkney A&F Club (Mar 1978 - present)
58. Peebles A&F Club (26 Nov 1981 - present)
59. Perth & District A&F Club (Aug 1970 - present)
60. Premier A&F Club NI (April 1980)
61. Rothbury Accordion Club (1987??)
62. Shetland A&F Club (Sept 1978 - present)
63. Stirling A&F Club (Oct 1991 - )
64. Sutherland A&F Club (
65. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
66. Thurso A&F Club (Oct 1981 - present)
67. Tranent A&F Club
68. Turriff A&F Club (March 1982 - present)
69. Tynedale A&F Club (Nov 1980 - present)
70. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
71. Acharacle & District A&F Club (cMay 1988)
72. Bonchester Accordion Club (Closed?)
73. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
74. Buchan A&F Club
75. Callander A&F Club (
76. Campbeltown & District A&F Club (c Dec 1980)
77. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
78. Club Accord
79. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
80. Coupar Angus A&F Club (cSept 1978 - ?)
81. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
82. Denny & Dunipace A&F Club (Feb 1981)
83. Dornoch A&F Club (first mention in directory 1986)
84. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
85. Dunbar Cement Works A&F Club (Closed?)
86. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
87. Falkirk A&F Club (Sept 1978 - )
88. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
89. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
90. Kirriemuir A&F Club (cSept 1981)
91. Monklands A&F Club (Nov 1978 – closed cApril 1983)
92. Morecambe A&F Club (joined Sept 1982)
93. Newcastleton Accordion Club
94. New Cumnock A&F Club (cMarch 1979)
95. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
96. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
97. Straiton Accordion Club (c1968 – closed March 1979)
98. Stranraer & District Accordion Club (1974 – per first edition)
99. Torthorwald A&F Club (near Dumfries)
100. Walmer (Bridge of Allan) A&F Club
101. Wellbank A&F Club
Advertising rates
Full Page - £94
Half Page - £47
Quarter Page - £24
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Last month I made mention of the new Scottish programmes on Radio Scotland. Since then I have spoken to many of you at clubs and quite a few of you have phoned me with complaints about the timing and content of the programmes. The letter from John Caskie (below) covers most of the points and my editorial comments at the end make it unnecessary to add anything here.
While on the subject of radio broadcasts, Ian Lees had a very interesting interview on Radio Tay with John Huband. John had many worthwhile things to say but the highlight was a suggestion that guest artistes might pass on worthwhile tips on technique etc., as well as supplying the usual two spots of music. How about your views on this subject.
The October issue was two days late in being printed mainly due to the fact that by press date there was not enough material to fill 12 pages. Consequently, although all Clubs meeting in the first week of October should have received their papers in time, private subscribers did not have their papers sent out till Thursday. 7th.
Because of this lateness, Margaret and I have been the subject of abusive phone calls and I can only endorse everything Margaret has to say on Page 6. It is a great pity that a very small minority of people have to act in this manner.
I have always found Margaret extremely hard-working and efficient and, although I obviously cannot comment on my own credentials, I can tell you that, on average, I spend four days per month editing and putting together your paper, not forgetting the time my wife takes to proof-read it.
Finally, Charlie Todd is at present compiling an up-to-date guest list which will be available to Secretaries shortly.
Doug Adamson
Violet Tulloch – ‘The Star’
by Gussie Angus
The title was conferred by compere, Jeemie Burgess, at a Club Night following one of Violet’s many TV appearances and it stuck – our very own star.
This particular star was born in Lerwick where her first musical memories are of her father’s accordion playing – sadly he was to die a young man but the home was, and remains, a very musical one. An adept pupil, she had already acquired from him sufficient of an accordion technique and repertoire for the late Dr Tom Anderson (Tammy) to propel her directly into the front line of the Islesburgh Dance Band at the age of 13. A shock, this, to her musical system as she struggled to keep abreast of the legendary Tammy, Frankie Sinclair and Alice Sutherland (later Nicolson), Peerie Willie and Drew Robertson. Soon, however, she was an established player although the school headmaster had decreed that her public playing be restricted to weekends and then only as long as it did not interfere with her studies!
