Box and Fiddle
Year 24 No 07
April 2001
Price £1.20
44 Page Magazine
7 month subscription £12
Editor – Karin Ingram, Hawick
B&F Treasurer – Sandra Fleming, Blairgowrie
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
Spring is in the air – as you can see from this photograph of my house!
The blizzards brought chaos to many areas, and a number of Clubs had to cancel their meetings. The Foot and Mouth crisis has also taken its toll, not only with Clubs in the South of the country, but also with dances being cancelled in those areas affected. If you are planning to visit a Club, or go to a dance advertised in our diaries, its probably worth checking that it is still going ahead.
This month’s magazine has information about Festivals and Workshops taking place throughout the summer months, from Rothbury to Inverness and many places in between. Why not have a summer of music and dance on the lovely Isle of Skye, or visit the festival in Auchterarder?
Musselburgh Festival was once again a great success, congratulations to everyone involved. I was sorry not to be there, but at that time the Foot and Mouth situation was uncertain, and I didn’t want to risk traveling from a restricted area. Thank you to all of you who passed on your good wishes and support for the magazine. Hopefully things will have eased off a bit in time for the AGM on 24th June, and I look forward to meeting many of you there.
It is 25 years since the death of Will Starr ‘The Daddy of Them All’, and Charlie Todd has written a fascinating article about this legendary accordionist, supported by photographs from Ronnie Coburn.
‘A legend in his own lifetime’, is how many people describe Fergie MacDonald, and you can read about him on Page 8.
Keep the letters, photographs and articles coming. Although the next issue is not until September, we’ll be working on ideas throughout the break. Thank you to everyone who reads and contributes to the magazine, to the B&F Sub Committee, to the printers, and to proof-reader Alison Riddell. Have a wonderful summer, and thank you once again for you kindness, friendship and support.
Karin Ingram
Will Starr (1922 – 1976)
‘The Daddy of Them All’
by Charlie Todd
Having just lost the nation’s greatest exponent of the 3 row British Chromatic ever to grace the bandstand it was recently drawn to my attention by Jimmy Divers from Cleland, Wishaw that 6th March 2001 marked the 25th Anniversary of the death of the greatest 3-row player ever to grace the theatre stage – the legendary Will Starr.
I recall Derek Hamilton saying that it was the untimely death of Will on 6th March 1976 which prompted the NAAFC to start honouring notable musicians while they were still with us, and much valuable work has been done since then, but by then it was too late for the man of whom enthusiasts say to this day “once heard, never forgotten”.
He was born William Starrs in Smithstone Row in the small Dunbartonshire mining village of Croy on April 27th, 1922. His father, Joseph, played the melodeon and Will was only three years old when he too developed an interest.
Will was second eldest son in a family of five girls and three boys and it was along with his sister Rose, at the age of nine, that he started off on the road to success. At the small “go-as-you-please” village talent competitions of the time Will played the melodeon and Rose sang. These competitions were one of the highlights of the year for the host community and would attract competitors and large audiences from surrounding districts and beyond.
Will was one such competitor but he stood apart from the start because of his exceptional talent. Jimmy Divers learned from a friend of Will that although not a participant he picked up additional musical knowledge by attending and listening to Salvation Army Band practices in Kilsyth. His expertise was recognised when he was allowed to leave school a year early, at the age of thirteen, to pursue a career as a professional musician and bring in some much needed additional income for the family in those difficult times. His debut was made (wearing a velvet suit with silver buttons) at the old Glasgow Empress Theatre.
When war broke out in 1939 it was not the Forces that beckoned but the local mines where in time he became a “Bevin Boy” at Gartshore coal mine. However he did not neglect his music-making and it was during the war that he met Robert Wilson, the man who was to set him on the road to nationwide acclaim and stardom. Opinions vary as to the venue of that first meeting – it was either Dunoon or The Central Hotel in Glasgow. Robert invited Will to play the following Sunday at a cinema in Forfar and such was his impact that he was asked to join the White Heather Group.
Will cut his first 78 single for Parlophone in the 1940s on a Stradella Cooperativa. It was an own composition in a Continental waltz style and at that point in time was unnamed. Asked what it was to be called Will settled for the name of his current girlfriend and the unforgettable “Jacqueline Waltz” entered the Scottish Dance music repertoire. It was the first of two dozen 78s he released on that label and about ten LPs on the Thistle and Pye labels.
It was on tour with Robert Wilson’s White Heather Group that most people first came into contact with the strikingly handsome, clean-cut young Will Starr. Immaculately dressed the kilt or occasionally trews for his many stage appearances he created the image remembered today. Bearing in mind that his music was entirely unaccompanied, Will was still able to captivate both musicians and non-musicians alike with his blistering performances on what had previously been seen only as the humble melodeon.
Another notable feature for the time was that his performances consisted not only of Scottish melodies but dazzling Continental pieces by composers such as Peguri, Vacher and Peyronnin being heard live for the first time such as Four Accordion Solos As Played by Will Starr and published by J. S. Kerr in 1959 namely “Rhein de Musette”, “Les Triolets”, “Martelette” and “Bourrasque”.
Let’s hear though from someone who actually witnessed Will in action, Accordion Club regular and Starr enthusiast Jimmy Divers – “I first heard Will Starr around 1945/6 when I was at the tender age of sixteen. When the word came that the White Heather Group were appearing at a concert in the local Parochial Hall there was a scramble for tickets. Most people were interested in Robert Wilson or Jack Radcliffe but since my father played a 2-row, and my brother a 5-row, our interest lay farther down the bill. An uncle, who also played the 2-row and the dulcimer, had heard Will Starr in The Metropole and The Pavilion and told us not to miss him.
That night he had two spots, each lasting approximately fifteen minutes. His first spot consisted of a set of jigs, ‘The Cuckoo Waltz’, ‘Standchen’ and ‘The Martelette Polka’ and in the second he played ‘The Hills of Perth’, ‘The Jacqueline Waltz’, ‘The Last Post’ and finished with a set of hornpipes, which included ‘The Johnston Hornpipe’, ‘The High Level’ and ‘Harvest Home’.
To say that he was well received would be an understatement. His handling of the 3-row Franchitti was superb. Here was a diatonic player playing solo with a punch and flair not surpassed by any of the multi-couplered single action accordionists of his time.
As any diatonic player will attest, it is very difficult to play forcefully and retain control of the instrument. This was obviously not a problem to Will Starr. His control of the bellows, the air-bar and the keyboard was absolute. He was also the first I ever heard playing Musette Waltzes and Polkas.
After that first concert I was firmly hooked by the music of Will Starr. I heard him perform many times and never left disappointed. He played with such ‘lift’ and verve that you felt compelled to march or dance to the music. I have heard the phrase ‘it made the hair stand up on the back of my neck’ used and abused many times about much lesser mortals but if you want to really experience that feeling then listen to Will Starr playing ‘The Harvest Home Hornpipe’ or ‘The Martelette Polka’ to name just two examples of his outstanding playing. His last record had, for me, the most appropriate of titles The Daddy of Them All.”
As a matter of interest, Jimmy tells me that Franchitti accordions were made in Glasgow and that Will probably developed his interest in Continental music from the 78s of Emily Vacher, a French diatonic accordionist who had lost his left hand in a road accident and who recorded with banjo accompaniment.
It was in 1948 that the Group headed for Toronto in Canada. Their concert was a sell out and the audiences just wouldn’t let them off stage. This date was their only one at that time but word got round, which in turn led to regular tours of Canada and America with South Africa and Hong Kong sometimes thrown in for good measure.
One of his proudest moments was when he was presented with the freedom of Chilliwack in British Columbia during a tour in 1952. He had been asked to attend a civic dinner with other performers from the tour but knew nothing of the honour he was about to receive which created him “Honorary Mayor of Chilliwack”
With the death of Robert Wilson in 1963 following a road accident, Will had to move in new directions. The Royal Clansmen came into being after a spot in a show in Perth Theatre, which led to an opportunity for the group to appear on an episode of “Calum’s Ceilidh” with Calum Kennedy.
The Royal Clansmen
The Royal Clansmen, in turn, were given a show of their own on Grampian TV, which ran for four series and scored highly in the audience popularity ratings. Members of the group, at various times, will include many names well known to readers. They were Will, Alec Finlay, Arthur Spink, Dennis Clancy, George Hill, Billy Leslie, John Crawford, Joss Esplin, Blanche McInnes, Billy Marshall, Ronnie Coburn, Grant Fraser and Joe McBride.
By 1965 Will’s act was taking a new slant as he acted as feed man to Alec Finlay in comedy routines. He had a rather unique voice rather well suited to comedy. He also had a “peculiar” singing voice and this was always good for a laugh when he sang with the Clansmen. Earlier he had made a record for Parlophone singing a song called “Croy Hill”. This is an experience not to be missed if you ever get a chance to hear it.
Will’s last appearance on stage was at the Adam Smith Centre in Kirkcaldy in the summer of 1975 and his last TV appearance was on Grampian’s Hogmanay Show of 1975/6. By then he was seriously ill and his last remaining months were spent at his home in Croy. Despite having travelled the world he had always returned to his home village. He died on 6th March, 1976.
Ronnie Coburn, Will’s manager, fellow artiste and close personal friend says of Will “He was a professional’s professional and in all his working years I never heard him once criticise a fellow artiste – in fact he went out of his way to help and advise any newcomer to the world of showbusiness”. Such a case in point was the then young accordionist from Coatbridge, Billy Marshall.
