Box and Fiddle
Year 14 No 06
February 1991
Price 50p
8 pages
8 month subscription £5.00
Editor – Tom Clark, 55 Sutherland Crescent, Dundee, DD2 2HP
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
The January Issue
We have had a few problems over the Festive Season, in our attempts to get the paper out in good time. Holiday closures meant that we would either be a bit earlier than normal or find ourselves sending out to Clubs well after the 1st of the month. We found it impossible to go early so, as most of you will know by now, it was mid-January before the ‘B&F’ was dispatched. Some Clubs have managed to absorb the problem this has caused, and my sincere thanks to all concerned.
Musselburgh ‘91
Time is fast approaching again for our annual Festival. A great day is in store for all who attend. Competitors or listeners, everybody seems to thoroughly enjoy the day. See you there.
Tom Clark
Tony Reid of Balnakilly
“500 Folk in Shorts & Gym Shoes Jumping & Screaming – Coorse!”
by Norrie Williams
Linking Pitlochry with Bridge of Cally at the southern end of Glenshee, the A924 road rises to around 1,300 feet above sea level at its highest point, giving spectacular views of the Perthshire hills in every quarter. Then as it drops down in a south easterly direction into picturesque Strathardle and at a height of about 750 feet, it winds through the attractive village of Kirkmichael. About half a mile from the centre of this community, in its own partially wooded estate stands the ‘Big Hoose’.
On a sunny but breezy day last August I had an appointment at this very house. As I got out of the car near the front door, the laird, a very erect six footer in kilt and open neck check shirt came out to greet me and ushered me into the conservatory where we ensconced in large wicker chairs.
Our one and only precious meeting previously had been in June, 1956, in Montrose, at the Rosemount Rooms where he was leading his own Scottish Broadcasting Band at the regular mid-week hop. His name and that of the ‘Big Hoose’ are combined in the title of a fine reel tune composed by well known Kirriemuir fiddler, Angus Cameron – ‘Tony Reid of Balnakilly’.
But why this visit? Well, Tony, always a man of ideas recently had the brainwave of producing a couple of albums featuring some recordings of his band made in the ‘50’s. As I have always been an avid fan of the group, these new releases – of which more later – revived many happy memories and made me determined to find out something of this man and what makes him tick, musically. I was in for a few surprises. His approach to arranging and playing our traditional music is both interesting and refreshing and gives food for thought.
MUSIC – THE FORMATIVE YEARS
As his father’s business required two bases, one on each side of the border, Tony, the youngest of three, was actually born in Sussex in 1926, but happily his earliest memories are of “God’s own country” – Balnakilly. His introduction to music was in the serious side of the art, not surprisingly as his mother was a concert pianist.
He started piano lessons at the age of 5, but fortunately he was exposed to ‘real’ music in the person of an old worthy Harry Livingston, who sat and played his fiddle outside the farm bothy which was just round the corner from the big house. By the time he was three or four, Tony had become a Scottish dance music enthusiast.
At the age of seven, again following family tradition, he went to prep school in Kent and within two years was playing the cello in addition to piano.
Next stop, Harrow Public School, and Tony’s classical music training blossomed still further with the addition of double bass and organ, the latter superseding piano.
As a cellist he was involved in orchestral and chamber music with the Harrow School and Harrow Philharmonic Orchestras, and as an organist with choral music (surprise, surprise) and other classical music of all kinds.
But amidst all this erudition there was one saving grace, one escape route so to speak in the shape of a ‘box’ under the bed, a 24 bass Hohner piano key instrument. Tony had acquired this, because strange as it may seem, his mother albeit a concert pianist, possessed a piano accordion and as a 13 or 14 year old he had been intrigued by this.
The musical powers that be at Harrow might not have looked on Tony as the ‘flavour of the month’ had they known that frequently on returning from playing cello at some culture function he would have a tune on the box, but he was fortunate in that he started his musical training at Harrow under a truly great musician and a Scot to boot, Dr Henry Havelgal. The good doctor had a sneaking affection for all things Scottish and would undoubtedly have given young Tony every encouragement in his traditional excursions. Interesting to note too, that the assistant music master and principal organ teacher, Hector McCullough, also hailed from north of the border, Perth to be precise.