With the Islesburgh Band the most popular around in the 1950s there were few free weekends. Nevertheless, when her pal, the local brass bandmaster’s daughter, invited her to join the band to help swell the ranks, Violet readily obliged and graduated, through choice, to 2nd cornet, playing opposite her mentor, Tammy, who also played brass. As if that were not enough, she was also developing her piano playing, sneaking away to the local community centre to find an instrument, so out-of-tune was the household’s Joanna.
Soon, her solitary, self-taught, keyboard skills came to the attention of another emerging local talent, near neighbour and family friend, Ronnie Cooper, and Wednesday afternoon (Violet’s half day from work) became a regular musical date for the duo. It was around this period in her life that Violet began developing her own style of piano accompaniment, a style which was to become so distinctive in time to come.
Music inevitably had to take second place, as first a spell at college in Edinburgh and then marriage to a local businessman, Drew Tulloch, became the principal focus of her life. Bringing up sons Stewart and then Andrew meant that music-making for some years was more or less restricted to occasional home-based sessions.
A chance phone call from fiddler, Arthur Scott Robertson, in the late 1970s requesting that she accompany him on an Overseas Radio Broadcast, signaled her return to the scene and, before long, other fiddlers – Tammy, of course, Frankie Jamieson, Willie Hunter, and so on – were filling her diary with gigs, and old friend, Ronnie Cooper, and she resumed their musical partnership.
The Shetland Fiddlers’ Society, under Tammy’s direction, was by this time an established musical entity and Violet was invited to share piano accompaniment with the late Marjory Smith.
Violet was enjoying her return to public playing, but more particularly, the renaissance of traditional music, and was a founder as well as a committee member of the newly formed Shetland Accordion and Fiddle Club which remains an important musical venue for her. Whilst much in demand as an accompanist, her accordion playing was also in demand, principally by Jeemie Burgess whose band she joined in the mid-1980s along with Willie Hunter, Alan Bruce on piano and May Gair on bass – ‘The Milkshakes’, as they were affectionately to be known (a reference to Jeemie Burgess’ then career as a dairy owner) can still be relied upon to entertain on Club Nights.
Round about the same time, Aly Bain, probably Tammy’s best known pupil and an established folk musician with an international reputation, had been invited by BBC TV to play a programme of traditional music in the Assembly Rooms in Edinburgh. Aly was anxious that the broadcast would satisfy the purists as well as the viewing public and wanted high quality, non-intrusive accompaniment to enhance his own playing – old pals Peerie Willie and Violet readily agreed to help out. The programme was widely acclaimed and marked Violet’s TV debut and led to the long running series ‘Down Home’, featuring Aly and herself with a host of other musicians. Other recent TV spots include, ‘The Riverside Club’ and ‘The Shetland Sessions’.
A chance encounter with that other keyboard maestro, Phil Cunningham, led to yet another harmonious partnership which, when Aly was added, has developed into the now familiar trio playing to packed halls all over the place – they have, in fact, just completed a successful tour of Shetland!
Throughout all this, Violet continued her association with Tammy and was a great support in the formation and the early musical development of the group of youngsters now well established as Shetland’s Young Heritage and provided piano accompaniment to the group until Tammy’s death in 1991. The group tended to form the core around which Tammy’s celebrated fiddling Summer Schools at Stirling University were built and, once again, Violet provided that all-important backing.
She has particularly fond memories of one particular summer when the grand old man himself, Jimmy Shand, turned up at Stirling where, to a most appreciative audience, Jimmy, Tammy and she gave an impromptu rendering of ‘Snow in Summer’ – later, she recalls, she and husband, Drew, were graciously entertained in the Shand household at Auchtermuchty.
Tammy transplanted the Summer School idea to Shetland when he persuaded the local Education Authority to run one in Shetland and, in his own inimitable style, also saw to it that a piano accompaniment workshop ran in tandem – tutored by Violet, of course, and attracting pupils from all over the mainland as well as Shetland.