Will’s funeral on March 10th 1976 was an enormous affair as befitted a man who had contributed so much to Scottish Dance music and to Croy. The funeral cortege, with most of the mourners on foot, stretched for over a mile as it covered the distance between Croy and Kilsyth Cemetery. At the graveside the honour of playing Will’s favourite tune “The Mist covered Mountains”, on Will’s own black Shand Morino, fell to Bill Powrie.
Will’s two black Shand Morinos recently re-entered the music scene when sisters Rose and Teresa decided to sell. The 4-row version with the “dummy” row resides in the huge collection of Northern Ireland’s very own Ken Hopkins while the 3-row is now in the very capable playing hands of Jim MacKay from Inverness. Both of these accordions got an airing at the Button-key Shand Morino Day at the end of January.
My thanks to Ronnie Coburn, who is about to embark on his 41st tour of Canada with “The Breath of Scotland”, and Jimmy Divers for their assistance with information and photographs for this article.
Twenty five years have now elapsed since Will’s death yet his memory remains as strong as ever, and will do I am quite sure, for as long as Scottish Dance music is played and enjoyed.
A Knight to Remember
by Archie Paterson
In common, I’m sure, with many thousands of others my first experience of Jimmy Shand and his music was on the Saturday evening Scottish Dance Music programmes. That was in the early 1950’s and although there were many great bands at that time the Shand sound was, for me, always the best and most easily recognizable and has given me a life-long love of this type of music. This early inspiration from the Shand sound gave me my ambition to play Scottish Dance Music and, over the years, I have had much pleasure in doing so, firstly on the mouthorgan and then on the 3-row button box.
I first had the privilege of meeting Jimmy shand nine years ago when I went to play at the Letham Accordion & Fiddle Group. Jimmy still played at that time and it was wonderful to watch at close hand his technique on the 3-row box. It soon became obvious that there are some things that just can’t be learned. My best memory of him happened about 18 months ago. I was leaving Letham Hall after another great night. Sir Jimmy was sitting near the door waiting for his lift home and as usual I stopped to shark his hand. As I did so he pulled me towards him and said, “Aye ye’re still playin’ well son.” After hearing this I think I floated out of the door! These quiet, sincere words of encouragement from a master to a very average player are something I will never forget.
He was a true gentleman and his contribution both to the playing and composition of Scottish Dance Music is a legacy that will live on for a very long time.
Fergie
by Karin Ingram
Mention the name ‘Fergie’ in the traditional music scene in Scotland, and everyone knows exactly who you are talking about – Fergie MacDonald of Acharacle, Argyll. Not only is he a respected and much-loved musician, he is also a crack shot – having won 14 Scottish Caps for clay pigeon shooting. His fame (or should I say notoriety?) extends throughout the country, but the best tales abound in the Hebrides and the Highlands, areas that Fergie says are ‘his domain’.
Fergie is entirely self taught. He began playing at the age of 9, starting out on a piano accordion , before moving on to a 2-row button box when he was 11. (At this point Fergie would like to point out that contrary to popular belief, misconception and misquotation, he does not wish to see all piano accordions ‘at the bottom of the Minch’!) He remembers the thrill of owning his first button-box, “It cost £14, and my dad paid it off at 10/- a month.
He was 16 when he made his public debut, playing for a local dance with only a drummer for accompaniment, and no amplification at all. After that he had a steady stream of bookings. His favourites, he says, were in the ‘bothans’ (illegal drinking dens) of the Highlands and Islands. “I loved it, the Cream of the Earth go there! I’ve shared the stage with people like Andy Stewart, Dave Berry, Alan Price and Johnny Dankworth but nothing could compare with those nights in the bothans!”
Sadly, those visits are no more for, by his own admission, Fergie is a recovering alcoholic. He says, “Nobody believed that I would be able to give it up, it had too strong a hold on me. It’s been 18 years now since my last drink, and if I can do it, anybody can. If I can help just one person realise that they have a problem but that they can overcome it, then some good will have come of my admitting my own alcoholism.”
Fergie passed his BBC Dance Music audition in 1965. At that time all broadcasting bands played strict tempo Scottish Country Dance Music. After Fergie’s fifth broadcast in the late 60’s, the BBC wrote to him, telling him that his broadcasting career was ‘terminated.’ Says Fergie, “I think I’m the only guy that has ever been fired!” Apparently the BBC had received umpteen letters saying that his playing was a million miles away from Scottish Country Dance music.
Undeterred, Fergie continued playing his kind of music, and began recording. He had a very successful album called There’s Irish on the Islands, which many considered to be the first major breakaway from the real SCD music sound. Fergie brought in the traditional ceilidh instruments of flute, small pipes and banjo, and speeded up the tempo. It has been said that what Jimmy Shand was SCD music and Bobby MacLeod was to Pipe Music, so Fergie was to Ceilidh Music as we know it today.
When he gave up drinking in the early eighties, Fergie also gave up playing music – thinking that the two went hand in hand. He takes up the story, “For seven years I never played a note. One day in about 1990/91 I was in my hotel kitchen when this man walked into the bar. I heard him asking if Fergie was around, so I walked through. Bear in mind that I had been out of the scene for a number of years, so I didn’t have a clue who was who. All my albums were up on the wall, and the guy pointed up at them and said, “Fergie, my name is Phil Cunningham (never meant a thing to me)’. ‘I’m just looking at the albums. Do you know that I’ve got every one of these? I love your music. I play the box a wee bit myself – I’ve got it outside in the car. I’d love to play a wee tune with you.” I say “Okay and went and got my box. At that point the phone rang in the kitchen (which was next to the bar) and I went to answer it. I was hearing this music and couldn’t believe what I was hearing. I’d never heard anything so great in my life! Phil stopped and asked, “Have you got your box?” “I can’t play like that,” I said, “That’s crazy music!” Well, we can down about a hundred levels, and played Loch Lomond together. Phil went on to play the most amazing music I had ever heard in my life, then he said, “We’ll have to get you back Fergie.” “Oh no,” I said, “I’ve had my day, I’ve been and gone.” “No” he said, “You’ve got too much to offer. The BBC has asked me to do a series – Taila Bhalla. I’m suggesting that you gather a group around you, because I’m going to send for you!” Not long after that he phoned and asked me to do a programme. From that day I’ve had a complete new run at it – ‘Take the Floor’ and everything. Phil was the man who brought it all about, that’s why I think so highly of him – he’s my dearest musical friend.”
In the late 80’s Fergie’s album Fergie and the Mudairtaich rocked Scotland and abroad. It was loaded with the instrumentation one can expect in modern-day Ceilidh music. It had button-box, small pipes, banjo, whistle, flute, bodhran, piano and drums. There had been bands playing in the Ceilidh style prior to this, but most still retained the traditional Scottish Dance Band line-up of accordions, fiddle, piano, bass and drums. Suddenly everyone wanted to dance to and play Ceilidh music. The BBC was being asked why they were not catering for this new interest, and so they invited Fergie back to play the very music for which he had been fired. Truly a man ahead of his time!
For someone who can’t read or write music and has never had a lesson in his life, Fergie’s done all right. To date he has recorded 22 albums, and made umpteen broadcasts and TV appearances. His latest album, Ceilidh House, sold 6,000 copies in 10 weeks in Scotland. His 21-year-old son, John, is carrying on the family tradition. He, too, plays the button-box and can be heard on one of the tracks on the CD.
Fergie’s compositions feature regularly in sets by other bands. How often is ‘Jig Runrig’ included in a lively Strip the Willow set for example? Taking of Runrig, Fergie tells a story of when his band was following The Occasionals on stage at ‘The Highland Annual’ in Edinburgh. Malcolm Jones, guitarist with Runrig, was playing with them that night. Fergie says, “I’ve known Malcolm for years, but sometimes my mind just goes blank – the effect of years of hooch! I was shaking hands with him, but I couldn’t remember his name. Nice to see you Paul’ I said, (I was thinking of Jones!) He whispered, “It’s Malcolm, Fergie.” “Sorry Paul,” I said. I felt terrible!”
Some of Fergie’s personal favourites include ‘The Shinty Referee,’ written for Henry McInnes of Portnalong, ‘Roddy Wright’s Jig’, ‘Donald Findlay’s Jig’ and ‘Ness Bothan’ (about one of the aforementioned drinking dens). ‘Maureen’s Jig’, ‘Reunion Reel’ and ‘Anne’s Reel’ also seem to be popular with other musicians. He says that perhaps it’s his lack of musical knowledge and technology that makes the difference. His tunes are absolutely traditional Highland/Gaelic/Celtic music. He writes his tunes in his own musical form – no-one else can read it (“They’ll all be thinking I’m in the Masons!”) except for Iain MacFarlane, who is in the process of compiling Fergie’s next music book entitles ’25 New Tunes by Fergie MacDonald’. Fergie is also breaking into the world of literature. He has been commissioned by Gaelic publishers Achair from Stornoway to write a book of fifty short stories. These will all relate to a Highland Dance Band leader over 40 years. Fergie will rely heavily on his own experiences to come up with funny, sad and original stories. I suspect that these will need to be checked very carefully by a lawyer before publication!
Fergie regularly plays at Accordion and Fiddle Clubs. But he says he never plays Scottish Dance Music. “I must play my own music because I’m completely out of my depth in the other stuff. There are plenty of experts already who can handle that, although sometimes it makes me cringe when I hear some of them playing Gaelic Waltzes. All my life I have been on the road, playing in among the crowd – sometimes a dancer landing on the stage with bottle in hand! I love it, but particularly in the Highlands and Islands.”
