Box and Fiddle
Year 26 No 12
August 2003
Price £2.00
40 Page Magazine
3 month subscription £6 + p&p £1.80
Editor – Karin Ingram, Hawick
B&F Treasurer – Charlie Todd, Thankerton
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
Everyone who knew Bert Murray was saddened to hear of his death last month. We will be carrying an obituary in next month’s issue, and if any of our readers have any tales or anecdotes about ‘The Auld Fiddler’ that they would like to share with us, please send them in as soon as possible.
This month’s issue, of course, is dominated by the AGM and Celebrity Luncheon. Yet another great success, and thanks and appreciation must go to Jim and Helen Balneaves for all their hard work. Thank you for all your helpful comments and messages of encouragement. To whoever sent the unsigned letter – sorry we can’t replay, in fact it has always been Committee policy to disregard such anonymous correspondence. If you want to identify yourself, we will happily discuss any points you have to raised at the next meeting. The overwhelming majority of you seem to have had a great day. As this event becomes more popular it is obvious that we shall have to find a larger and more suitable venue. Any suggestions can be e-mailed to me.
Karin Ingram
Celebrity Luncheon & Ceilidh 2003
by Robin Ellis
The last Sunday in June is traditionally the occasion of the AGM and the Presentation Luncheon and Ceilidh. However this year there were a number of new aspects. The venue for a start was McDiarmid Park, the home of St. Johnstone Football Club in Perth. On arrival many of the visitors were surprised to see an enormous boot sale in the car park and, immediately adjacent, a gigantic fun fair! What a pity we didn’t have time to visit either. The venues for the AGM and the Luncheon were part of the hospitality complex and if you have ever wondered exactly what was under the grandstands at a football stadium – well now we all know!
The AGM passed off uneventfully and is reported on page 11. After an interval for catching up on the news we all took our seats in The Muirton Suite for lunch, an excellent meal of parsnip soup, roast port and bread and butter pudding.
The stage was then set for the Presentations and Ceilidh. This year as well as our Guest of Honour, Iain MacPhail, there were the BAFFIS (perhaps more correctly entitled the ‘Box and Fiddle Fellowship Input Awards’) This was the idea of Judith Linton who felt that we, like the entertainment industry, should have our own awards. The categories were ‘Guest Artist of the Year’, ‘CD of the Year’, and ‘Club of the Year’ and nominations were requested from the readers of The Box and Fiddle throughout the country. The results showed that the six top nominations for Guest Atrist were Ian Cruickshanks, Johnny Duncan, The Glencraig SDB, Graeme Mitchell, John Morgan and Gordon Pattullo. The names were read out by Sheila Stewart (widow of Andy Stewart) and the winner was Graeme Mitchell, who was presented with an engraved glass trophy. I must admit that the look of surprise on Graeme’s face had to be seen to be believed. Then came ‘CD of the Year’ with nominations for Marian Anderson (Dancers Choice), Dick Black (A Taste of Dick Black), Clyde Valley ceilidh Band (Light Reflections), Ian Cruickshanks (Wired to the Moon), Colin Dewar (Special Requests Vol 5) and Sandy Legget (Ceilidh Capers).
These nominations were read out by Joan Blue and the winner was Ian Cruickshanks. Finally came the ‘Club of the Year’ the nominations being Anna, Blairgowrie, Coalburn, Forres, Galston and Newtongrange. The presentation to the winner, Forres, was made by Iain MacPhail and gratefully accepted by Club chairman, George Hutcheson. In all cases the Runners Up, many of whom were present, received a small memento of the occasion. The whole event was carried out exactly as in London and Hollywood and I think we could teach them a thing or two about acceptance speeches. We managed just fine without all the histrionics. Judith should be justly proud of her idea.
Our Guest of Honour was introduced by NAAFC Chairman Nicol McLaren as one who has shaped Scottish Dance Music as we know it today. Apparently even when judging at accordion competitions he is one of the very few people who still prefers to use a fountain pen rather than the ubiquitous ‘biro’. To use the modern expression he has ‘style’. His tempo and modern harmonies were, in the early days, not always appreciated by the older and more traditional dancers but were often welcomed by the younger ones. As time has passed his style has grown more popular and today his band must be one of the most sought after in the world. He has for the last two decades played in every continent on the globe and, despite having recently taken retirement from his job in the Prison Service, shows no sign of slowing down. He has even just completed a Masters Degree in Psychology. I wonder what he makes of all of us! Iain was then presented with out traditional gift, an engraved glass bowl, by Nicol.
In his reply Iain talked about his early days, and we learnt that originally he started as a button-box player but, on being given an old piano accordion by his grandfather, changed over and has been a piano-box player ever since.
Interspersed amongst the various presentations was a ceilidh most ably compered by Gordon Young. This was probably the biggest and best Accordion and Fiddle Club meeting ever seen with a veritable cornucopia of famous names present. We had bands led by nicol McLaren, Andrew Knight, Sandy Legget, Neil Copland, Ian Holmes, Iain MacPhail, Graeme Mitchell, Matthew MacLennan, Susan McFadyen and Ian Thomson. Morag Robertson did her usual solo non-Scottish cabaret spot. Other players making up the bands in the now expected infinite number of combinations were some of the previously mentioned leaders and alos on accordion – Bruce Quirrie, Gary Mair and Richard Ross; on fiddle – Judith Linton, Willie Johnstone and Maureen Rutherford; on piano – Issy Hodgson, Anne Thomson, Shauna Flockhart and Joan Blue; on bass guitar – Brian Cruickshanks and on drums George Gray, Billy Thom, Charlie Todd, Martin Lamb and Jack Cooper.
The final presentation was to Margaret Macari and Neil Copland for their contribution to organizing the Musselburgh Festival for the last eleven years. The afternoon ended with the usual stramash and at about 6.30 we all left for our various destinations throughout Scotland.