Elsewhere, she has found time to make recordings with Iain MacPhail, play with the Bill Black Band, accompany Ian Powrie, make four records with Aly and one with Willie Hunter. She has had ample opportunity for more varied and extended musical work but that would have meant sacrificing some home life which she was not prepared to consider. Preferring to keep her feet tapping firmly on Shetland soil, she has turned her attention to teaching piano, both at night school and privately with some very able pupils about to emerge – no names, but look out for a very talented 12 year old lass in the near future.
She is reluctant to be drawn on musical highlights, but recalls accompanying Willie Hunter at the Capitol Theatre in Aberdeen during the 1990 Alternative Music Festival. She was apprehensive at being separated by the width of the stage from Willie, against the backdrop of massed fiddlers but, such were the acoustics that Willie’s playing was inspired to new heights and his interpretation of the air ‘Glenmore’ visibly moved some of the audience.
Violet enjoys the atmosphere of Accordion and Fiddle Clubs and feels their influence will be all the more important given the recent shift of focus on our kind of music by an insensitive BBC Radio Scotland. She also, naturally, wants to see much greater emphasis placed on supporting musicians and on sympathetic accompaniment to our music.
Her own musical tastes range from classical to folk but’ if drawn, will confess to a secret passion for Scots and Shetland slow airs written for the fiddle.
Her other passion in life, after husband Drew naturally, is playing bridge – now there’s a surprise for you all – she’s a leading light in the Lerwick Bridge Club and takes a trick or two there I can tell you. Drew and son, Stewart, remain her most outspoken critics whilst younger son, Andrew, is too busy playing guitar with another local group ‘Home Bru’ – you may also have heard of them. Drew is also her principal supporter and their home in central Lerwick is a bit of a musical oasis – the scene of many a mighty night of music and venue for alternative festivals, both of the Folk and Accordion and Fiddle variety.
So, that’s a glimpse into the life and times of Violet, our very own star.
Introducing the Clubs
No 18 Thurso
by Margaret MacGregor
On the 11th May, 1981, a group of like-minded people met in the Royal Hotel, Thurso, to discuss the feasibility of forming an A&F Club. Just 20 miles away, the Wick Club had been running successfully for about six years, but Caithness boasts a wealth of players and Scottish music enthusiasts and it was felt that there was enough support to base a Club in Thurso.
Office bearers were duly elected – James Mackay, President, Alex Campbell, Vice-President, Dave Terrace, Chairman, Ann Wall, Treasurer. A Committee was formed and it was decided that monthly meetings would be held in the Royal Hotel with membership fees set at £2. Ceilidhs were held to raise funds and the ‘Sausage Roll contract’ was settled after fierce competition from the town’s bakeries.
Bill Black’s Band was booked for the opening night in September. Unfortunately, Bill had to cancel and the planned opening was postponed.
On Monday, 5th October, 1981, the Club held its first meeting, compered by John MacCrea, with guest artistes, the Donaldson Brothers.
In 1983, the venue was switched to the Pentland Hotel, where the Club still meets today.
Over the next twelve tears the Club enjoyed visits from many fine artistes and bands, many of whom had to travel considerable distances. Weather can play havoc with the best laid schemes in our part of the world. For this reason, local band nights are usually held in February, thereby avoiding having to ask guests to travel at such an unpredictable time of year. It is not so much that we suffer severe winters in Caithness, but that the Grampians separate us from many of the visiting artistes.
In recent years, Thurso has been hit by financial difficulties and the Club have had occasion to be grateful to Caithness Arts Council and Caithness and Sutherland Enterprise for their support. However, we can also rely on the often innovative fund-raising ideas of the members, not least last year’s quiz, compiled by Committee members, Margaret and Willie Mackay. This consisted of a list of anagrams, the solution to each being the name of a Scottish dance. The quiz boosted the funds and may have done so for other Clubs, as it was passed on to them.