THE FIRST BAND AND THE SCOTTISH REFORM SOCIETY
When Tony left Harrow in 1944, age 17 ½, having volunteered for the forces, he was the proud possessor of a single coupler 80 bass Italian made ‘Semprini’ accordion, which he played until his demob in 1948, by which time he had reached the rank of Captain in the Irish Guards Armour.
Then followed 3 years at Cambridge University studying agriculture and estate management. Having had a good grounding in Scottish Country and Highland dancing at a tender age with both ‘Dancie Reid’ (Newtyle) and piper/dancer Lily McMillan (Kirkmichael), it was only natural that our man would home in on the Cambridge University Strathspey and Reel Society but and I quote…”500 folk in shorts and gym shoes jumping and screaming with the music going about eight times the proper speed and run by a couple of research students from Liverpool – coorse!”
This was more than Scottish flesh and blood could stand but the sheer ‘awfulness’ of the whole set-up produced an excellent spin-off and antidote. It brought together a number of like-minded enthusiasts and through this Tony met up with four fellow students, all Scots, who were also competent musicians.
A five piece band was duly formed with the specific purpose of producing some 12” 78 r.p.m. Scottish dance records which could actually be used for set dancing – the visiting standard 10” commercial discs did not cater for this. To complete the perfect aforementioned antidote a limited membership group was formed known as ‘The Scottish Reform Society’, which upheld the true traditions of our dances.
ON THE AIR
Authentic Scottish dance bands were a rarity in the south of England, word got around and things took off with a vengeance. Oxford, London, Bury St. Edmonds, Chelmsford, - in no time at all Tony’s band was overbooked and they found themselves playing almost out of control.
For the record the band comprised Tony himself on lead accordion (a 120 bass Paolo Soprani), on fiddle Alastair MacDonell, now minister of St. Mary’s, Haddington, Lucy Ashton on second accordion, Bill Leslie on piano and David Bouser on drums. Incidentally, Alastair and Bill are members of the current ‘Auld Reekie’ band, which has recently put out a double album of Scottish Country Dances ’Capital Reels’ on the Lismor label.
Three of Tony’s group were at that time Aberdeen based, one being Lucy who handled the bulk of the band bookings.
Once, in 1950 during a university vacation, she said to Tony, “You know we’ve got a job in Beechgrove Terrace today?” “What job’s that?” “The B.B.C.” A successful audition with Herbert Wiseman resulted in three broadcasts for the Cambridge band.
This was when I first heard of Tony, and was impressed by the fresh sound of the group, liked the choice of tunes and especially his way of playing jigs.
I remember being very taken with their version of ‘My Wife’s a Wanton Wee Thing’ and in a rummage around afterwards was delighted to find it in a ‘Kerr’s Collection’. The band had rough edges, yes maybe, but it was swinging and had a sparkle. The two accordions, by the way, played in unison.
THE ‘MESSAGE’
For the first six months after the completion of his university training and before taking over Balnakilly Estate from his father, Tony worked as a post graduate student with one of the great hill farmers of the Aberfeldy district Michael McDermott, whose eldest son, Duncan was and still is, an excellent piper (currently a member of the celebrated ‘Atholl Pipers’) and an accordion player. He and Tony got stuck into the music especially the pipe variety (good lads), Tony learning quite a bit about some of the extra grace notes patterns, ‘birls’, grips etc, and how to simulate these on the accordion. They teamed up on pipes and box doing a number of concert turns in the Aberfeldy area with considerable success, except in the eyes of other big pipers, who considered it the ultimate desecration.
Other players who influenced Tony over the years especially in the field of pipe music were Iain McMillan of Kirkmichael and Bobby MacLeod of Tobermory.