For the last 25 years Fergie has had a fear of flying, ever since a plane he was traveling in experienced difficulties landing in Hamburg, when the undercarriage wouldn’t come down. It means that he’s had to turn down gigs in Vancouver and Hong Kong in the last year alone, but he has no shortage of offers closer to home. His next ‘Take the Floor’ broadcast is in the autumn, and will be from Stornoway – the first from the Outer Hebrides. Rest assured – Fergie’s here to stay this time!
Musselburgh Festival 2001
27 Not Out
by Neil Copland
Saturday, 3rd March 2001, was the date for the 27th Annual Accordion and fiddle championships (Musselburgh Festival) organised by the National Association of Accordion and fiddle Clubs. Severe weather and the outbreak of Foot and Mouth Disease across the UK marred the run-up to this year’s event. The effect those two issues would have on our numbers (both competitors and supporters) concerned me, as the Festival Committee recognises the support and involvement of a large number of the farming / rural communities in the playing of our music. Fortunately, there seemed to be little impact on the number of competitors who came along to entertain the adjudicators and listeners, although the number of people attending the dance in the evening was down compared to previous years.
However, once again we were blessed with a beautiful sunny (if very cold) early spring morning, and we all eagerly anticipated the prospect of another super day of all that is good amongst the younger (and not so younger!) players of our traditional and classical music on the accordion and/or fiddle. Entries this year were at 240. This is slightly up on 2000 with yet again a further increase in the junior fiddle entries, at the expense of the classical accordion classes. This continuing increase in the junior fiddle numbers is all down to 3 or 4 teachers in schools, who are now actively involved in promoting the playing of Scottish fiddle music in schools. They are to be commended for pushing hard on this matter and getting the results as was evidenced at the Brunton Halls last month. The support of these teachers and the parents of their pupils is greatly appreciated by the Festival Committee.
As you will know, the chosen composer for this year’s Open Fiddle Championship Class was Bert Murray M.B.E. and it was my great pleasure to welcome to welcome Bert to the Festival. Bert was absolutely thrilled to have been chosen and was determined to be present to hear his tunes played in such an august competition. I had hoped that Bert would be able to present the trophy to the new champion but this was not possible for a number of reasons.
This year we incorporated tow new competitions – the Overall Junior Fiddle championship awarded for the beautiful Judith Linton Trophy (won by Erin Smith from Aberdeen) and the Open Accordion Championship Section for the designated Todhills Trophy. This new section is modeled on the Open Fiddle Championship Class and the chosen composer for this year was Jim Johnstone, in acknowledgement of Jim’s time as Chairman of the NAAFC until last summer. The competition for both these Championships was fierce, and the two winners – Ingrid Hammond (fiddle) and Liam Stewart (accordion) thoroughly deserved to take the honours following the play-offs in the evening concert. I can also confirm that the chosen composers for these sections for the 2002 Festival are Bob Edward (fiddle) and Angus Fitchet (accordion). This will surely encourage sales of the new volume of Angus’ compositions the the NAAFC have only just published.
The adjudication panel this year comprised no fewer than 5 new faces to our Festival (Simon Howie, Judith Linton, Peter Zanre, Alan Preston and ‘Lady’ Pam Wilkie) as well as 4 ‘old’ friends (Bill black, Ron Kerr, Freeland Barbour and Jimmy Cassidy) returning to Musselburgh, some after a number of years since their last visit. All of the adjudicators commented favourably on the quality of playing they heard throughout the day.
The Brunton Hall complex continues to be an ideal venue for the Festival and with the availability of the Theatre this year, we only had to use one external venue. Hopefully, this did not cause too many problems for competitors and listeners and that everyone was able to hear their favourite sections. The need to use the Christian Centre Hall again meant that we had to schedule some sections outwith their ‘traditional’ venues. Despite some early timing difficulties which threatened to throw the whole day into turmoil, by some miracle, the planned situation whereby the only competition taking place by 4 p.m. was the Band Section in the Main Hall, actually materialized and the atmosphere at that point in the day was absolutely electric. There must have been around 300 people in the Main Hall to hear a band competition featuring 10 entries – what a climax to a day of competitions!
After a slight delay the concert, featuring prizewinners from 2001 and previous years – Judith Linton (also one of our adjudicators) - and again this year compered by Jennifer Forrest and John Caskie got underway. This double act is now well established in terms of the format for the concert and hopefully we can build on this aspect. Once again, our friends from the BBC ‘Take the Floor’ team were present to record the highlights of another Festival concert. These were broadcast over a 2-week period subsequent to the Festival and my thanks again go to Ken Mutch and the BBC team for their continued support of Musselburgh Festival. They certainly would have had some hard decisions to take about what material to keep in and what to leave out, since the quality of performances was outstanding.
Following a most successful concert, the Festival Dance was in the ever capable hands of the Colin Dewar SDB – what an end to our day. The music was superb – just as we have come to expect from this talented group of musicians. During the dance it was my pleasure to conduct a Festival Raffle which had more than 55 prizes - and that after having a small draw at the end of the competitions! My thanks go to all NAAFC Clubs, individuals and Festival friends for their contributions to this superb raffle.
In conclusion, I must thank everyone who helped make this year’s Festival as successful and enjoyable as any before it – competitors, teachers, parents, Committee members, advertisers, sponsors, helpers, raffle donors, adjudicators and most importantly, the listening public. Special thanks also to Festival Secretary, Margaret Macari, for her efficient service to me, the Committee and all competitors throughout the year. If there was any aspect of this year’s Festival that readers feel could be improved, then the Committee would welcome feedback – all comments received will be discussed at the next Committee meeting in May.
All the remains is for me to say once again a huge ‘thank you’ to everyone who helped make this year’s Festival another successful occasion – from a musical and social point of view. See you all next year!!! Saturday, 2nd March 2002 – same time, same place (as they say). Don’t forget to visit the Festival Website www.naafc.fsnet.co.uk – for all the results from the 27th Musselburgh Festival and details (as they emerge) of next year’s event.
Junior Accordion
Under 12 Traditional Accordion Solo – Pentland Cup
1) Alexander MacKenzie (Dingwall)
2) Amy Johnson (Currie)
3) Gemma Coupland (Loanhead)
12 and Under 16 Traditional Solo – Jim Johnstone Cup
1) David MacKenzie (Dingwall)
2) Neil angus MacNeil (Aberdeen)
3) Kirsty Johnson (Currie)
Junior Accordion Solo Pipe Music – Bill Black Cup
1) Tom Orr (Lanark)
2) Matthew MacLennan (Kiltarlity)
3) Nicky McMichan (Lochmaben)
Junior Traditional Duet – Angus Howie Cups
1) Donna & Graeme Davidson (Banchory)
2) Tom Orr (Lanark) & Nicky McMichan (Lochmaben)
3) Craig & Brian MacDonald (Ayr)
Senior Accordion
Senior Traditional Accordion Solo – Clinkscale Cup
1) Liam Stewart (Galston)
2) Neil Galloway (Cupar)
3) Graeme MacKay (Inverness)
Senior Accordion Pipe Music Solo – Bill Powrie Memorial Cup
1) Philip Copland (Dundee)
2) Susan MacFadyen (West Kilbride)
3) Colin Brown (Edinburgh)
Open Accordion Championship – Todhills Trophy
1) Liam Stewart (Galston)
2=) David Nisbet (Edinburgh)
2=) Tom Orr (Lanark)
2=) Stuart Cameron (Fort William)
Senior Overall Accordion Champion - The Bobby MacLeod Trophy
1=) Graeme Davidson (Inverness)
1=) Liam Stewart (Galston)
Open Buttonkey Accordion Solo – Windygates Trophy
1) Graeme MacKay (Inverness)
2) John Weaks (Glasgow)
3)
Trios – Jimmy Blue Trophy
1) Tayside Triad (Perth)
2) Birkhill Trio (Dundee)
3) Nicky McMichan (Lochmaben)
Bands – Overall Winner - Iain MacPhail Cup
1) Tom Orr (Lanark)
2) Blair Gardiner (Libberton, Carnwath)
3) Ian Adamson (Cupar)
Band – Rhythm Section - Arthur Easson Memorial Trophy