This season the Club has interspersed the usual Monday night format with evenings of cabaret and dancing. There is a keen interest in Scottish Country Dancing in Caithness, and dances are well supported.
It would be remiss of me to write about Thurso Club without mentioning the audiences, many of them regulars (from North Sutherland as well as Caithness). Without their continuous support the Club would undoubtedly fold and people would be denied the opportunity to enjoy our kind of music LIVE
Thurso A&F Club can look back over the past 12 years with some pride. Many difficulties have had to be surmounted and much enjoyment and entertainment has been provided. With the continued support of audiences, members and performers, we can look forward to the next twelve.
Andy Stewart (1933 – 1993) – Obituary
by Jimmy Blue
I first met Andy when, with the Ian Powrie Band, I had the pleasure of taking part in some of the first ‘White Heather Clubs’. Andy had many talents – the gift of telling a story through his songs, his musical movements, his amazing memory for words and tunes, and – what I possibly admire most – his ability to write a monologue of many verses and commit it to memory just before a show, and recite it, with actions, word perfect on live TV. His powers of concentration were quite fantastic.
My band became his backing group from 1967 until 1977 and in that time we traveled a great deal – Australia, New Zealand, Tasmania, South Africa, the then Southern Rhodesia, and, of course, Canada and America. These tours could be very tiring but Andy worked at keeping a happy cast – and he was always very patient and courteous to people who came to see him. He was a real professional and a great ambassador for Scotland.
Andy was a literary man. He read widely and always had an apt quote for an occasion, but he was particularly a Burns’ man and worked a lot of Robert Burns’ material into his stage performances with great effect.
He loved Scottish music and was always on the lookout for a melody which would be suitable for a lyric. He could pen these with great speed and was certainly a very clever rhymer. His ‘Scottish Soldier’ was a masterpiece then it was endless – ‘Donald Whaur’s Your Troosers’, ‘The Battle’s O’er’, ‘By the Lochside’, ‘Take Me Back’, etc, etc. In fact, his great friend, the late Roddy MacMillan gave him the chorus he had written of ‘Campbeltown Loch’ just prior to leaving for the first tour of New Zealand in 1963. Andy had the song completed very quickly, and it was first performed in a small town called Wanganui. As everyone knows, it became an international hit.
He particularly enjoyed performing at His Majesty’s Theatre in Aberdeen, as he did on countless occasions. (In fact he liked the North East so much that for a number of years he had him home in nearby Banchory). The support he got at HM Aberdeen was really tremendous. Thousands came from all over the North East to see him year after year. He could talk in ‘the Doric’ and he sounded just like one of them. He always, of course, included his ‘ploughmen’ and sang bothy ballads which they loved. His first big year in Aberdeen was 1964, the year of the typhoid epidemic, and this was allegedly started by a bad tin of corned beef. Andy made a lovely story out of it by saying that Aberdeen was the only city in the world that could have had 400 cases of typhoid because it was the only city in the world that could have got 400 slices of corned beef ‘oot o’ the wan tin’.
I was delighted when Andy was honoured by the N.A.A.F.C. for his services to Scottish music. No-one did more to promote Scottish music throughout the world than Andy, he being the first entertainer to take a full Scottish Band with him on his overseas tours. And Andy loved the Accordion and Fiddle movement. When he was able and his health permitted, he and Sheila joined us at the Station Hotel for the Annual Weekend, and his Odes to Honoured Guests were always a highlight of the weekend. I am sure these will be forever treasured.
Scotland has lost its greatest national and international entertainer, and for me, it was a great privilege to have known and worked with him for all those years. Nothing will ever be the same again.
Notice To All Subscribers
by Margaret Smith
Due to no fault of mine, the October issue of the ‘B&F’ was a week late in being dispatched. My papers arrived in Dalkeith on Friday 8th and I spent that night and all weekend writing labels, wrapping papers ready to post. In all 279 of them.
I’m sick of abusive phone calls and letters telling me the papers were late. I know, but it is outwith my control.