Thanks are due to Jim and Helen Balneaves for all their hard work in organising the event but if numbers keep on rising, as we all hope they will, we shall have to find somewhere larger for next year.
Chairman’s Report
by Nicol McLaren
The NAAFC was delighted………….
AGM Minutes
by Lorna Mair
Chairman Nicol McLaren opened the meeting………….
Kenny Thomson
by Karen McCulloch
Music has always been in the Thomson household, as Dad (Jim) played the accordion and Mum (Eadie) played the piano. Young Kenny started playing the accordion in 1947 – three months before his fourth birthday. He was taught, as you would expect in a musical family home, by his mother and father, who had played in ‘Samson’s Band’ before Kenny was born. The very first tune Kenny learned was Loch Lomond, which he played on his first accordion – an 8 bass Steldini. Nowadays, Kenny plays a Hohner Morino V, with Gola couplers, which he bought in January 1966. It was the first of its kind the McCormick’s Music in Glasgow had ever seen! Prior to this he had a Domino Coupler Morino, but only for a couple of months, as he was having problems with it, so changed it for the new version. He also still has his Hohner Atlantic IV, which he has had since he was thirteen. This, he claims, was his first “decent accordion”.
His first public performance was at a wedding when he was about seven years old. He remembers being a bit nervous at the time, but is convinced that he’s more nervous before a gig now than he was that night!
In music terms, Kenny’s first love was Scottish Dance music – especially the master himself, Sir Jimmy Shand. When his music came on the wireless, everything else was put to the side – abandoned, until the dance music had finished. Initially, it was only the Shand Band that Kenny listened to – nobody else. However, as time went on and he got a wee bit older, he realized that there were other bands and began listening to these other players too.
Of course, he has other tastes in music away from the Scottish scene, pop music of the 60’s is always a favourite – even a touch of jazz and classical.
Following on from the initial influence of the ‘Shand dunt’, the next inspiration for the young aspiring bandleader came in the form of Ian Powrie, in the late 50’s. Then it was Stan Hamilton, who was originally from Auchincruive, before emigrating to Canada, where he made his name. He had his own inimitable style – strathspeys caught Kenny’s attention – which Stan played in a manner that he had never heard before.
The competition stage took its place in the very early years – until he was around ten years old. In fact, he won the first competition he competed in! It was the NAO Competition in 1953, held in the Christian Institute, Glasgow, and the second was in the MacLellan Galleries. In later years he went on to adjudicate various competitions, including the Ayr Accordion and Fiddle Festival in 1987 (where I was one of the junior competitors!) He is also an established composer having written a good many tunes.
Some of his favourite bands include the names of Sir Jimmy Shand, Ian Powrie and Stan Hamilton as already mentioned as well as Jimmy Blue, Jim Johnstone etc. Kenny makes special mention of one man in particular – Mickie Ainsworth.
The reason behind this goes back to Kenny’s early years. When he started out in bands, amplification was limited – if available at all. Most gigs would be parties in small village halls etc, so in order to get more volume bands would get more player since three accordionists sounded three times louder. When Mickie Ainsworth and Jimmy Blue joined Ian Powrie’s band in the late 50’s, sometimes Mickie stopped playing melody accordion and played chords and harmonies etc. His straight tunes Morino IV cut through everything else and really stood out. Kenny heard this and realised there was more to playing the accordion than just melodies. Kenny himself then evolved into the second accordionist in the band – all thanks to Mickie Ainsworth.
His first ‘band gig’ was with a pal – Ronnie Easton – who asked Kenny to play at a Guide party with him in the mid 50’s. The two played together at various stages over the years since then. After this, he started to get seriously involved with his dad’s band ‘the Melody Quintet’, which had evolved from ‘Samson’s Band’, playing modern dance music. Kenny filled in when his dad couldn’t manage. All other band work since then has been with his own band, although he has been able to gig with Jimmy Shand Jnr.
Kenny had a period away from the music scene – he got “fed up” and wanted a break but that was short lived and he was soon back with the band again. Then in 1976, Ronnie Easton came back into the scene. He contacted Kenny to play at a Country Dance in Newton Stewart, with Derek Lawrence – who had just formed a band. However, what Kenny didn’t know was that Derek was intending to do an audition for the BBC – with the band! Kenny thought he was just going to play at a dance! Kenny’s playing impressed Derek, who – during the interval – asked him to join the band for an audition. Thinking to himself, “I only came here to play for a dance – not for the BBC” Kenny replied “I’ll think about it”. Of course, in the end, he agreed to join the band for the audition. After lots of practices they finally went for the audition – and passed. Kenny’s first broadcast was, in fact, with this band in 1976. Derek emigrated to Canada within a year; Ronnie Easton then took over leading the band. Ronnie worked with Monsanto in Ayrshire and as luck would have it within a further year they moved his job to Birmingham. At this point Kenny was left “in charge”. During the initial two years, Kenny had been playing second box (“Mickie Ainsworth style”) and continued to do this. After Ronnie Easton left, Kenny asked a young Ian Muir (from Patna) to join the band and Ian took over where Ronnie had left off – playing lead box. It was at this point that ‘The Wardlaw Scottish Dance Band’ emerged.
The original line-up of the Wardlaw Band was : accordions Ian Muir and Kenny Thomson; fiddle – Gordon Simpson; piano – Colin Finlayson; bass Neil McMillan and drums – Duncan Burns.
Finally, when Ian left, Kenny took over the lead box role – that’s when the style of the band changed. Kenny was playing lead box and his brother Stuart, joined the band playing second box.
The current line-up of the Wardlaw: is lead accordion – Kenny Thomson; second accordion – Stuart Thomson; piano – Jim Clark; bass – Suzanne Croy and drums – Alex Wilson.