1) Alasdair MacCuish (Paisley)
Own Composition – Willie Wilson Cup
1) Michael Philip (Cardenden)
2) Maureen Rutherford (Perth)
3) George Burns (Kilsyth)
Under 12 Classical Solo – Kelso Cup
1) Jim Gold (Douglas)
2) Robert Menzies (Thornhill)
3) John Morrison (Glasgow)
Under 14 Classical Solo – Aberdeen Cup
1) No competitors
2)
3)
Under 16 Classical Solo – Dundee shield
1) David MacKenzie (Dingwall)
2) Fiona Titterington (Carlisle)
3) Jennifer Maxwell (Carlisle)
Open Classical Solo – Clinkscale Shield
1) Paul Chamberlain (Manchester)
2) Ross Fleming (Blairgowrie)
3) Tom Orr (Lanark)
Under 13 Classical Duet – Beith & District A&F Club Cups (Willie Wilson Memorial Trophies)
1=) Robert Menzies (Thornhill)
1=) Jim Gold (Douglas)
Under 16 Classical Duet - Alex MacArthur Cups
1) Fiona Titterington (Carlisle) & Jennifer Maxwell (Carlisle)
2) Caitlin O’Donnell & Alison Hope (Peebles)
3)
Open Classical Duet – Dunfermline Cup
1) ) Fiona Titterington (Carlisle) & Jennifer Maxwell (Carlisle)
2)
3)
Classical Polka
Under 10 Classical Polka Solo – The Todhills Trophy
1)
2)
Under 14 Classical Polka Solo – Newtongrange Shield
1) Jim Gold (Douglas)
2)
3)
Open Classical Polka Solo – Tign-Na-Gorm Cup
1) Nicky McMichan (Lochmaben)
2) Paul Chamberlain (Manchester)
3) Gary Forrest (Jedburgh)
Under 14 Classical Musette Accordion Solo – John Laidlaw Memorial Trophy
1) Gemma Coupland (Loanhead)
2)
3)
Open Classical Musette Accordion Solo – Christine Hunter Memorial Trophy
1) John Burns (Falkirk)
2) Paul Chamberlain (Manchester)
3) Jan Kowalski (Edinburgh)
Fiddle Sections
Under 12 Fiddle Solo – NAAFC Musselburgh Festival Trophy
1) Sophie Sneddon (Dundee)
2) Malcolm Watson (Dundee)
3) Katherine Brooke (Aberdeen)
Junior Fiddle Solo – MSR – Strathspey and Reel Association Cup
1) Erin Smith (Aberdeen)
2) Graeme Davidson (Banchory)
3) Anna Currie (Taynault)
Junior Fiddle Solo – Slow Air – Dougie Welsh Cup
1) Fiona Johnson (Currie)
2) George Smith (Aberlemno)
3) Donna Davidson (Banchory)
Senior Fiddle Solo – Slow Strathspey, MSR – St. Boswell Cup
1) Ingrid Hammond (Dundee)
2) Neil Adams (Prestwick)
3) Ruaridh Campbell (Callander)
Senior Fiddle Solo – Slow Air – Ron Gonella Cup
1) Neil Adams (Prestwick)
2) Perdy Syres-Gibson (Edinburgh)
3) Ruaridh Campbell (Callander)
Open Fiddle Championship – Banchory S&R Society Trophy
1) Ingrid Hammond (Dundee)
2=) Graeme Davidson (Banchory)
2=) Erin Smith (Aberdeen)
Overall Fiddle Champion - The Angus Fitchet Trophy
Neil Adams (Prestwick)
Overall Junior Fiddle Champion – Judith Linton Trophy
Erin Smith (Aderdeen)
Open Fiddle Groups – Lesmahagow Quaich
1) Tayside Young Fiddlers (Dundee)
2) St John’s Stringers (Dundee)
Youngest Girl Competitor – John McQueen Medal
Katherine Brooke (Aberdeen)
Youngest Boy Competitor – John McQueen Medal
Jim Gold (Douglas)
The Ten-Key Diatonic Melodeon
By Sandy Tulloch
My interest in melodeon playing……
CD Reviews
In Full Swing – The Lomond Ceilidh Band – LCRCD2
Favourites – The Bon-Accords
Book Review
The Music of Angus Fitchet – Vol 1
Letters to the Editor
Take the Floor – Saturdays with Robbie Shepherd
7th Apr 01 – Wayne Robertson SDB
14th Apr 01 – Hector McFadyen SDB
21st Apr 01 – Jim Johnstone SDB
28th Apr 01 – James Coutts SDB
5th May 01 – Craigowl SDB + guest Dermot O’Brien
CLUB DIARY
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 24th Apr 01 – Patsy Reid
Alnwick (The Farrier’s Arms – Shilbottle) 11th Apr 01 – Premier A&F Club
Annan (St Andrew’s Social Club) - 15th Apr 01 – David Oswald SDB
Arbroath (Viewfield Hotel) - 1st Apr 01 – Da Fustra
Armadale (Masonic Hall) – 5th Apr 01 – Davie Stewart Trio
Balloch (St. Kessog’s Church Hall) – 22nd Apr 01 – Iain MacPhail SDB
Banchory (Burnett Arms Hotel) – 30th Apr 01 - tbc
Banff & District (Banff Springs Hotel) –
Beith & District (Anderson Hotel) – 16th Apr 01 – K.O.D.A.
Belford (Community Centre) – 26th Apr 01 - tbc
Biggar (Municipal Hall) – 8th Apr 01 – Ian Anderson Trio (fiddle)
Blairgowrie (Moorfield Hotel) - 10th Apr 01 – Ray carse
Bromley (Trinity United Reform Church) - 3rd Apr 01 – Richard Shalcross Band
Button Key (Windygates Institute) – 12th Apr 01 – Premier A&F Club
Campsie (Glazert Country House Hotel) - 3rd Apr 01 – Graeme Mitchell SDB
Carlisle (St Margaret Mary’s Social Club) - 12th Apr 01 – Gary Blair
Castle Douglas (Urr Valley Country House Hotel) – 17th Apr 01 – Andy Greig SDB
Coalburn (Miners’ Welfare) - 19th Apr 01 – Bon Accords
Crathes (Crathes Hall, Banchory) - 8th Apr 01 – All players welcome
Crieff & District (Crieff Hotel) 5th apr 01 – Grant Crawford SDB
Cults (Culter Sports & Social Club) 11th Apr 01 – Tom Alexander
Dalriada (Argyll Arms Hotel, Lochgilphead) 17th Apr 01 – Liam Stewart
Dingwall (National Hotel) – 4th Apr 01 – Jimmy & Sandy Lindsay
Dunblane (Victoria Hall) – 18th Apr 01 – Archie McVicar Trio
Dunfermline (Headwell Bowling Club) – 10th Apr 01 – Club Night
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (Torrance Hotel) – Season finished
Ellon (Station Hotel) – 17th Apr 01 – Johnny Duncan
Fintry (Fintry Sports Centre) – 23rd Apr 01 – Patsy Reid
Forfar (Plough Inn) - 29th Apr 01 – Tayside Youth Orchestra
Forres (Victoria Hotel) – 11th Apr 01 – Colin Dewar SDB
Galashiels (Abbotsford Arms Hotel) – 5th Apr 01 - tbc
Galston (Barr Castle Social Club) – 9th Apr 01 – Club Night
Glendale (Black Bull Hotel, Wooler) – 19th Apr 01- tbc
Glenfarg (Lomond Hotel) - 4th Apr 01 – Graeme Mitchell SDB
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 24th Apr 01 - tbc
Gretna (Halcrow Stadium) - 1st Apr 01 – Morag Robertson Trio
Highland (Drumossie Hotel) – 16th Apr 01 - tbc
Inveraray (Argyll Hotel) - 11th Apr 01 – Iain MacPhail SDB
Isle of Skye – (The Royal Hotel, Portree) - 5th Apr 01 – West Telferton Cele SDB
Islesteps (The Embassy Hotel) – 3rd Apr 01 – David Cunningham Jnr
Kelso (Ednam House Hotel) – 18th Apr 01 – Donal Ring Ceili Band
Kintore (Torryburn Hotel) – 4th Apr 01 – James Coutts Trio
Lanark (Ravenstruther Hall) - 21st Apr 01 – Dance to Lindsay Weir
Langholm (Crown Hotel) – Season finished
Lesmahagow (Masonic Hall) – 12th Apr 01 – Frank Morrison & the Hallcraig SDB
Lewis & Harris (Stornoway Legion) - 5th Apr 01 – Peter Bruce
Livingston (Hilcroft Hotel, Whitburn) 17th Apr 01 – Ian Lowthian
Lockerbie (Queen’s Hotel) - 24th Apr 01 – Lothian SDB
Mauchline (Harry Lyle Suite) - Season finished
Montrose (Park Hotel) – 4th Apr 01 – Scott Gordon Trio
Newmill-on-Teviot (Newmill Country Inn) - Season finished
Newtongrange (Dean Tavern) – Season finished
North East (Royal British Legion, Keith) – 3rd Apr 01 – Bill Back SDB
Oban (McTavish’s Kitchen) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 26th Apr 01 – James Coutts Trio
Perth (Salutation Hotel) – 17th Apr 01 – Patsy Reid
Premier NI (Camlin Function Rooms) - 3rd Apr 01 – Johnny Duncan
Renfrew (Masonic Hall, Broadloan) – 10th Apr 01 – Hector McFadyen SDB
Rothbury (Queen’s Head) - 5th Apr 01 – Scott Leslie SDB
Selkirk (Cricket Club) - Season finished
Shetland (Shetland Hotel, Lerwick) - 22nd Apr 01 – Gordon Pattullo
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) - 14th Apr 01 - tbc
Thornhill (Masonic Hall) - 11th Apr 01 – Tommy Ford
Thurso (Pentland Hotel) – 2nd Apr 01 – Graeme Mitchell Trio
Turriff (Royal British Legion) – 5th Apr 01 – Gordon Pattullo
Tynedale (Hexham Ex Service Club) – 19th Apr 01 - tbc
Wick (MacKay’s Hotel) – 17th Apr 01 – Tain SDB
Yarrow (Gordon Arms) - Cancelled until further notice – Foot & Mouth
THERE WERE CLUB REPORTS FROM :-
1. Alnwick & District
2. Annan
3. Arbroath
4. Balloch
5. Banff & District
6. Belford
7. Blairgowrie
8. Button Key
9. Campsie
10. Carlisle
11. Castle Douglas
12. Coalburn
13. Crieff & District
14. Dingwall & District
15. Dunblane
16. Dunfermline & District
17. Dunoon & Cowal
18. East Kilbride
19. Ellon
20. Fintry
21. Forfar
22. Forres
23. Galston
24. Glendale
25. Highland
26. Inveraray
27. Isle of Skye
28. Kelso
29. Kintore
30. Lesmahagow
31. Lewis & Harris
32. Livingston
33. Newtongrange
34. North East
35. Peebles
36. Perth
37. Premier
38. Renfrew
39. Thurso
40. Wick
41. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(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 (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) 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. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
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. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. Wick A&F Club (Oct 1975 - present)
76. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – Mar 2001)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
Advertising rates
Full Page - £120
Half Page - £60
Quarter Page - £30
B&F Treasurer – Sandra Fleming, Blairgowrie
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
Spring is in the air – as you can see from this photograph of my house!
