Jimmy Shand
by Jimmy Clinkscale
After a recording career spanning almost 50 years, Jimmy Shand still has no plans to finally call it a day – and who would want him to? His records still sell well and his latest – ‘Scotland My Home’ – is a fine collection, well worthy of the Shand name.
So mach has been said and written about the man that there are few new angles to look at from any vantage point. Such is the nature of Jimmy’s career, a career which has seen him inspire, encourage and entrance players of all ages and give a definitive name and face to Scottish dance music.
Everyone has heard of Jimmy Shand. The name is now almost indelibly stamped on the Scottish public’s genetic consciousness, but Jimmy himself remains, well, just Jimmy. Eager to praise others above himself, modest of his own contribution.
His old Producer George Martin, for instance, is one of the first to receive a mention.
“George gave me faith to keep playing after I had been seriously ill” Jimmy confessed during a recent interview in Edinburgh’s Craighall Studios.
“He was one of the finest men I ever met. I thought I would be finished with recordings in the mid-50s, but when George took over from Oscar Preuse as Parlophone’s Scottish Producer he just told me to come down to London and record whenever I felt like it. That flexibility was just what I needed. Bryce Laing of Waverley Records who I’ve been recording with over the last 13 years is just the same.”
Jimmy recalls going down to London at that time on his own and recording ‘Happy Hours’ with George Martin. The band also did an impromptu session with the Stuart Gordon Singers, with Johnnie Pearson on piano and recorded ‘Singing with Jimmy Shand.’
“That record still sells well to this day” says Jimmy with affection. “Bert Weedon even accompanied me on some of the recordings.
“George Martin just said to me ‘There are years and years of playing in you yet!’ You felt you were letting people down if you didn’t record.
“My name was known through gramophone records before I even played at some places. You were a myth to the public before they say you.
“I remember playing in Peebles once while I was working for Forbes of Dundee. It was an exhibition. Chrissie Leatham, Louis Cabrelli and Tommy Muirhead were also there, all great players.
“There was a great interest in accordion music that night, played in all their own styles and mannerisms. There was a local man there with his family and the wee lass said afterwards, referring to me ‘the man just stood and the sound came.’ “
Characteristically, Jimmy goes on to criticise himself.
“The time when I most needed help was when I wanted to write music. My music teacher once said to ma after I’d played the strathspey ‘The Marquis of Huntly’s Farewell,’ if you saw that in print Jimmy you would get a fright. I didn’t play the music as it was written.
“I just read music slowly, but when making up selections for recordings and broadcasts you got tunes that didn’t have the right lead-in, then you were left with no option but to get on and write your own.”
Then comes the philosophy.
“I strongly believe there is always someone, somewhere, sitting at a fireside, that could put up as good a show if not better than some of the professionals.
“When you read the music papers these days you can see how many youngsters there are. There is more music today than ever in history. There are so many that you can hardly name them all. I wouldn’t try what they are playing today.”
And then on to the tours and the Press.
“My first tour abroad was in 1955. That was in Canada with Robert Wilson, Margaret Mitchell, Jack Anthony, Roberto Ricardo and Jimmy Neill.”
“We had no free nights for nine weeks. I went back again recently, two years ago in fact, at the request of my friends Mr and Mrs Clem MacLean, Orangeville, Canada, to do a one-night charity show in the Sheraton Hotel, Toronto.”
Jimmy even remember the exact date – April 14 – and adds two other names, Alasdair Gillies and Stan Hamilton who backed him.
“I’ve had a few bad reviews in my time though. The reporter was often the only one who didn’t like me. The main complaint was that I never smiled, but I was always too busy concentrating.
I was never a lover of publicity and will be the same until I go to the grave. I just can’t be bothered with fuss, never did get used to it.”
Jimmy goes on to outline the development of the Hohner Morino accordion which he and Charles Forbes helped to design before the war, in 1938, in conjunction with Hohner of Germany. The finished product was a 40 treble – 105 bass, Hohner Morino Special, and the first was delivered in June, 1939, to Jimmy, which he used for many years. Jimmy says “after the war I was asked if I wanted a new accordion, and I thought if I ordered four, I would be sure to get one, but to my surprise when the railway lorry arrived at my door in Sutherland Street, Dundee, with the packing case, it consisted of four new Shand Morino models.”