Incidentally ‘Wardlaw’ takes its name from a hill behind Muirkirk, Aryshire, where Kenny was “born and bred” – although he has been living in Cumnock for a while now.
Kenny has had the pleasure of traveling abroad with the band – having played twice in Atlanta, Georgia, USA. This was with the full band, first in 1987 then again in 1989. In 2001, the band trio (Kenny, Stuart and Alex) enjoyed a trip to Sweden playing for the Ayr Branch of the RSCDS.
He has numerous radio broadcasts with his band to his credit, the most recent being for ‘Take the Floor’ earlier this year. As well as broadcasting, the band has recorded three albums for the RSCDS (two were recorded in the 80’s for Books 5 and 33 and one for Book 39 in the 90’s). He is hoping to record another album of dances independently, possibly later this year.
On a final note (pun intended!) Kenny has this advice for up and coming players “don’t listen to just one band or player. Listen to as many as you possibly can – and create your own style from them”.
Sound advice, I’d say. May I take this opportunity to thank Kenny for his time and for the nostalgic photographs he supplied for this feature.
If I recall correctly the style referred to above which Ronnie Easton/Kenny Thomson and Kenny Thomson/Ian Muir used was 8 bars unison with the two accordions playing the melody and then the repeat 8 bars with the more conventional chording from the second box – and this done throughout each and every set in a broadcast. It was very distinctive and since there was no room for error in the first 8 bars with two accordions and the fiddle all playing the melody I imagine it must have taken a lot of hard practice, even from these very talented accordionists. I have to say I was a great fan of the band – and as I say it was an instantly recognisable band sound – something bands have lost over the years. CT
Greeting From Inverness
by Margo Maclennan
This was the first………
The Uniform Keyboard
by
It was the late Jimmy Blair (of Scotia Players fame), father of present day accordion wizard Gary Blair who pioneered the use of an alternative keyboard system in Scotland in the 1950’s – the Uniform Keyboard (U.K.). Although the idea was good, like Esperanto – the universal language – it didn’t catch on and in time faded completely from the scene. Gary has been keen for a number of years to obtain one of these rather unusual instruments. Can you help him? Do you have one in your attic? If so please let Karin know and we’ll put you in touch with Gary.
The U.K. was invented by an American accordionist John H. Reuther and in an article from 1953 he tells us all about why he developed the instrument.
“It is obvious that the faster the student can learn, the faster he can be moved to a full-sized keyboard. This is one of the main features which the Uniform Keyboard has to offer – cutting down the study-time normally required on the piano keyboard to less than half.
The development of the keyboard on the piano was retarded because the instrument is not portable. Obviously, it was necessary for the pianist to have an identical keyboard at the scene of his engagement as that which he practiced on at home. Therefore, all attempts at improvement in key arrangement on the piano came to a standstill about two hundred years ago. The piano keyboard is so taken for granted that its defects are thought to be necessary evils and most teachers have heretofore ignored their existence. However, the need for improvement has been recognized for a long time.
Past Reforms
A few inventors have suggested reforms during the past 60 years, the most notable being the ‘Janko’ keyboard of 1882 and, more recently, the ‘Chromo’ keyboard (which appeared on accordions in the early 1920’s). However, although these developments were a step in the right direction, they did not eliminate the main difficulties of the piano keyboard.
The greatest stumbling-block on the present day keyboard has been lack of uniformity when transposing from one key to another. From time to time, a few special keyboards have been built at enormous expense to get round the limitations of the piano keyboard. For instance, Irving Berlin had a piano build with a special mechanical transposing feature in order to facilitate his composing.
Actually, what I have done is to assemble in one keyboard the best features of the ‘Janko’ keyboard, the ‘Chromo’ keyboard and the piano keyboard respectively. The black keys are arranged in groups of twos and threes and, therefore, it is really an improved piano keyboard. The long narrow black keys have been replaced with wide black keys which provide a larger landing area for the finger tips.
Uniformity in Both Hands
It is no longer necessary to reach into the narrow channels between the black keys, which is a particularly bad feature of the present piano accordion keyboard.
Because the keyboard is uniform on the bass side, the value of that uniformity is lost if it is not matched by uniformity on the right hand. This is especially apparent in learning scale and chord fundamentals. The basic chords, scales and arpeggios are absolutely necessary equipment for the beginner if he is to progress at all. If the student has to wade through twelve different Major scales, twelve different Minor scales, etc as well as twelve each of the numerous chords and their inversions, which have to be mastered on the standard piano keyboard, progression to a full sized accordion can be considerably delayed.
Identical Fingering
On the Uniform Keyboard it is necessary to learn only one of each chord, scale and arpeggio in order to play them all. While the piano accordion favours the C-scale, the Uniform keyboard is laid out so that the fingering is exactly identical in all twelve keys, thus making possible the tremendous advantages of automatic transposition”.
Well Mr Reuther had obviously applied a lot of thought to his design but with the exception of Jimmy Blair he failed to convince those ‘key’ individuals – the accordion teachers of the time. Had he been able to do so history might have been different and the Box and Fiddle might regularly have contained photographs that looked like this.
Remember to let us know if you know of one.
Gary Blair in the USA
by GB
I arrived in Portland…………….
Angus Accordion & Fiddle Festival 2003
by Ron Ramsay
The first Angus Accordion & Fiddle Festival was held in Arbroath………….…………..
Newcastleton Festival
by Stuart Adamson
The first weekend in July…….