The blizzards brought chaos to many areas, and a number of Clubs had to cancel their meetings. The Foot and Mouth crisis has also taken its toll, not only with Clubs in the South of the country, but also with dances being cancelled in those areas affected. If you are planning to visit a Club, or go to a dance advertised in our diaries, its probably worth checking that it is still going ahead.
This month’s magazine has information about Festivals and Workshops taking place throughout the summer months, from Rothbury to Inverness and many places in between. Why not have a summer of music and dance on the lovely Isle of Skye, or visit the festival in Auchterarder?
Musselburgh Festival was once again a great success, congratulations to everyone involved. I was sorry not to be there, but at that time the Foot and Mouth situation was uncertain, and I didn’t want to risk traveling from a restricted area. Thank you to all of you who passed on your good wishes and support for the magazine. Hopefully things will have eased off a bit in time for the AGM on 24th June, and I look forward to meeting many of you there.
It is 25 years since the death of Will Starr ‘The Daddy of Them All’, and Charlie Todd has written a fascinating article about this legendary accordionist, supported by photographs from Ronnie Coburn.
‘A legend in his own lifetime’, is how many people describe Fergie MacDonald, and you can read about him on Page 8.
Keep the letters, photographs and articles coming. Although the next issue is not until September, we’ll be working on ideas throughout the break. Thank you to everyone who reads and contributes to the magazine, to the B&F Sub Committee, to the printers, and to proof-reader Alison Riddell. Have a wonderful summer, and thank you once again for you kindness, friendship and support.
Karin Ingram
Will Starr (1922 – 1976)
‘The Daddy of Them All’
by Charlie Todd
Having just lost the nation’s greatest exponent of the 3 row British Chromatic ever to grace the bandstand it was recently drawn to my attention by Jimmy Divers from Cleland, Wishaw that 6th March 2001 marked the 25th Anniversary of the death of the greatest 3-row player ever to grace the theatre stage – the legendary Will Starr.
I recall Derek Hamilton saying that it was the untimely death of Will on 6th March 1976 which prompted the NAAFC to start honouring notable musicians while they were still with us, and much valuable work has been done since then, but by then it was too late for the man of whom enthusiasts say to this day “once heard, never forgotten”.
He was born William Starrs in Smithstone Row in the small Dunbartonshire mining village of Croy on April 27th, 1922. His father, Joseph, played the melodeon and Will was only three years old when he too developed an interest.
Will was second eldest son in a family of five girls and three boys and it was along with his sister Rose, at the age of nine, that he started off on the road to success. At the small “go-as-you-please” village talent competitions of the time Will played the melodeon and Rose sang. These competitions were one of the highlights of the year for the host community and would attract competitors and large audiences from surrounding districts and beyond.
Will was one such competitor but he stood apart from the start because of his exceptional talent. Jimmy Divers learned from a friend of Will that although not a participant he picked up additional musical knowledge by attending and listening to Salvation Army Band practices in Kilsyth. His expertise was recognised when he was allowed to leave school a year early, at the age of thirteen, to pursue a career as a professional musician and bring in some much needed additional income for the family in those difficult times. His debut was made (wearing a velvet suit with silver buttons) at the old Glasgow Empress Theatre.
When war broke out in 1939 it was not the Forces that beckoned but the local mines where in time he became a “Bevin Boy” at Gartshore coal mine. However he did not neglect his music-making and it was during the war that he met Robert Wilson, the man who was to set him on the road to nationwide acclaim and stardom. Opinions vary as to the venue of that first meeting – it was either Dunoon or The Central Hotel in Glasgow. Robert invited Will to play the following Sunday at a cinema in Forfar and such was his impact that he was asked to join the White Heather Group.
Will cut his first 78 single for Parlophone in the 1940s on a Stradella Cooperativa. It was an own composition in a Continental waltz style and at that point in time was unnamed. Asked what it was to be called Will settled for the name of his current girlfriend and the unforgettable “Jacqueline Waltz” entered the Scottish Dance music repertoire. It was the first of two dozen 78s he released on that label and about ten LPs on the Thistle and Pye labels.
It was on tour with Robert Wilson’s White Heather Group that most people first came into contact with the strikingly handsome, clean-cut young Will Starr. Immaculately dressed the kilt or occasionally trews for his many stage appearances he created the image remembered today. Bearing in mind that his music was entirely unaccompanied, Will was still able to captivate both musicians and non-musicians alike with his blistering performances on what had previously been seen only as the humble melodeon.
Another notable feature for the time was that his performances consisted not only of Scottish melodies but dazzling Continental pieces by composers such as Peguri, Vacher and Peyronnin being heard live for the first time such as Four Accordion Solos As Played by Will Starr and published by J. S. Kerr in 1959 namely “Rhein de Musette”, “Les Triolets”, “Martelette” and “Bourrasque”.
Let’s hear though from someone who actually witnessed Will in action, Accordion Club regular and Starr enthusiast Jimmy Divers – “I first heard Will Starr around 1945/6 when I was at the tender age of sixteen. When the word came that the White Heather Group were appearing at a concert in the local Parochial Hall there was a scramble for tickets. Most people were interested in Robert Wilson or Jack Radcliffe but since my father played a 2-row, and my brother a 5-row, our interest lay farther down the bill. An uncle, who also played the 2-row and the dulcimer, had heard Will Starr in The Metropole and The Pavilion and told us not to miss him.
That night he had two spots, each lasting approximately fifteen minutes. His first spot consisted of a set of jigs, ‘The Cuckoo Waltz’, ‘Standchen’ and ‘The Martelette Polka’ and in the second he played ‘The Hills of Perth’, ‘The Jacqueline Waltz’, ‘The Last Post’ and finished with a set of hornpipes, which included ‘The Johnston Hornpipe’, ‘The High Level’ and ‘Harvest Home’.
To say that he was well received would be an understatement. His handling of the 3-row Franchitti was superb. Here was a diatonic player playing solo with a punch and flair not surpassed by any of the multi-couplered single action accordionists of his time.
As any diatonic player will attest, it is very difficult to play forcefully and retain control of the instrument. This was obviously not a problem to Will Starr. His control of the bellows, the air-bar and the keyboard was absolute. He was also the first I ever heard playing Musette Waltzes and Polkas.
After that first concert I was firmly hooked by the music of Will Starr. I heard him perform many times and never left disappointed. He played with such ‘lift’ and verve that you felt compelled to march or dance to the music. I have heard the phrase ‘it made the hair stand up on the back of my neck’ used and abused many times about much lesser mortals but if you want to really experience that feeling then listen to Will Starr playing ‘The Harvest Home Hornpipe’ or ‘The Martelette Polka’ to name just two examples of his outstanding playing. His last record had, for me, the most appropriate of titles The Daddy of Them All.”
As a matter of interest, Jimmy tells me that Franchitti accordions were made in Glasgow and that Will probably developed his interest in Continental music from the 78s of Emily Vacher, a French diatonic accordionist who had lost his left hand in a road accident and who recorded with banjo accompaniment.
It was in 1948 that the Group headed for Toronto in Canada. Their concert was a sell out and the audiences just wouldn’t let them off stage. This date was their only one at that time but word got round, which in turn led to regular tours of Canada and America with South Africa and Hong Kong sometimes thrown in for good measure.
One of his proudest moments was when he was presented with the freedom of Chilliwack in British Columbia during a tour in 1952. He had been asked to attend a civic dinner with other performers from the tour but knew nothing of the honour he was about to receive which created him “Honorary Mayor of Chilliwack”
With the death of Robert Wilson in 1963 following a road accident, Will had to move in new directions. The Royal Clansmen came into being after a spot in a show in Perth Theatre, which led to an opportunity for the group to appear on an episode of “Calum’s Ceilidh” with Calum Kennedy.
The Royal Clansmen
The Royal Clansmen, in turn, were given a show of their own on Grampian TV, which ran for four series and scored highly in the audience popularity ratings. Members of the group, at various times, will include many names well known to readers. They were Will, Alec Finlay, Arthur Spink, Dennis Clancy, George Hill, Billy Leslie, John Crawford, Joss Esplin, Blanche McInnes, Billy Marshall, Ronnie Coburn, Grant Fraser and Joe McBride.
By 1965 Will’s act was taking a new slant as he acted as feed man to Alec Finlay in comedy routines. He had a rather unique voice rather well suited to comedy. He also had a “peculiar” singing voice and this was always good for a laugh when he sang with the Clansmen. Earlier he had made a record for Parlophone singing a song called “Croy Hill”. This is an experience not to be missed if you ever get a chance to hear it.
Will’s last appearance on stage was at the Adam Smith Centre in Kirkcaldy in the summer of 1975 and his last TV appearance was on Grampian’s Hogmanay Show of 1975/6. By then he was seriously ill and his last remaining months were spent at his home in Croy. Despite having travelled the world he had always returned to his home village. He died on 6th March, 1976.
Ronnie Coburn, Will’s manager, fellow artiste and close personal friend says of Will “He was a professional’s professional and in all his working years I never heard him once criticise a fellow artiste – in fact he went out of his way to help and advise any newcomer to the world of showbusiness”. Such a case in point was the then young accordionist from Coatbridge, Billy Marshall.