Also, anyone wishing to continue supply should pay their subs which were due on 1st Seprember.
I’m not prepared to waste any more time of mine sending papers if there’s no payment from quite a lot of readers, at the time of writing. After all, this sending of papers and doing accounts is voluntary work for the love of the N.A.A.F.C. It’s almost a full time job, but I’m prepared to do it, but not to take stick from people who think the papers should be on their doorstep whenever they shout.
A.S.M.A. 6th Annual Accordion and Fiddle Festival
Saturday, 2nd October,1993 at the Magnum Centre, Irvine
Well, that is another successful Festival completed. It was a most enjoyable…………….
Idle Thoughts of an Idle Fellow
by Sandy Tulloch
I find the study of our music fascinating. Childhood memories of music lessons started with the knowledge that a scale consisted of eight notes – Doh, Ray, Me, Fah, Soh, Lah, Ti, Doh. But of course, there are many other scales and these are often of significance in Western Folk and Dance music, especially for simple instruments such as penny whistle, 10 key melodeon and zither, as well as fiddle and accordion.
Taking middle C as tonic, the following scales are recognised.
Ionian (Sandy gives examples of all these scales but I cannot reproduce them)
Lydian
Dorian
Pentatonic
Hexatonic 1
Hexatonic 2
Phrygian
Mixolydian
Aeolian
Highland Bagpipe
The scales, of course, may be written with any note as the tonic, with the exception of the Highland bagpipe which has its own scale restricted to the nine notes of the chanter.
Many of our older Scottish tunes were played using a pentatonic or hexatonic scale and some Irish music has a very special sound of its own. Much Irish music is of course written on the familiar Ionian scale, but some which sounds curious to our ears is played on ‘modal’ scales. Key signatures as such do not have much significance. The fact the ‘F’ is shown sharpened means just that. The scale is not necessarily ‘G’.
A ‘Doh’ modal scale is Ionian.
The ‘Ray’ mode is Dorian.
The ‘Soh’ mode is mixolydian
And the ‘Lah’ mode Aeozian.
The modes may mix and change in one tune making it difficult for us to play without previous study and practice.
The Highland bagpipe with its own scale is a special case. The ‘C’ and ‘F’ are sharpened, although slightly less than a full semi-tone.
With ‘G’ as tonic the scale is Lydian.
With ‘A’ as tonic the scale is mixolydian giving the distinctive ‘G’ sound of pipes.
With ‘D’ as tonic the scale is ‘normal’ Ionian and like ‘B minor’ (Aeolian) easily acceptable and melodic to our ears.
With regard to the ‘G’ pipers can play this two ways, one slightly flatter than the other and more suitable for Pioboreachd than light music. Some pipe tunes require accompaniment in ‘A’ minor, and this is curious since there is no C# (without special fingering) to form a minor 3rd. But on analysis, these tunes are found to be hexatonic. ‘MacGregor of Rora’s Retreat’ is a beautiful example. ‘C’ is not used and only our ear tells us that an ‘A minor’ chord alternating with a ‘G major’ is required for accompaniment. These double tonic tones are common in pipe music, either major or minor, or minor and major, but the lower is always major. Bagpipe drones are tuned to ‘A’ and the ‘E’ we think we hear is only a harmonic.
Another curious fact is that the pipes have not updated the pitch of ‘A’ to modern standards and continue to tune to a note akin to ‘Bb’. Purist accordion-pipers please note however, most of us compromise and play in ‘A’, ‘D’, ‘G’ or their relative minors.
I was not going to comment again on the G natural, but someone said it was Bobby MacLeod who first introduced it to accordionists. Sorry to disagree, but Jimmy shand was playing ‘heavy’ 2/4 marches in the mid-30s and many were using it in Scottish music 200 years before.
The mixolydian scale is used worldwide. Listen to women singing in the paddy fields – the sound could come from the outer isles. The one unique contribution from Scotland is the Scottish snap, and the distinctive sound of the strathspey. It’s curious why we seldom hear strathspeys – can it be that they are difficult to play well?