CD Reviews – See Hear with Judith Linton
The Top of Ben Lomond – Donald MacLeod SDB – Sheil CD018 – Shielburn Associates
Book Review
A Commemorative Book of Will Atkinson’s Tunes and a ‘Wee’ Bit More – by Ernie Gordon – July 2003
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
Repeats
2nd Aug 03 – Maurice Duncan SDB (The Victoria Hall, Campbeltown – Nov 1995)
9th Aug 03 – Jim Lindsay SDB (The Salutation Hotel, Perth – Nov 1999)
16th Aug 03 – Wayne Robertson SDB (Montrose Town Hall – Feb 1999)
23rd Aug 03 – Bobby Brown & the Scottish Accent Band (Toronto – October 1999)
30th Aug 03 – Bruce Lindsay SDB (Anstruther – April 2000)
CLUB DIARY
Aberdeen (Westburn Park Lounge) –
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 17th Aug 03 – Jean McConnachie Sound
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) –
Balloch (St. Kessog’s Church Hall) –
Banchory (Burnett Arms Hotel) – 25th Aug 03 – Jennifer Forrest SDB
Banff & District (Banff Springs Hotel) – 6th Aug 03 – Flower of Scotland Ceilidh Band 13th Aug 03 – Jean McConnachie Sound 20th Aug 03 – The Woodlanders 27th Aug 03 – The Garioch Blend
Beith & District (Anderson Hotel) –
Belford (Community Centre) –
Biggar (Municipal Hall) –
Blairgowrie (Moorfield Hotel) - 12th Aug 03 – Robert Whitehead & the Danelaw SDB
Bromley (Trinity United Reform Church) -
Button Key (Windygates Institute) – 14th Aug 03 - tba
Campsie (Glazert Country House Hotel) -
Carlisle (St Margaret Mary’s Social Club) -
Castle Douglas (Urr Valley Country House Hotel) –
Coalburn (Miners’ Welfare) -
Crathes (Crathes Hall, Banchory) -
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Dingwall (National Hotel) –
Dunblane (Victoria Hall) –
Dunfermline (Headwell Bowling Club) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) –
Ellon (Station Hotel) – 19th Aug 03 – Bill Black SDB
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) - 31st Aug 03 – David Oswald Trio
Forres (Victoria Hotel) –
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel, Wooler) –
Glenfarg (Lomond Hotel) - 6th Aug 03 – Ernie Cowie & Graham Berry
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 26th Aug 03 – Andy Kain SDB
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) –
Inveraray (Argyll Hotel) - 15th Aug 03 – The Homelanders
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) -
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 14th Aug 03 – Club Night
Lewis & Harris (Stornoway Legion) - 1st Aug 03 – John Renton SDB
7th Aug 03 – Jean Ann Calendar (fiddle)
Livingston (Hilcroft Hotel, Whitburn)
Lockerbie (Queen’s Hotel) -
Mauchline (Harry Lyle Suite) -
Montrose (Park Hotel) – 6th Aug 03 – Gary Blair
Newburgh (The Ship Inn) -
Newmill-on-Teviot (Newmill Country Inn) -
Newtongrange (Dean Tavern) –
North East (Royal British Legion, Keith) –
Oban (McTavish’s Kitchen) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) –
Perth (Salutation Hotel) –
Premier NI (Chimney Corner Hotel) -
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head) -
Scottish Accordion Music (Banchory) - 10th Aug 03 – All Players Welcome
Selkirk (Cricket Club) -
Shetland (Shetland Hotel, Lerwick) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) -
Thurso (Pentland Hotel) –
Turriff (Royal British Legion) – 7th Aug 03 – Dick Black Band
Tynedale (Hexham Ex Service Club) – 21st Aug 03 – John Douglas Trio
West Barnes (West Barnes Inn)
Wick (MacKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Annan
3. Banff & District
4. Blairgowrie
5. Button-Key
6. Cults
7. Dunoon & Cowal
8. Ellon
9. Forfar
10. Glenrothes & District
11. Kelso
12. Lanark
13. Lesmahagow
14. Lewis & Harris
15. Livingston
16. Montrose
17. Turriff
18. Tynedale
CLUB DIRECTORY AS AT OCT 2002
(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. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Renfrew A&F Club (1984 -
66. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
67. Selkirk A&F Club (
68. Shetland A&F Club (Sept 1978 - present)
69. Stirling A&F Club (Oct 1991 - )
70. Sutherland A&F Club (
71. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
72. Thurso A&F Club (Oct 1981 - present)
73. Turriff A&F Club (March 1982 - present)
74. Tynedale A&F Club (Nov 1980 - present)
75. Vancouver
76. West Barnes ( - present)
77. Wick A&F Club (Oct 1975 - present)
78. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – )
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
79. Acharacle & District A&F Club (cMay 1988)
80. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
81. Bonchester Accordion Club (Closed?)
82. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
83. Brigmill A&F Club (Oct 1990) Closed
84. Buchan A&F Club
85. Callander A&F Club (
86. Campbeltown & District A&F Club (c Dec 1980)
87. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
88. Club Accord
89. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
90. Coupar Angus A&F Club (cSept 1978 - ?)
91. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
92. Denny & Dunipace A&F Club (Feb 1981)
93. Derwentside A&F Club
94. Dornoch A&F Club (first mention in directory 1986)
95. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
96. Dunbar Cement Works A&F Club (Closed?)
97. Dundee & District A&F Club (1970? – 1995?)
98. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
99. Falkirk A&F Club (Sept 1978 - )
100. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
101. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
102. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
103. Kirriemuir A&F Club (cSept 1981)
104. M.A.F.I.A. (1966 – 1993?)
105. Monklands A&F Club (Nov 1978 – closed cApril 1983)
106. Morecambe A&F Club (joined Sept 1982)
107. Mull A&F Club
108. Newcastleton Accordion Club
109. New Cumnock A&F Club (cMarch 1979)
110. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
111. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
112. Reading Scottish Fiddlers (cMarch 1997
113. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
114. Straiton Accordion Club (c1968 – closed March 1979)
115. Stranraer & District Accordion Club (1974 – per first edition)
116. Torthorwald A&F Club (near Dumfries)
117. Tranent A&F Club
118. Walmer (Bridge of Allan) A&F Club
119. Wellbank A&F Club
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B&F Treasurer – Charlie Todd, Thankerton
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
Everyone who knew Bert Murray was saddened to hear of his death last month. We will be carrying an obituary in next month’s issue, and if any of our readers have any tales or anecdotes about ‘The Auld Fiddler’ that they would like to share with us, please send them in as soon as possible.