Will’s funeral on March 10th 1976 was an enormous affair as befitted a man who had contributed so much to Scottish Dance music and to Croy. The funeral cortege, with most of the mourners on foot, stretched for over a mile as it covered the distance between Croy and Kilsyth Cemetery. At the graveside the honour of playing Will’s favourite tune “The Mist covered Mountains”, on Will’s own black Shand Morino, fell to Bill Powrie.
Will’s two black Shand Morinos recently re-entered the music scene when sisters Rose and Teresa decided to sell. The 4-row version with the “dummy” row resides in the huge collection of Northern Ireland’s very own Ken Hopkins while the 3-row is now in the very capable playing hands of Jim MacKay from Inverness. Both of these accordions got an airing at the Button-key Shand Morino Day at the end of January.
My thanks to Ronnie Coburn, who is about to embark on his 41st tour of Canada with “The Breath of Scotland”, and Jimmy Divers for their assistance with information and photographs for this article.
Twenty five years have now elapsed since Will’s death yet his memory remains as strong as ever, and will do I am quite sure, for as long as Scottish Dance music is played and enjoyed.
A Knight to Remember
by Archie Paterson
In common, I’m sure, with many thousands of others my first experience of Jimmy Shand and his music was on the Saturday evening Scottish Dance Music programmes. That was in the early 1950’s and although there were many great bands at that time the Shand sound was, for me, always the best and most easily recognizable and has given me a life-long love of this type of music. This early inspiration from the Shand sound gave me my ambition to play Scottish Dance Music and, over the years, I have had much pleasure in doing so, firstly on the mouthorgan and then on the 3-row button box.
I first had the privilege of meeting Jimmy shand nine years ago when I went to play at the Letham Accordion & Fiddle Group. Jimmy still played at that time and it was wonderful to watch at close hand his technique on the 3-row box. It soon became obvious that there are some things that just can’t be learned. My best memory of him happened about 18 months ago. I was leaving Letham Hall after another great night. Sir Jimmy was sitting near the door waiting for his lift home and as usual I stopped to shark his hand. As I did so he pulled me towards him and said, “Aye ye’re still playin’ well son.” After hearing this I think I floated out of the door! These quiet, sincere words of encouragement from a master to a very average player are something I will never forget.
He was a true gentleman and his contribution both to the playing and composition of Scottish Dance Music is a legacy that will live on for a very long time.
Fergie
by Karin Ingram
Mention the name ‘Fergie’ in the traditional music scene in Scotland, and everyone knows exactly who you are talking about – Fergie MacDonald of Acharacle, Argyll. Not only is he a respected and much-loved musician, he is also a crack shot – having won 14 Scottish Caps for clay pigeon shooting. His fame (or should I say notoriety?) extends throughout the country, but the best tales abound in the Hebrides and the Highlands, areas that Fergie says are ‘his domain’.
Fergie is entirely self taught. He began playing at the age of 9, starting out on a piano accordion , before moving on to a 2-row button box when he was 11. (At this point Fergie would like to point out that contrary to popular belief, misconception and misquotation, he does not wish to see all piano accordions ‘at the bottom of the Minch’!) He remembers the thrill of owning his first button-box, “It cost £14, and my dad paid it off at 10/- a month.
He was 16 when he made his public debut, playing for a local dance with only a drummer for accompaniment, and no amplification at all. After that he had a steady stream of bookings. His favourites, he says, were in the ‘bothans’ (illegal drinking dens) of the Highlands and Islands. “I loved it, the Cream of the Earth go there! I’ve shared the stage with people like Andy Stewart, Dave Berry, Alan Price and Johnny Dankworth but nothing could compare with those nights in the bothans!”
Sadly, those visits are no more for, by his own admission, Fergie is a recovering alcoholic. He says, “Nobody believed that I would be able to give it up, it had too strong a hold on me. It’s been 18 years now since my last drink, and if I can do it, anybody can. If I can help just one person realise that they have a problem but that they can overcome it, then some good will have come of my admitting my own alcoholism.”
Fergie passed his BBC Dance Music audition in 1965. At that time all broadcasting bands played strict tempo Scottish Country Dance Music. After Fergie’s fifth broadcast in the late 60’s, the BBC wrote to him, telling him that his broadcasting career was ‘terminated.’ Says Fergie, “I think I’m the only guy that has ever been fired!” Apparently the BBC had received umpteen letters saying that his playing was a million miles away from Scottish Country Dance music.
Undeterred, Fergie continued playing his kind of music, and began recording. He had a very successful album called There’s Irish on the Islands, which many considered to be the first major breakaway from the real SCD music sound. Fergie brought in the traditional ceilidh instruments of flute, small pipes and banjo, and speeded up the tempo. It has been said that what Jimmy Shand was SCD music and Bobby MacLeod was to Pipe Music, so Fergie was to Ceilidh Music as we know it today.
When he gave up drinking in the early eighties, Fergie also gave up playing music – thinking that the two went hand in hand. He takes up the story, “For seven years I never played a note. One day in about 1990/91 I was in my hotel kitchen when this man walked into the bar. I heard him asking if Fergie was around, so I walked through. Bear in mind that I had been out of the scene for a number of years, so I didn’t have a clue who was who. All my albums were up on the wall, and the guy pointed up at them and said, “Fergie, my name is Phil Cunningham (never meant a thing to me)’. ‘I’m just looking at the albums. Do you know that I’ve got every one of these? I love your music. I play the box a wee bit myself – I’ve got it outside in the car. I’d love to play a wee tune with you.” I say “Okay and went and got my box. At that point the phone rang in the kitchen (which was next to the bar) and I went to answer it. I was hearing this music and couldn’t believe what I was hearing. I’d never heard anything so great in my life! Phil stopped and asked, “Have you got your box?” “I can’t play like that,” I said, “That’s crazy music!” Well, we can down about a hundred levels, and played Loch Lomond together. Phil went on to play the most amazing music I had ever heard in my life, then he said, “We’ll have to get you back Fergie.” “Oh no,” I said, “I’ve had my day, I’ve been and gone.” “No” he said, “You’ve got too much to offer. The BBC has asked me to do a series – Taila Bhalla. I’m suggesting that you gather a group around you, because I’m going to send for you!” Not long after that he phoned and asked me to do a programme. From that day I’ve had a complete new run at it – ‘Take the Floor’ and everything. Phil was the man who brought it all about, that’s why I think so highly of him – he’s my dearest musical friend.”
In the late 80’s Fergie’s album Fergie and the Mudairtaich rocked Scotland and abroad. It was loaded with the instrumentation one can expect in modern-day Ceilidh music. It had button-box, small pipes, banjo, whistle, flute, bodhran, piano and drums. There had been bands playing in the Ceilidh style prior to this, but most still retained the traditional Scottish Dance Band line-up of accordions, fiddle, piano, bass and drums. Suddenly everyone wanted to dance to and play Ceilidh music. The BBC was being asked why they were not catering for this new interest, and so they invited Fergie back to play the very music for which he had been fired. Truly a man ahead of his time!
For someone who can’t read or write music and has never had a lesson in his life, Fergie’s done all right. To date he has recorded 22 albums, and made umpteen broadcasts and TV appearances. His latest album, Ceilidh House, sold 6,000 copies in 10 weeks in Scotland. His 21-year-old son, John, is carrying on the family tradition. He, too, plays the button-box and can be heard on one of the tracks on the CD.
Fergie’s compositions feature regularly in sets by other bands. How often is ‘Jig Runrig’ included in a lively Strip the Willow set for example? Taking of Runrig, Fergie tells a story of when his band was following The Occasionals on stage at ‘The Highland Annual’ in Edinburgh. Malcolm Jones, guitarist with Runrig, was playing with them that night. Fergie says, “I’ve known Malcolm for years, but sometimes my mind just goes blank – the effect of years of hooch! I was shaking hands with him, but I couldn’t remember his name. Nice to see you Paul’ I said, (I was thinking of Jones!) He whispered, “It’s Malcolm, Fergie.” “Sorry Paul,” I said. I felt terrible!”
Some of Fergie’s personal favourites include ‘The Shinty Referee,’ written for Henry McInnes of Portnalong, ‘Roddy Wright’s Jig’, ‘Donald Findlay’s Jig’ and ‘Ness Bothan’ (about one of the aforementioned drinking dens). ‘Maureen’s Jig’, ‘Reunion Reel’ and ‘Anne’s Reel’ also seem to be popular with other musicians. He says that perhaps it’s his lack of musical knowledge and technology that makes the difference. His tunes are absolutely traditional Highland/Gaelic/Celtic music. He writes his tunes in his own musical form – no-one else can read it (“They’ll all be thinking I’m in the Masons!”) except for Iain MacFarlane, who is in the process of compiling Fergie’s next music book entitles ’25 New Tunes by Fergie MacDonald’. Fergie is also breaking into the world of literature. He has been commissioned by Gaelic publishers Achair from Stornoway to write a book of fifty short stories. These will all relate to a Highland Dance Band leader over 40 years. Fergie will rely heavily on his own experiences to come up with funny, sad and original stories. I suspect that these will need to be checked very carefully by a lawyer before publication!
Fergie regularly plays at Accordion and Fiddle Clubs. But he says he never plays Scottish Dance Music. “I must play my own music because I’m completely out of my depth in the other stuff. There are plenty of experts already who can handle that, although sometimes it makes me cringe when I hear some of them playing Gaelic Waltzes. All my life I have been on the road, playing in among the crowd – sometimes a dancer landing on the stage with bottle in hand! I love it, but particularly in the Highlands and Islands.”