The specification of this instrument was 46 Treble buttons – 117 bass, four sets of treble reeds – five sets of bass reeds. Five treble and two bass registers. They weren’t very good but they matured with the years” says Jimmy. “There was no kick or anything because it was new wood. Morino stormed out of the room when I told him my complaints. I was a thorn in Hohner’s flesh for a long time with my opinions, but they never paid attention. At least I was honest about it”.
But on to the new record.
It has 14 tracks, all of them, except two, written or arranged by Jimmy himself. He has even written his own sleeve notes about their origins.
‘Marie MacLean’s Wedding March’ for example was written on the plane to Canada for the charity show mentioned above, while ‘Alexander Blue of Dunning’ is dedicated to Jimmy Blue’s father, whom Jimmy met in Perth Royal Infirmary.
“I was greatly impressed by the pride he had for his son’s achievements” says the sleeve notes.
It was recorded quickly, taking only two sessions. A politely framed question suggesting that perhaps Jimmy may be wanting to give up recording met with a not entirely unexpected hunch of the shoulders. Jimmy’s obviously got a long way to go yet!
But he says he never picks up the accordion now unless he has to.
“I never refuse to play in the house if I am asked to” he adds.
“We had Australian visitors a few weeks ago. All of a sudden a knock came to the door. It was a Polish lad, he had brought a woman from Kelso who wanted me to go down to the Borders and play for her there.
“I said I couldn’t, but I played ‘Moonlight and Roses’ for her as she went down the path, happy as anything.”
Playing to folk obviously still gives Jimmy a lot of pleasure. “To me, playing for the old folk in a Church Hall is as important as the biggest concert in the country. You are always pleased that folk are interested.”
And interested they are indeed. Jimmy still received countless visits and letters from friends and fans at home and abroad. His home in Achtermuchty – which he built himself with the help of his son Jimmy Jnr and friends – is still Open House and as welcoming as ever.
But Jimmy hates answering letters.
“I would much rather ‘phone than write” he says “Oh-oh, everyone will be expecting a call now!”
Box and Fiddle
April 1982
So mach has been said and written about the man that there are few new angles to look at from any vantage point. Such is the nature of Jimmy’s career, a career which has seen him inspire, encourage and entrance players of all ages and give a definitive name and face to Scottish dance music.
Everyone has heard of Jimmy Shand. The name is now almost indelibly stamped on the Scottish public’s genetic consciousness, but Jimmy himself remains, well, just Jimmy. Eager to praise others above himself, modest of his own contribution.
His old Producer George Martin, for instance, is one of the first to receive a mention.
“George gave me faith to keep playing after I had been seriously ill” Jimmy confessed during a recent interview in Edinburgh’s Craighall Studios.
“He was one of the finest men I ever met. I thought I would be finished with recordings in the mid-50s, but when George took over from Oscar Preuse as Parlophone’s Scottish Producer he just told me to come down to London and record whenever I felt like it. That flexibility was just what I needed. Bryce Laing of Waverley Records who I’ve been recording with over the last 13 years is just the same.”
Jimmy recalls going down to London at that time on his own and recording ‘Happy Hours’ with George Martin. The band also did an impromptu session with the Stuart Gordon Singers, with Johnnie Pearson on piano and recorded ‘Singing with Jimmy Shand.’
“That record still sells well to this day” says Jimmy with affection. “Bert Weedon even accompanied me on some of the recordings.
“George Martin just said to me ‘There are years and years of playing in you yet!’ You felt you were letting people down if you didn’t record.
“My name was known through gramophone records before I even played at some places. You were a myth to the public before they say you.
“I remember playing in Peebles once while I was working for Forbes of Dundee. It was an exhibition. Chrissie Leatham, Louis Cabrelli and Tommy Muirhead were also there, all great players.
“There was a great interest in accordion music that night, played in all their own styles and mannerisms. There was a local man there with his family and the wee lass said afterwards, referring to me ‘the man just stood and the sound came.’ “
Characteristically, Jimmy goes on to criticise himself.