This month’s issue, of course, is dominated by the AGM and Celebrity Luncheon. Yet another great success, and thanks and appreciation must go to Jim and Helen Balneaves for all their hard work. Thank you for all your helpful comments and messages of encouragement. To whoever sent the unsigned letter – sorry we can’t replay, in fact it has always been Committee policy to disregard such anonymous correspondence. If you want to identify yourself, we will happily discuss any points you have to raised at the next meeting. The overwhelming majority of you seem to have had a great day. As this event becomes more popular it is obvious that we shall have to find a larger and more suitable venue. Any suggestions can be e-mailed to me.
Karin Ingram
Celebrity Luncheon & Ceilidh 2003
by Robin Ellis
The last Sunday in June is traditionally the occasion of the AGM and the Presentation Luncheon and Ceilidh. However this year there were a number of new aspects. The venue for a start was McDiarmid Park, the home of St. Johnstone Football Club in Perth. On arrival many of the visitors were surprised to see an enormous boot sale in the car park and, immediately adjacent, a gigantic fun fair! What a pity we didn’t have time to visit either. The venues for the AGM and the Luncheon were part of the hospitality complex and if you have ever wondered exactly what was under the grandstands at a football stadium – well now we all know!
The AGM passed off uneventfully and is reported on page 11. After an interval for catching up on the news we all took our seats in The Muirton Suite for lunch, an excellent meal of parsnip soup, roast port and bread and butter pudding.
The stage was then set for the Presentations and Ceilidh. This year as well as our Guest of Honour, Iain MacPhail, there were the BAFFIS (perhaps more correctly entitled the ‘Box and Fiddle Fellowship Input Awards’) This was the idea of Judith Linton who felt that we, like the entertainment industry, should have our own awards. The categories were ‘Guest Artist of the Year’, ‘CD of the Year’, and ‘Club of the Year’ and nominations were requested from the readers of The Box and Fiddle throughout the country. The results showed that the six top nominations for Guest Atrist were Ian Cruickshanks, Johnny Duncan, The Glencraig SDB, Graeme Mitchell, John Morgan and Gordon Pattullo. The names were read out by Sheila Stewart (widow of Andy Stewart) and the winner was Graeme Mitchell, who was presented with an engraved glass trophy. I must admit that the look of surprise on Graeme’s face had to be seen to be believed. Then came ‘CD of the Year’ with nominations for Marian Anderson (Dancers Choice), Dick Black (A Taste of Dick Black), Clyde Valley ceilidh Band (Light Reflections), Ian Cruickshanks (Wired to the Moon), Colin Dewar (Special Requests Vol 5) and Sandy Legget (Ceilidh Capers).
These nominations were read out by Joan Blue and the winner was Ian Cruickshanks. Finally came the ‘Club of the Year’ the nominations being Anna, Blairgowrie, Coalburn, Forres, Galston and Newtongrange. The presentation to the winner, Forres, was made by Iain MacPhail and gratefully accepted by Club chairman, George Hutcheson. In all cases the Runners Up, many of whom were present, received a small memento of the occasion. The whole event was carried out exactly as in London and Hollywood and I think we could teach them a thing or two about acceptance speeches. We managed just fine without all the histrionics. Judith should be justly proud of her idea.
Our Guest of Honour was introduced by NAAFC Chairman Nicol McLaren as one who has shaped Scottish Dance Music as we know it today. Apparently even when judging at accordion competitions he is one of the very few people who still prefers to use a fountain pen rather than the ubiquitous ‘biro’. To use the modern expression he has ‘style’. His tempo and modern harmonies were, in the early days, not always appreciated by the older and more traditional dancers but were often welcomed by the younger ones. As time has passed his style has grown more popular and today his band must be one of the most sought after in the world. He has for the last two decades played in every continent on the globe and, despite having recently taken retirement from his job in the Prison Service, shows no sign of slowing down. He has even just completed a Masters Degree in Psychology. I wonder what he makes of all of us! Iain was then presented with out traditional gift, an engraved glass bowl, by Nicol.
In his reply Iain talked about his early days, and we learnt that originally he started as a button-box player but, on being given an old piano accordion by his grandfather, changed over and has been a piano-box player ever since.
Interspersed amongst the various presentations was a ceilidh most ably compered by Gordon Young. This was probably the biggest and best Accordion and Fiddle Club meeting ever seen with a veritable cornucopia of famous names present. We had bands led by nicol McLaren, Andrew Knight, Sandy Legget, Neil Copland, Ian Holmes, Iain MacPhail, Graeme Mitchell, Matthew MacLennan, Susan McFadyen and Ian Thomson. Morag Robertson did her usual solo non-Scottish cabaret spot. Other players making up the bands in the now expected infinite number of combinations were some of the previously mentioned leaders and alos on accordion – Bruce Quirrie, Gary Mair and Richard Ross; on fiddle – Judith Linton, Willie Johnstone and Maureen Rutherford; on piano – Issy Hodgson, Anne Thomson, Shauna Flockhart and Joan Blue; on bass guitar – Brian Cruickshanks and on drums George Gray, Billy Thom, Charlie Todd, Martin Lamb and Jack Cooper.
The final presentation was to Margaret Macari and Neil Copland for their contribution to organizing the Musselburgh Festival for the last eleven years. The afternoon ended with the usual stramash and at about 6.30 we all left for our various destinations throughout Scotland.
Thanks are due to Jim and Helen Balneaves for all their hard work in organising the event but if numbers keep on rising, as we all hope they will, we shall have to find somewhere larger for next year.