For the last 25 years Fergie has had a fear of flying, ever since a plane he was traveling in experienced difficulties landing in Hamburg, when the undercarriage wouldn’t come down. It means that he’s had to turn down gigs in Vancouver and Hong Kong in the last year alone, but he has no shortage of offers closer to home. His next ‘Take the Floor’ broadcast is in the autumn, and will be from Stornoway – the first from the Outer Hebrides. Rest assured – Fergie’s here to stay this time!
Musselburgh Festival 2001
27 Not Out
by Neil Copland
Saturday, 3rd March 2001, was the date for the 27th Annual Accordion and fiddle championships (Musselburgh Festival) organised by the National Association of Accordion and fiddle Clubs. Severe weather and the outbreak of Foot and Mouth Disease across the UK marred the run-up to this year’s event. The effect those two issues would have on our numbers (both competitors and supporters) concerned me, as the Festival Committee recognises the support and involvement of a large number of the farming / rural communities in the playing of our music. Fortunately, there seemed to be little impact on the number of competitors who came along to entertain the adjudicators and listeners, although the number of people attending the dance in the evening was down compared to previous years.
However, once again we were blessed with a beautiful sunny (if very cold) early spring morning, and we all eagerly anticipated the prospect of another super day of all that is good amongst the younger (and not so younger!) players of our traditional and classical music on the accordion and/or fiddle. Entries this year were at 240. This is slightly up on 2000 with yet again a further increase in the junior fiddle entries, at the expense of the classical accordion classes. This continuing increase in the junior fiddle numbers is all down to 3 or 4 teachers in schools, who are now actively involved in promoting the playing of Scottish fiddle music in schools. They are to be commended for pushing hard on this matter and getting the results as was evidenced at the Brunton Halls last month. The support of these teachers and the parents of their pupils is greatly appreciated by the Festival Committee.
As you will know, the chosen composer for this year’s Open Fiddle Championship Class was Bert Murray M.B.E. and it was my great pleasure to welcome to welcome Bert to the Festival. Bert was absolutely thrilled to have been chosen and was determined to be present to hear his tunes played in such an august competition. I had hoped that Bert would be able to present the trophy to the new champion but this was not possible for a number of reasons.
This year we incorporated tow new competitions – the Overall Junior Fiddle championship awarded for the beautiful Judith Linton Trophy (won by Erin Smith from Aberdeen) and the Open Accordion Championship Section for the designated Todhills Trophy. This new section is modeled on the Open Fiddle Championship Class and the chosen composer for this year was Jim Johnstone, in acknowledgement of Jim’s time as Chairman of the NAAFC until last summer. The competition for both these Championships was fierce, and the two winners – Ingrid Hammond (fiddle) and Liam Stewart (accordion) thoroughly deserved to take the honours following the play-offs in the evening concert. I can also confirm that the chosen composers for these sections for the 2002 Festival are Bob Edward (fiddle) and Angus Fitchet (accordion). This will surely encourage sales of the new volume of Angus’ compositions the the NAAFC have only just published.
The adjudication panel this year comprised no fewer than 5 new faces to our Festival (Simon Howie, Judith Linton, Peter Zanre, Alan Preston and ‘Lady’ Pam Wilkie) as well as 4 ‘old’ friends (Bill black, Ron Kerr, Freeland Barbour and Jimmy Cassidy) returning to Musselburgh, some after a number of years since their last visit. All of the adjudicators commented favourably on the quality of playing they heard throughout the day.
The Brunton Hall complex continues to be an ideal venue for the Festival and with the availability of the Theatre this year, we only had to use one external venue. Hopefully, this did not cause too many problems for competitors and listeners and that everyone was able to hear their favourite sections. The need to use the Christian Centre Hall again meant that we had to schedule some sections outwith their ‘traditional’ venues. Despite some early timing difficulties which threatened to throw the whole day into turmoil, by some miracle, the planned situation whereby the only competition taking place by 4 p.m. was the Band Section in the Main Hall, actually materialized and the atmosphere at that point in the day was absolutely electric. There must have been around 300 people in the Main Hall to hear a band competition featuring 10 entries – what a climax to a day of competitions!
After a slight delay the concert, featuring prizewinners from 2001 and previous years – Judith Linton (also one of our adjudicators) - and again this year compered by Jennifer Forrest and John Caskie got underway. This double act is now well established in terms of the format for the concert and hopefully we can build on this aspect. Once again, our friends from the BBC ‘Take the Floor’ team were present to record the highlights of another Festival concert. These were broadcast over a 2-week period subsequent to the Festival and my thanks again go to Ken Mutch and the BBC team for their continued support of Musselburgh Festival. They certainly would have had some hard decisions to take about what material to keep in and what to leave out, since the quality of performances was outstanding.
Following a most successful concert, the Festival Dance was in the ever capable hands of the Colin Dewar SDB – what an end to our day. The music was superb – just as we have come to expect from this talented group of musicians. During the dance it was my pleasure to conduct a Festival Raffle which had more than 55 prizes - and that after having a small draw at the end of the competitions! My thanks go to all NAAFC Clubs, individuals and Festival friends for their contributions to this superb raffle.
In conclusion, I must thank everyone who helped make this year’s Festival as successful and enjoyable as any before it – competitors, teachers, parents, Committee members, advertisers, sponsors, helpers, raffle donors, adjudicators and most importantly, the listening public. Special thanks also to Festival Secretary, Margaret Macari, for her efficient service to me, the Committee and all competitors throughout the year. If there was any aspect of this year’s Festival that readers feel could be improved, then the Committee would welcome feedback – all comments received will be discussed at the next Committee meeting in May.
All the remains is for me to say once again a huge ‘thank you’ to everyone who helped make this year’s Festival another successful occasion – from a musical and social point of view. See you all next year!!! Saturday, 2nd March 2002 – same time, same place (as they say). Don’t forget to visit the Festival Website www.naafc.fsnet.co.uk – for all the results from the 27th Musselburgh Festival and details (as they emerge) of next year’s event.
Junior Accordion
Under 12 Traditional Accordion Solo – Pentland Cup
1) Alexander MacKenzie (Dingwall)
2) Amy Johnson (Currie)
3) Gemma Coupland (Loanhead)
12 and Under 16 Traditional Solo – Jim Johnstone Cup
1) David MacKenzie (Dingwall)
2) Neil angus MacNeil (Aberdeen)
3) Kirsty Johnson (Currie)
Junior Accordion Solo Pipe Music – Bill Black Cup
1) Tom Orr (Lanark)
2) Matthew MacLennan (Kiltarlity)
3) Nicky McMichan (Lochmaben)
Junior Traditional Duet – Angus Howie Cups
1) Donna & Graeme Davidson (Banchory)
2) Tom Orr (Lanark) & Nicky McMichan (Lochmaben)
3) Craig & Brian MacDonald (Ayr)
Senior Accordion
Senior Traditional Accordion Solo – Clinkscale Cup
1) Liam Stewart (Galston)
2) Neil Galloway (Cupar)
3) Graeme MacKay (Inverness)
Senior Accordion Pipe Music Solo – Bill Powrie Memorial Cup
1) Philip Copland (Dundee)
2) Susan MacFadyen (West Kilbride)
3) Colin Brown (Edinburgh)
Open Accordion Championship – Todhills Trophy
1) Liam Stewart (Galston)
2=) David Nisbet (Edinburgh)
2=) Tom Orr (Lanark)
2=) Stuart Cameron (Fort William)
Senior Overall Accordion Champion - The Bobby MacLeod Trophy
1=) Graeme Davidson (Inverness)
1=) Liam Stewart (Galston)
Open Buttonkey Accordion Solo – Windygates Trophy
1) Graeme MacKay (Inverness)
2) John Weaks (Glasgow)
3)
Trios – Jimmy Blue Trophy
1) Tayside Triad (Perth)
2) Birkhill Trio (Dundee)
3) Nicky McMichan (Lochmaben)
Bands – Overall Winner - Iain MacPhail Cup
1) Tom Orr (Lanark)