Book Review
The 10th Collection of Tunes by Iain Peterson for Scottish Dance Music.
Letters
In your Editorial of the October issue of the ‘B&F’, you give details of the changes on Radio Scotland – namely ‘Take the Floor’ increased to 1½ hours and ‘The Reel Blend’ increased to 2 hours. I however, feel for the life of Scottish music your Editorial should have read ‘For God’s Sake Listen, or Our Music Is Dead’. But how do I come about such ‘harsh’ advice.
Well, it’s really quite simple, for many years local radio outputs from Radio Scotland in Highland, Aberdeen, Solway, Tweed, etc., were very healthy stations, producing all aspects of life to the local communities, but also weekly and monthly Scottish music programmes (I myself was fortunate to present Radio Solway’s ‘Sounds Scottish’). Along came Mr James Boyle, Head of Radio Scotland and says ‘Not enough listening to local radio, so it must stop’ and even though everyone in the various regions thought otherwise, Mr Boyle had the last say and the end result no more local radio output from Radio Scotland.
Already on Radio Scotland we’ve lost Robbie Shepherd’s Monday night programme ‘Shepherd’s Fancy’, but we have the increased time on both Saturday nights and Sunday mornings. Is this what we want?
Will we have time to listen? Many people, whether musicians, organizers or punters are either at or on their way to concerts on Saturday nights and by 8 o’clock (Take the Floor’s new finishing time) are occupied in ways other than listening to the radio.
Then there’s Sunday mornings – does everybody have 2 hours to sit beside the radio between 10am and 12 noon. People attend church, walk dogs, Sunday papers are popular and also local T.V. programmes. We’ve got all this on Sunday mornings, so do we want 2 hours of radio? Whether or not we’ve got it, just the same as Saturday nights, we’ve got to listen to it.
Back to the local issue. Mr Boyle says ‘Not enough people listen’, so where is local radio today? – non-existent.
So, switch off on Saturday nights or Sunday mornings at your peril. Mr Boyle will argue – not enough people listening and Scottish music will get the chop. It’s our choice and I know what I want – Scottish music and plenty of it! So remember “For God’s sake listen or our music is dead”.
P.S. There are, of course, local Scottish music programmes on independent radio stations, so if in your area they deserve our listening ear.
I’m glad you have written this letter John, as you are echoing the views of many other enthusiasts and musicians alike.
I have spoken to someone within the radio network and it has been suggested that letters of complaint should be directed to …………
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Golden Fleece) – members only
Arbroath (Viewfield Hotel) - 7th Nov 93 – Jennifer Forrest SDB
Armadale (Masonic Hall) – 4th Nov 93 – Paddy Neary
Ayr (Gartferry Hotel) – 7th Nov 93 – Dochie McCallum & Friends
Balloch (St. Kessog’s Hall) – 21st Nov 93 – Michael Philip SDB
Banchory (Burnett Arms Hotel) – 29th Nov 93 – Jim & Jean McConnachie & Friends