Chairman’s Report
by Nicol McLaren
The NAAFC was delighted………….
AGM Minutes
by Lorna Mair
Chairman Nicol McLaren opened the meeting………….
Kenny Thomson
by Karen McCulloch
Music has always been in the Thomson household, as Dad (Jim) played the accordion and Mum (Eadie) played the piano. Young Kenny started playing the accordion in 1947 – three months before his fourth birthday. He was taught, as you would expect in a musical family home, by his mother and father, who had played in ‘Samson’s Band’ before Kenny was born. The very first tune Kenny learned was Loch Lomond, which he played on his first accordion – an 8 bass Steldini. Nowadays, Kenny plays a Hohner Morino V, with Gola couplers, which he bought in January 1966. It was the first of its kind the McCormick’s Music in Glasgow had ever seen! Prior to this he had a Domino Coupler Morino, but only for a couple of months, as he was having problems with it, so changed it for the new version. He also still has his Hohner Atlantic IV, which he has had since he was thirteen. This, he claims, was his first “decent accordion”.
His first public performance was at a wedding when he was about seven years old. He remembers being a bit nervous at the time, but is convinced that he’s more nervous before a gig now than he was that night!
In music terms, Kenny’s first love was Scottish Dance music – especially the master himself, Sir Jimmy Shand. When his music came on the wireless, everything else was put to the side – abandoned, until the dance music had finished. Initially, it was only the Shand Band that Kenny listened to – nobody else. However, as time went on and he got a wee bit older, he realized that there were other bands and began listening to these other players too.
Of course, he has other tastes in music away from the Scottish scene, pop music of the 60’s is always a favourite – even a touch of jazz and classical.
Following on from the initial influence of the ‘Shand dunt’, the next inspiration for the young aspiring bandleader came in the form of Ian Powrie, in the late 50’s. Then it was Stan Hamilton, who was originally from Auchincruive, before emigrating to Canada, where he made his name. He had his own inimitable style – strathspeys caught Kenny’s attention – which Stan played in a manner that he had never heard before.
The competition stage took its place in the very early years – until he was around ten years old. In fact, he won the first competition he competed in! It was the NAO Competition in 1953, held in the Christian Institute, Glasgow, and the second was in the MacLellan Galleries. In later years he went on to adjudicate various competitions, including the Ayr Accordion and Fiddle Festival in 1987 (where I was one of the junior competitors!) He is also an established composer having written a good many tunes.
Some of his favourite bands include the names of Sir Jimmy Shand, Ian Powrie and Stan Hamilton as already mentioned as well as Jimmy Blue, Jim Johnstone etc. Kenny makes special mention of one man in particular – Mickie Ainsworth.
The reason behind this goes back to Kenny’s early years. When he started out in bands, amplification was limited – if available at all. Most gigs would be parties in small village halls etc, so in order to get more volume bands would get more player since three accordionists sounded three times louder. When Mickie Ainsworth and Jimmy Blue joined Ian Powrie’s band in the late 50’s, sometimes Mickie stopped playing melody accordion and played chords and harmonies etc. His straight tunes Morino IV cut through everything else and really stood out. Kenny heard this and realised there was more to playing the accordion than just melodies. Kenny himself then evolved into the second accordionist in the band – all thanks to Mickie Ainsworth.
His first ‘band gig’ was with a pal – Ronnie Easton – who asked Kenny to play at a Guide party with him in the mid 50’s. The two played together at various stages over the years since then. After this, he started to get seriously involved with his dad’s band ‘the Melody Quintet’, which had evolved from ‘Samson’s Band’, playing modern dance music. Kenny filled in when his dad couldn’t manage. All other band work since then has been with his own band, although he has been able to gig with Jimmy Shand Jnr.
Kenny had a period away from the music scene – he got “fed up” and wanted a break but that was short lived and he was soon back with the band again. Then in 1976, Ronnie Easton came back into the scene. He contacted Kenny to play at a Country Dance in Newton Stewart, with Derek Lawrence – who had just formed a band. However, what Kenny didn’t know was that Derek was intending to do an audition for the BBC – with the band! Kenny thought he was just going to play at a dance! Kenny’s playing impressed Derek, who – during the interval – asked him to join the band for an audition. Thinking to himself, “I only came here to play for a dance – not for the BBC” Kenny replied “I’ll think about it”. Of course, in the end, he agreed to join the band for the audition. After lots of practices they finally went for the audition – and passed. Kenny’s first broadcast was, in fact, with this band in 1976. Derek emigrated to Canada within a year; Ronnie Easton then took over leading the band. Ronnie worked with Monsanto in Ayrshire and as luck would have it within a further year they moved his job to Birmingham. At this point Kenny was left “in charge”. During the initial two years, Kenny had been playing second box (“Mickie Ainsworth style”) and continued to do this. After Ronnie Easton left, Kenny asked a young Ian Muir (from Patna) to join the band and Ian took over where Ronnie had left off – playing lead box. It was at this point that ‘The Wardlaw Scottish Dance Band’ emerged.
The original line-up of the Wardlaw Band was : accordions Ian Muir and Kenny Thomson; fiddle – Gordon Simpson; piano – Colin Finlayson; bass Neil McMillan and drums – Duncan Burns.
Finally, when Ian left, Kenny took over the lead box role – that’s when the style of the band changed. Kenny was playing lead box and his brother Stuart, joined the band playing second box.
The current line-up of the Wardlaw: is lead accordion – Kenny Thomson; second accordion – Stuart Thomson; piano – Jim Clark; bass – Suzanne Croy and drums – Alex Wilson.
Incidentally ‘Wardlaw’ takes its name from a hill behind Muirkirk, Aryshire, where Kenny was “born and bred” – although he has been living in Cumnock for a while now.