“The time when I most needed help was when I wanted to write music. My music teacher once said to ma after I’d played the strathspey ‘The Marquis of Huntly’s Farewell,’ if you saw that in print Jimmy you would get a fright. I didn’t play the music as it was written.
“I just read music slowly, but when making up selections for recordings and broadcasts you got tunes that didn’t have the right lead-in, then you were left with no option but to get on and write your own.”
Then comes the philosophy.
“I strongly believe there is always someone, somewhere, sitting at a fireside, that could put up as good a show if not better than some of the professionals.
“When you read the music papers these days you can see how many youngsters there are. There is more music today than ever in history. There are so many that you can hardly name them all. I wouldn’t try what they are playing today.”
And then on to the tours and the Press.
“My first tour abroad was in 1955. That was in Canada with Robert Wilson, Margaret Mitchell, Jack Anthony, Roberto Ricardo and Jimmy Neill.”
“We had no free nights for nine weeks. I went back again recently, two years ago in fact, at the request of my friends Mr and Mrs Clem MacLean, Orangeville, Canada, to do a one-night charity show in the Sheraton Hotel, Toronto.”
Jimmy even remember the exact date – April 14 – and adds two other names, Alasdair Gillies and Stan Hamilton who backed him.
“I’ve had a few bad reviews in my time though. The reporter was often the only one who didn’t like me. The main complaint was that I never smiled, but I was always too busy concentrating.
I was never a lover of publicity and will be the same until I go to the grave. I just can’t be bothered with fuss, never did get used to it.”
Jimmy goes on to outline the development of the Hohner Morino accordion which he and Charles Forbes helped to design before the war, in 1938, in conjunction with Hohner of Germany. The finished product was a 40 treble – 105 bass, Hohner Morino Special, and the first was delivered in June, 1939, to Jimmy, which he used for many years. Jimmy says “after the war I was asked if I wanted a new accordion, and I thought if I ordered four, I would be sure to get one, but to my surprise when the railway lorry arrived at my door in Sutherland Street, Dundee, with the packing case, it consisted of four new Shand Morino models.”
The specification of this instrument was 46 Treble buttons – 117 bass, four sets of treble reeds – five sets of bass reeds. Five treble and two bass registers. They weren’t very good but they matured with the years” says Jimmy. “There was no kick or anything because it was new wood. Morino stormed out of the room when I told him my complaints. I was a thorn in Hohner’s flesh for a long time with my opinions, but they never paid attention. At least I was honest about it”.
But on to the new record.
It has 14 tracks, all of them, except two, written or arranged by Jimmy himself. He has even written his own sleeve notes about their origins.
‘Marie MacLean’s Wedding March’ for example was written on the plane to Canada for the charity show mentioned above, while ‘Alexander Blue of Dunning’ is dedicated to Jimmy Blue’s father, whom Jimmy met in Perth Royal Infirmary.
“I was greatly impressed by the pride he had for his son’s achievements” says the sleeve notes.
It was recorded quickly, taking only two sessions. A politely framed question suggesting that perhaps Jimmy may be wanting to give up recording met with a not entirely unexpected hunch of the shoulders. Jimmy’s obviously got a long way to go yet!
But he says he never picks up the accordion now unless he has to.
“I never refuse to play in the house if I am asked to” he adds.
“We had Australian visitors a few weeks ago. All of a sudden a knock came to the door. It was a Polish lad, he had brought a woman from Kelso who wanted me to go down to the Borders and play for her there.
“I said I couldn’t, but I played ‘Moonlight and Roses’ for her as she went down the path, happy as anything.”
Playing to folk obviously still gives Jimmy a lot of pleasure. “To me, playing for the old folk in a Church Hall is as important as the biggest concert in the country. You are always pleased that folk are interested.”
And interested they are indeed. Jimmy still received countless visits and letters from friends and fans at home and abroad. His home in Achtermuchty – which he built himself with the help of his son Jimmy Jnr and friends – is still Open House and as welcoming as ever.
But Jimmy hates answering letters.
“I would much rather ‘phone than write” he says “Oh-oh, everyone will be expecting a call now!”
Box and Fiddle
April 1982