Banff & District (Knowes Hotel, Macduff) – 24th Nov 93 – Paddy Neary
Beith & District (Hotel de Croft, Dalry) – 15th Nov 93 – Gordon Pattullo
Belford (Community Club) –
Biggar (Municipal Hall) – 14th Nov 93 – Iain Cathcart 27th Nov Dance to Jim Johnstone
Blairgowrie (Moorfield Hotel) - 9th Nov 93 – Brian Morrison Quartet 19th Nov Dance to Jennifer Forrest SDB
Brigmill (Guardbridge Sports & Social Club)
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Carlisle (Border Regiment Club, Carlisle Castle) - 4th Nov 93 – Gordon Pattullo
Castle Douglas (Urr Valley Hotel) – 16th Nov 93 – Iain Cathcart Trio
Coalburn (Miners’ Welfare) -
Crieff & District (Drummond Arms Hotel)
Dalriada (Argyll Arms Hotel, Lochgilphead) 16th Nov 93 - Black Rose Ceilidh Band
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 3rd Nov 93 – Ross MacPherson 20th Nov Dance to Ian Muir SDB
Dunblane (Westlands Hotel) – 16th Nov 93 – Dick Black Band
Dundee (Park Hotel) – 4th Nov 93 – Club Night
Dunfermline (Jubilee House) –
Dunoon & Cowal (McColl’s Hotel) 12th Nov 93 – Jimmy Lindsay Band
East Kilbride (Sweepers, Cambuslang) – 25th Nov 93 – Paddy Neary
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 17th Nov 93 – Max Houliston & Friends
Fintry (Fintry Sports Centre) – 22nd Nov 93 – Karl Sandeman & Bill Buchan
Forfar (Plough Inn) - 28th Nov 93 – Strathmore Sound
Forres (Brig Motel) – 10th Nov 93 – Dick Black Band
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel – Wooler) –
Glenrothes (Victoria Hall, Coaltown of Balgownie) -
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) – 15th Nov 93 – Forres Club
Inveraray (Loch Fyne Hotel) - 2nd Nov 93 – Jorgen Sundequist
Islay (White Hart Hotel) - 27th Nov 93 – Dance to MacAllister’s Band
Isle of Skye -
Islesteps (Mabie House Hotel) – 2nd Nov 93 – Roger Dobson SDB
Kelso (Ednam House Hotel) – 24th Nov 93 – James Lindsay Trio
Kinlochshiel (Strathcarron Hotel) - 8th Nov 93 – Alastair Hunter Trio
Kintore (Crown Hotel) – 3rd Nov 93 – James Coutts SDB
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 11th Nov 93 – Roberto Enzo
Livingston (Golden Circle Hotel, Bathgate) 16th Nov 93 – George Stirrat SDB
Lockerbie (Bluebell Hotel) - 30th Nov 93 – Jock Fraser Trio 12th Nov Supper Dance in the Balcastle Hotel, Lochmaben
Mauchline (The Jean Armour Function Suite) 16th Nov 93 – Pauline Lavery Trio
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) – 3rd Nov 93 – Bill Black SDB
Newtongrange (Dean Tavern) – 29th Nov 93 – Dochie McCallum & Friends
North East (Royal British Legion, Keith) –
Oban (Harbour Lights Restaurant) – 4th Nov 93 - Jorgen Sundequist
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Green Tree Hotel) – 25th Nov 93 – Jim Johnstone SDB
Perth (Salutation Hotel) – 16th Nov 93 – Andrew Knight & the West Telferton Caledonian SDB
Premier NI (Camlin Function Rooms) -
Renfrew (Masonic Hall, Broadloan) – 9th Nov 93 – Gary Blair
Rothbury (Queen’s Head) - 4th Nov 93 – Eric Goodfellow SDB
Shetland (venue?) -
Stirling (Terraces Hotel) - 14th Nov 93 – Charlie Kirkpatrick Trio 19th Nov Dance to Bill Black SDB
Thornhill (?)