Kenny has had the pleasure of traveling abroad with the band – having played twice in Atlanta, Georgia, USA. This was with the full band, first in 1987 then again in 1989. In 2001, the band trio (Kenny, Stuart and Alex) enjoyed a trip to Sweden playing for the Ayr Branch of the RSCDS.
He has numerous radio broadcasts with his band to his credit, the most recent being for ‘Take the Floor’ earlier this year. As well as broadcasting, the band has recorded three albums for the RSCDS (two were recorded in the 80’s for Books 5 and 33 and one for Book 39 in the 90’s). He is hoping to record another album of dances independently, possibly later this year.
On a final note (pun intended!) Kenny has this advice for up and coming players “don’t listen to just one band or player. Listen to as many as you possibly can – and create your own style from them”.
Sound advice, I’d say. May I take this opportunity to thank Kenny for his time and for the nostalgic photographs he supplied for this feature.
If I recall correctly the style referred to above which Ronnie Easton/Kenny Thomson and Kenny Thomson/Ian Muir used was 8 bars unison with the two accordions playing the melody and then the repeat 8 bars with the more conventional chording from the second box – and this done throughout each and every set in a broadcast. It was very distinctive and since there was no room for error in the first 8 bars with two accordions and the fiddle all playing the melody I imagine it must have taken a lot of hard practice, even from these very talented accordionists. I have to say I was a great fan of the band – and as I say it was an instantly recognisable band sound – something bands have lost over the years. CT
Greeting From Inverness
by Margo Maclennan
This was the first………
The Uniform Keyboard
by
It was the late Jimmy Blair (of Scotia Players fame), father of present day accordion wizard Gary Blair who pioneered the use of an alternative keyboard system in Scotland in the 1950’s – the Uniform Keyboard (U.K.). Although the idea was good, like Esperanto – the universal language – it didn’t catch on and in time faded completely from the scene. Gary has been keen for a number of years to obtain one of these rather unusual instruments. Can you help him? Do you have one in your attic? If so please let Karin know and we’ll put you in touch with Gary.
The U.K. was invented by an American accordionist John H. Reuther and in an article from 1953 he tells us all about why he developed the instrument.
“It is obvious that the faster the student can learn, the faster he can be moved to a full-sized keyboard. This is one of the main features which the Uniform Keyboard has to offer – cutting down the study-time normally required on the piano keyboard to less than half.
The development of the keyboard on the piano was retarded because the instrument is not portable. Obviously, it was necessary for the pianist to have an identical keyboard at the scene of his engagement as that which he practiced on at home. Therefore, all attempts at improvement in key arrangement on the piano came to a standstill about two hundred years ago. The piano keyboard is so taken for granted that its defects are thought to be necessary evils and most teachers have heretofore ignored their existence. However, the need for improvement has been recognized for a long time.
Past Reforms
A few inventors have suggested reforms during the past 60 years, the most notable being the ‘Janko’ keyboard of 1882 and, more recently, the ‘Chromo’ keyboard (which appeared on accordions in the early 1920’s). However, although these developments were a step in the right direction, they did not eliminate the main difficulties of the piano keyboard.
The greatest stumbling-block on the present day keyboard has been lack of uniformity when transposing from one key to another. From time to time, a few special keyboards have been built at enormous expense to get round the limitations of the piano keyboard. For instance, Irving Berlin had a piano build with a special mechanical transposing feature in order to facilitate his composing.
Actually, what I have done is to assemble in one keyboard the best features of the ‘Janko’ keyboard, the ‘Chromo’ keyboard and the piano keyboard respectively. The black keys are arranged in groups of twos and threes and, therefore, it is really an improved piano keyboard. The long narrow black keys have been replaced with wide black keys which provide a larger landing area for the finger tips.
Uniformity in Both Hands
It is no longer necessary to reach into the narrow channels between the black keys, which is a particularly bad feature of the present piano accordion keyboard.
Because the keyboard is uniform on the bass side, the value of that uniformity is lost if it is not matched by uniformity on the right hand. This is especially apparent in learning scale and chord fundamentals. The basic chords, scales and arpeggios are absolutely necessary equipment for the beginner if he is to progress at all. If the student has to wade through twelve different Major scales, twelve different Minor scales, etc as well as twelve each of the numerous chords and their inversions, which have to be mastered on the standard piano keyboard, progression to a full sized accordion can be considerably delayed.
Identical Fingering
On the Uniform Keyboard it is necessary to learn only one of each chord, scale and arpeggio in order to play them all. While the piano accordion favours the C-scale, the Uniform keyboard is laid out so that the fingering is exactly identical in all twelve keys, thus making possible the tremendous advantages of automatic transposition”.
Well Mr Reuther had obviously applied a lot of thought to his design but with the exception of Jimmy Blair he failed to convince those ‘key’ individuals – the accordion teachers of the time. Had he been able to do so history might have been different and the Box and Fiddle might regularly have contained photographs that looked like this.
Remember to let us know if you know of one.
Gary Blair in the USA
by GB
I arrived in Portland…………….
Angus Accordion & Fiddle Festival 2003
by Ron Ramsay
The first Angus Accordion & Fiddle Festival was held in Arbroath………….…………..
Newcastleton Festival
by Stuart Adamson
The first weekend in July…….