2) Blair Gardiner (Libberton, Carnwath)
3) Ian Adamson (Cupar)
Band – Rhythm Section - Arthur Easson Memorial Trophy
1) Alasdair MacCuish (Paisley)
Own Composition – Willie Wilson Cup
1) Michael Philip (Cardenden)
2) Maureen Rutherford (Perth)
3) George Burns (Kilsyth)
Under 12 Classical Solo – Kelso Cup
1) Jim Gold (Douglas)
2) Robert Menzies (Thornhill)
3) John Morrison (Glasgow)
Under 14 Classical Solo – Aberdeen Cup
1) No competitors
2)
3)
Under 16 Classical Solo – Dundee shield
1) David MacKenzie (Dingwall)
2) Fiona Titterington (Carlisle)
3) Jennifer Maxwell (Carlisle)
Open Classical Solo – Clinkscale Shield
1) Paul Chamberlain (Manchester)
2) Ross Fleming (Blairgowrie)
3) Tom Orr (Lanark)
Under 13 Classical Duet – Beith & District A&F Club Cups (Willie Wilson Memorial Trophies)
1=) Robert Menzies (Thornhill)
1=) Jim Gold (Douglas)
Under 16 Classical Duet - Alex MacArthur Cups
1) Fiona Titterington (Carlisle) & Jennifer Maxwell (Carlisle)
2) Caitlin O’Donnell & Alison Hope (Peebles)
3)
Open Classical Duet – Dunfermline Cup
1) ) Fiona Titterington (Carlisle) & Jennifer Maxwell (Carlisle)
2)
3)
Classical Polka
Under 10 Classical Polka Solo – The Todhills Trophy
1)
2)
Under 14 Classical Polka Solo – Newtongrange Shield
1) Jim Gold (Douglas)
2)
3)
Open Classical Polka Solo – Tign-Na-Gorm Cup
1) Nicky McMichan (Lochmaben)
2) Paul Chamberlain (Manchester)
3) Gary Forrest (Jedburgh)
Under 14 Classical Musette Accordion Solo – John Laidlaw Memorial Trophy
1) Gemma Coupland (Loanhead)
2)
3)
Open Classical Musette Accordion Solo – Christine Hunter Memorial Trophy
1) John Burns (Falkirk)
2) Paul Chamberlain (Manchester)
3) Jan Kowalski (Edinburgh)
Fiddle Sections
Under 12 Fiddle Solo – NAAFC Musselburgh Festival Trophy
1) Sophie Sneddon (Dundee)
2) Malcolm Watson (Dundee)
3) Katherine Brooke (Aberdeen)
Junior Fiddle Solo – MSR – Strathspey and Reel Association Cup
1) Erin Smith (Aberdeen)
2) Graeme Davidson (Banchory)
3) Anna Currie (Taynault)
Junior Fiddle Solo – Slow Air – Dougie Welsh Cup
1) Fiona Johnson (Currie)
2) George Smith (Aberlemno)
3) Donna Davidson (Banchory)
Senior Fiddle Solo – Slow Strathspey, MSR – St. Boswell Cup
1) Ingrid Hammond (Dundee)
2) Neil Adams (Prestwick)
3) Ruaridh Campbell (Callander)
Senior Fiddle Solo – Slow Air – Ron Gonella Cup
1) Neil Adams (Prestwick)
2) Perdy Syres-Gibson (Edinburgh)
3) Ruaridh Campbell (Callander)
Open Fiddle Championship – Banchory S&R Society Trophy
1) Ingrid Hammond (Dundee)
2=) Graeme Davidson (Banchory)
2=) Erin Smith (Aberdeen)
Overall Fiddle Champion - The Angus Fitchet Trophy
Neil Adams (Prestwick)
Overall Junior Fiddle Champion – Judith Linton Trophy
Erin Smith (Aderdeen)
Open Fiddle Groups – Lesmahagow Quaich
1) Tayside Young Fiddlers (Dundee)
2) St John’s Stringers (Dundee)
Youngest Girl Competitor – John McQueen Medal
Katherine Brooke (Aberdeen)
Youngest Boy Competitor – John McQueen Medal
Jim Gold (Douglas)
The Ten-Key Diatonic Melodeon
By Sandy Tulloch
My interest in melodeon playing……
CD Reviews
In Full Swing – The Lomond Ceilidh Band – LCRCD2
Favourites – The Bon-Accords
Book Review
The Music of Angus Fitchet – Vol 1
Letters to the Editor
Take the Floor – Saturdays with Robbie Shepherd
7th Apr 01 – Wayne Robertson SDB
14th Apr 01 – Hector McFadyen SDB
21st Apr 01 – Jim Johnstone SDB
28th Apr 01 – James Coutts SDB
5th May 01 – Craigowl SDB + guest Dermot O’Brien
CLUB DIARY
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 24th Apr 01 – Patsy Reid
Alnwick (The Farrier’s Arms – Shilbottle) 11th Apr 01 – Premier A&F Club
Annan (St Andrew’s Social Club) - 15th Apr 01 – David Oswald SDB
Arbroath (Viewfield Hotel) - 1st Apr 01 – Da Fustra
Armadale (Masonic Hall) – 5th Apr 01 – Davie Stewart Trio
Balloch (St. Kessog’s Church Hall) – 22nd Apr 01 – Iain MacPhail SDB
Banchory (Burnett Arms Hotel) – 30th Apr 01 - tbc
Banff & District (Banff Springs Hotel) –
Beith & District (Anderson Hotel) – 16th Apr 01 – K.O.D.A.
Belford (Community Centre) – 26th Apr 01 - tbc
Biggar (Municipal Hall) – 8th Apr 01 – Ian Anderson Trio (fiddle)
Blairgowrie (Moorfield Hotel) - 10th Apr 01 – Ray carse
Bromley (Trinity United Reform Church) - 3rd Apr 01 – Richard Shalcross Band
Button Key (Windygates Institute) – 12th Apr 01 – Premier A&F Club
Campsie (Glazert Country House Hotel) - 3rd Apr 01 – Graeme Mitchell SDB
Carlisle (St Margaret Mary’s Social Club) - 12th Apr 01 – Gary Blair
Castle Douglas (Urr Valley Country House Hotel) – 17th Apr 01 – Andy Greig SDB
Coalburn (Miners’ Welfare) - 19th Apr 01 – Bon Accords
Crathes (Crathes Hall, Banchory) - 8th Apr 01 – All players welcome
Crieff & District (Crieff Hotel) 5th apr 01 – Grant Crawford SDB
Cults (Culter Sports & Social Club) 11th Apr 01 – Tom Alexander
Dalriada (Argyll Arms Hotel, Lochgilphead) 17th Apr 01 – Liam Stewart
Dingwall (National Hotel) – 4th Apr 01 – Jimmy & Sandy Lindsay
Dunblane (Victoria Hall) – 18th Apr 01 – Archie McVicar Trio
Dunfermline (Headwell Bowling Club) – 10th Apr 01 – Club Night
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (Torrance Hotel) – Season finished
Ellon (Station Hotel) – 17th Apr 01 – Johnny Duncan
Fintry (Fintry Sports Centre) – 23rd Apr 01 – Patsy Reid
Forfar (Plough Inn) - 29th Apr 01 – Tayside Youth Orchestra
Forres (Victoria Hotel) – 11th Apr 01 – Colin Dewar SDB
Galashiels (Abbotsford Arms Hotel) – 5th Apr 01 - tbc
Galston (Barr Castle Social Club) – 9th Apr 01 – Club Night
Glendale (Black Bull Hotel, Wooler) – 19th Apr 01- tbc
Glenfarg (Lomond Hotel) - 4th Apr 01 – Graeme Mitchell SDB
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 24th Apr 01 - tbc
Gretna (Halcrow Stadium) - 1st Apr 01 – Morag Robertson Trio
Highland (Drumossie Hotel) – 16th Apr 01 - tbc
Inveraray (Argyll Hotel) - 11th Apr 01 – Iain MacPhail SDB
Isle of Skye – (The Royal Hotel, Portree) - 5th Apr 01 – West Telferton Cele SDB
Islesteps (The Embassy Hotel) – 3rd Apr 01 – David Cunningham Jnr
Kelso (Ednam House Hotel) – 18th Apr 01 – Donal Ring Ceili Band
Kintore (Torryburn Hotel) – 4th Apr 01 – James Coutts Trio
Lanark (Ravenstruther Hall) - 21st Apr 01 – Dance to Lindsay Weir
Langholm (Crown Hotel) – Season finished
Lesmahagow (Masonic Hall) – 12th Apr 01 – Frank Morrison & the Hallcraig SDB
Lewis & Harris (Stornoway Legion) - 5th Apr 01 – Peter Bruce
Livingston (Hilcroft Hotel, Whitburn) 17th Apr 01 – Ian Lowthian
Lockerbie (Queen’s Hotel) - 24th Apr 01 – Lothian SDB
Mauchline (Harry Lyle Suite) - Season finished
Montrose (Park Hotel) – 4th Apr 01 – Scott Gordon Trio
Newmill-on-Teviot (Newmill Country Inn) - Season finished
Newtongrange (Dean Tavern) – Season finished
North East (Royal British Legion, Keith) – 3rd Apr 01 – Bill Back SDB
Oban (McTavish’s Kitchen) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 26th Apr 01 – James Coutts Trio
Perth (Salutation Hotel) – 17th Apr 01 – Patsy Reid
Premier NI (Camlin Function Rooms) - 3rd Apr 01 – Johnny Duncan
Renfrew (Masonic Hall, Broadloan) – 10th Apr 01 – Hector McFadyen SDB
Rothbury (Queen’s Head) - 5th Apr 01 – Scott Leslie SDB
Selkirk (Cricket Club) - Season finished
Shetland (Shetland Hotel, Lerwick) - 22nd Apr 01 – Gordon Pattullo
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) - 14th Apr 01 - tbc
Thornhill (Masonic Hall) - 11th Apr 01 – Tommy Ford
Thurso (Pentland Hotel) – 2nd Apr 01 – Graeme Mitchell Trio
Turriff (Royal British Legion) – 5th Apr 01 – Gordon Pattullo
Tynedale (Hexham Ex Service Club) – 19th Apr 01 - tbc
Wick (MacKay’s Hotel) – 17th Apr 01 – Tain SDB
Yarrow (Gordon Arms) - Cancelled until further notice – Foot & Mouth
THERE WERE CLUB REPORTS FROM :-
1. Alnwick & District
2. Annan
3. Arbroath
4. Balloch
5. Banff & District
6. Belford
7. Blairgowrie
8. Button Key
9. Campsie
10. Carlisle
11. Castle Douglas
12. Coalburn
13. Crieff & District
14. Dingwall & District
15. Dunblane
16. Dunfermline & District
17. Dunoon & Cowal
18. East Kilbride
19. Ellon
20. Fintry
21. Forfar
22. Forres
23. Galston
24. Glendale
25. Highland
26. Inveraray
27. Isle of Skye
28. Kelso
29. Kintore
30. Lesmahagow
31. Lewis & Harris
32. Livingston
33. Newtongrange
34. North East
35. Peebles
36. Perth
37. Premier
38. Renfrew
39. Thurso
40. Wick
41. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(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 (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) 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. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
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. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. Wick A&F Club (Oct 1975 - present)
76. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – Mar 2001)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
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