Thurso (Pentland Hotel) –
Tranent (East Lothian Labour Club)
Turriff (Royal Oak Hotel) – 4th Nov 93 – K. Loughlin Band with Mary McCann & Jim Baker
Tynedale (Hexham Ex Service Club) – 9th Nov 93 – Tom Alexander
Wick (McKay’s Hotel) – 16th Nov 93 – Dave Stewart
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Arbroath
3. Banchory
4. Banff
5. Biggar
6. Blairgowrie
7. Carlisle
8. Castle Douglas
9. Coalburn
10. Dalriada
11. Dingwall
12. Dundee
13. Dunoon & Cowal
14. Fintry
15. Forfar
16. Inveraray
17. Islesteps
18. Highland
19. Kinlochshiel
20. Kintore
21. Kelso
22. Lesmahagow
23. Livingston
24. Lockerbie
25. Montrose
26. Newtongrange
27. North East
28. Oban
29. Peebles
30. Renfrew
31. Rothbury
32. Shetland
33. Stirling
34. Sutherland
35. Thurso
36. Turriff
37. Tynedale
CLUB DIRECTORY AS AT SEPT 1991 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Sept 1976 – present)
3. Arbroath A&F Club (1991? – present)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
5. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Brigmill A&F Club (Oct 1990) Closed
14. Button Key A&F Club (
15. Carlisle A&F Club (joined Sept 1993 -
16. Castle Douglas A&F Club (c Sept 1980 – present)
17. Coalburn A&F Club (
18. Crieff A&F Club (cSept 1981)
19. Dalriada A&F Club (Feb 1981)
20. Derwentside A&F Club
21. Dingwall & District A&F Club (May 1979 – per first report)
22. Dunblane & District A&F Club (1971 – present)
23. Dundee & District A&F Club (1970? -
24. Dunfermline & District A&F Club (1974 – per first edition)
25. Dunoon & Cowal A&F Club (
26. East Kilbride A&F Club (Sept 1980)
27. Ellon A&F Club (
28. Etterick & Yarrow (Jan 1989 -
29. Fintry A&F Club (
30. Forfar A&F Club (
31. Forres A&F Club (Jan 1978)
32. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenrothes A&F Club (Mar 93?
37. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Grena when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
38. Highland A&F Club (Inverness)
39. Inveraray A&F Club (Oct 1991)
40. Islay A&F Club (23 Apr 93 -
41. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
42. Isle of Skye A&F Club (
43 Kelso A&F Club (May 1976 – present)
44 Kintore A&F Club (
45. Langholm A&F Club (Oct 1967 - present)
46. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
47. Livingston A&F Club (Sept 1973 – present)
48. Lockerbie A&F Club (Nov 1973 - present)
49. M.A.F.I.A. (1966 - )
50. Mauchline A&F Club (first mention 1986? - present)
51. Montrose A&F Club (joined Sept 1982 - present)
52. Mull A&F Club
53. Newtongrange A&F Club (joined Sept 1977 - present)
54. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
55. North East A&F Club aka Keith A&FC (Sept 1971 - present)
56. Oban A&F Club (Nov 1975 - present)
57. Orkney A&F Club (Mar 1978 - present)
58. Peebles A&F Club (26 Nov 1981 - present)
59. Perth & District A&F Club (Aug 1970 - present)
60. Premier A&F Club NI (April 1980)
61. Rothbury Accordion Club (1987??)
62. Shetland A&F Club (Sept 1978 - present)
63. Stirling A&F Club (Oct 1991 - )
64. Sutherland A&F Club (
65. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
66. Thurso A&F Club (Oct 1981 - present)
67. Tranent A&F Club
68. Turriff A&F Club (March 1982 - present)
69. Tynedale A&F Club (Nov 1980 - present)
70. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
71. Acharacle & District A&F Club (cMay 1988)
72. Bonchester Accordion Club (Closed?)
73. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
74. Buchan A&F Club
75. Callander A&F Club (
76. Campbeltown & District A&F Club (c Dec 1980)
77. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
78. Club Accord
79. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
80. Coupar Angus A&F Club (cSept 1978 - ?)
81. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
82. Denny & Dunipace A&F Club (Feb 1981)
83. Dornoch A&F Club (first mention in directory 1986)
84. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
85. Dunbar Cement Works A&F Club (Closed?)
86. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
87. Falkirk A&F Club (Sept 1978 - )
88. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
89. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
90. Kirriemuir A&F Club (cSept 1981)
91. Monklands A&F Club (Nov 1978 – closed cApril 1983)
92. Morecambe A&F Club (joined Sept 1982)
93. Newcastleton Accordion Club
94. New Cumnock A&F Club (cMarch 1979)
95. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
96. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
97. Straiton Accordion Club (c1968 – closed March 1979)
98. Stranraer & District Accordion Club (1974 – per first edition)
99. Torthorwald A&F Club (near Dumfries)
100. Walmer (Bridge of Allan) A&F Club
101. Wellbank A&F Club
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