CD Reviews – See Hear with Judith Linton
The Top of Ben Lomond – Donald MacLeod SDB – Sheil CD018 – Shielburn Associates
Book Review
A Commemorative Book of Will Atkinson’s Tunes and a ‘Wee’ Bit More – by Ernie Gordon – July 2003
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
Repeats
2nd Aug 03 – Maurice Duncan SDB (The Victoria Hall, Campbeltown – Nov 1995)
9th Aug 03 – Jim Lindsay SDB (The Salutation Hotel, Perth – Nov 1999)
16th Aug 03 – Wayne Robertson SDB (Montrose Town Hall – Feb 1999)
23rd Aug 03 – Bobby Brown & the Scottish Accent Band (Toronto – October 1999)
30th Aug 03 – Bruce Lindsay SDB (Anstruther – April 2000)
CLUB DIARY
Aberdeen (Westburn Park Lounge) –
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 17th Aug 03 – Jean McConnachie Sound
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) –
Balloch (St. Kessog’s Church Hall) –
Banchory (Burnett Arms Hotel) – 25th Aug 03 – Jennifer Forrest SDB
Banff & District (Banff Springs Hotel) – 6th Aug 03 – Flower of Scotland Ceilidh Band 13th Aug 03 – Jean McConnachie Sound 20th Aug 03 – The Woodlanders 27th Aug 03 – The Garioch Blend
Beith & District (Anderson Hotel) –
Belford (Community Centre) –
Biggar (Municipal Hall) –
Blairgowrie (Moorfield Hotel) - 12th Aug 03 – Robert Whitehead & the Danelaw SDB
Bromley (Trinity United Reform Church) -
Button Key (Windygates Institute) – 14th Aug 03 - tba
Campsie (Glazert Country House Hotel) -
Carlisle (St Margaret Mary’s Social Club) -
Castle Douglas (Urr Valley Country House Hotel) –
Coalburn (Miners’ Welfare) -
Crathes (Crathes Hall, Banchory) -
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club)
Dalriada (Argyll Arms Hotel, Lochgilphead)
Dingwall (National Hotel) –
Dunblane (Victoria Hall) –
Dunfermline (Headwell Bowling Club) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) –
Ellon (Station Hotel) – 19th Aug 03 – Bill Black SDB
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) - 31st Aug 03 – David Oswald Trio
Forres (Victoria Hotel) –
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) –
Glendale (Black Bull Hotel, Wooler) –
Glenfarg (Lomond Hotel) - 6th Aug 03 – Ernie Cowie & Graham Berry
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 26th Aug 03 – Andy Kain SDB
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) –
Inveraray (Argyll Hotel) - 15th Aug 03 – The Homelanders
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) –
Kelso (Ednam House Hotel) –
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) -
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 14th Aug 03 – Club Night
Lewis & Harris (Stornoway Legion) - 1st Aug 03 – John Renton SDB
7th Aug 03 – Jean Ann Calendar (fiddle)
Livingston (Hilcroft Hotel, Whitburn)
Lockerbie (Queen’s Hotel) -
Mauchline (Harry Lyle Suite) -
Montrose (Park Hotel) – 6th Aug 03 – Gary Blair
Newburgh (The Ship Inn) -
Newmill-on-Teviot (Newmill Country Inn) -
Newtongrange (Dean Tavern) –
North East (Royal British Legion, Keith) –
Oban (McTavish’s Kitchen) –
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) –
Perth (Salutation Hotel) –
Premier NI (Chimney Corner Hotel) -
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head) -
Scottish Accordion Music (Banchory) - 10th Aug 03 – All Players Welcome
Selkirk (Cricket Club) -
Shetland (Shetland Hotel, Lerwick) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) -
Thurso (Pentland Hotel) –
Turriff (Royal British Legion) – 7th Aug 03 – Dick Black Band
Tynedale (Hexham Ex Service Club) – 21st Aug 03 – John Douglas Trio
West Barnes (West Barnes Inn)
Wick (MacKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1. Alnwick
2. Annan
3. Banff & District
4. Blairgowrie
5. Button-Key
6. Cults
7. Dunoon & Cowal
8. Ellon
9. Forfar
10. Glenrothes & District
11. Kelso
12. Lanark
13. Lesmahagow
14. Lewis & Harris
15. Livingston
16. Montrose
17. Turriff
18. Tynedale
CLUB DIRECTORY AS AT OCT 2002
(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. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Renfrew A&F Club (1984 -
66. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
67. Selkirk A&F Club (
68. Shetland A&F Club (Sept 1978 - present)
69. Stirling A&F Club (Oct 1991 - )
70. Sutherland A&F Club (
71. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
72. Thurso A&F Club (Oct 1981 - present)
73. Turriff A&F Club (March 1982 - present)
74. Tynedale A&F Club (Nov 1980 - present)
75. Vancouver
76. West Barnes ( - present)
77. Wick A&F Club (Oct 1975 - present)
78. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – )
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
79. Acharacle & District A&F Club (cMay 1988)
80. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
81. Bonchester Accordion Club (Closed?)
82. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
83. Brigmill A&F Club (Oct 1990) Closed
84. Buchan A&F Club
85. Callander A&F Club (
86. Campbeltown & District A&F Club (c Dec 1980)
87. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
88. Club Accord
89. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
90. Coupar Angus A&F Club (cSept 1978 - ?)
91. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
92. Denny & Dunipace A&F Club (Feb 1981)
93. Derwentside A&F Club
94. Dornoch A&F Club (first mention in directory 1986)
95. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
96. Dunbar Cement Works A&F Club (Closed?)
97. Dundee & District A&F Club (1970? – 1995?)
98. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
99. Falkirk A&F Club (Sept 1978 - )
100. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
101. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
102. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
103. Kirriemuir A&F Club (cSept 1981)
104. M.A.F.I.A. (1966 – 1993?)
105. Monklands A&F Club (Nov 1978 – closed cApril 1983)
106. Morecambe A&F Club (joined Sept 1982)
107. Mull A&F Club
108. Newcastleton Accordion Club
109. New Cumnock A&F Club (cMarch 1979)
110. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
111. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
112. Reading Scottish Fiddlers (cMarch 1997
113. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
114. Straiton Accordion Club (c1968 – closed March 1979)
115. Stranraer & District Accordion Club (1974 – per first edition)
116. Torthorwald A&F Club (near Dumfries)
117. Tranent A&F Club
118. Walmer (Bridge of Allan) A&F Club
119. Wellbank A&F Club
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