The former, a shepherd and a superb Scottish fiddler was the youngest brother of Lily McMillan, the piper and dancing tutor mentioned earlier. He emigrated to Rhodesia after the war but made frequent visits home and during these sojourns he and Tony had long musical sessions far into the night, with our man learning a lot of fiddle and pipe tunes which were completely new to him.
Tony’s first meeting with Bobby MacLeod was at a dance in the wee Blackwater Hall in Glenshee, where all the Scottish broadcasting bands used to play.
Tony was introduced to Bobby, who had heard him through the Cambridge band broadcasts, invited him up to have a tune (on Alasdair Downie’s accordion).
After the dance, the whole band went back to Balnakilly for refreshments and a ‘session’ and from the first meeting Tony and Bobby became firm friends with frequent subsequent visits by the Tobermory maestro. “I was influenced by him, he played pipe music unashamedly, it wasn’t being watered down, or turned into a diatonic scale, it was being played the way it should be. Suddenly, one heard a whole different sound”. So say all of us.
And one mustn’t forget the contribution by yet another eminent Scottish dance band leader, Jim Cameron of Kirriemuir. He it was who encouraged Tony to form a band in the first place and gave help and advice whenever he could.
It would be appropriate at this point to put down some of Tony’s thoughts on the Scottish dance music scene of the 50’s and on his own approach to arranging and presenting our music.
THE SECOND BAND (GLENDARUEL)
On the 1950’s – “There was a watershed at that time. We had a lot of indigenous Scottish players, fiddlers and accordionists, mainly self taught but with the ability to play Scottish music the way it’s meant to be, beautiful with a tremendous lilt and lift – few had any musical training, mostly self taught and playing be ear. Nothing wrong with that at all.
Then we had the professional musicians, the ……… of this world (no names, no pack-drill), you couldn’t fault them musically, but they did not have this magic element, the missing factor, “the message’ so difficult to define, it’s the 40/50% that is not on the music. Without it Scottish music is a jumble of notes.
Now somewhere the challenge was to combine the two, and this is what we attempted to do. We were trying to couple the ability to play Scottish music with a fairly thorough musical training”.
To interrupt the flow here briefly. After taking over the reins at Balnakilly, Tony had managed to team up with four willing collaborators who were prepared to meet the above mentioned challenge to formulate and develop their own style together. On fiddle Derek Auld, piano Bill Hendry (Dundee) and latterly Eric Stewart (Luncarty), double bass John Casey (a native of Manchester but resident in Perth) and lastly on drums Wattie Crole (Blairgowrie) who talked Tony into forming the group.
Because it used the march ‘Glendaruel Highlanders’ as its signature tune, it became known as the ‘Glendaruel Scottish Dance Band’, broadcasting regularly from 1954 until its disbandment in 1959 due to business and family pressures etc.
COUNTERPOINT
But back to Tony on arrangement and presentation :- “There is an incredible similarity between classical and Scottish music. A lot of folk don’t appreciate that classical composers like Handel wrote a wealth of dance music, gavottes, minuet’s etc for dancing and listening.
Handel had this fantastic counterpoint in all his light music and it was this harmonisation which Scottish music so desperately needed.
Applying this counterpoint idea to the arrangement, not only gives beat a harmony, it is also directional. Arranged correctly it will lead the music to climax or take it out of a climax, it will point it this way, point it that way. This comes through automatically and everybody gets caught up in the infection of it, with the harmonic sequences and bass line progressions steering the whole thing”.
By this time I was agog and standing in six feet of water (metaphorically speaking) but Tony clarified the situation by demonstrating counterpoint on his box with the tune ‘Hot Punch’. “You know what a figured or ground bass is?” I didn’t! So he showed me – it is a kind of fundamental walking bass which not only harmonises with the melody line but also provides a basis for chord sequences. The water level dropped. Here endeth the lesson.
THE ‘BOXES’
And with the mention of box – the instrument in question is a very fine, grey, mother of pearl, hand made Hohner Morino IV of ’51-’52 vintage. It’s one previous owner, Bobby MacLeod, kept it for a short time because it had octavina tuning, which although having a fine tone range, did not give three reeds in line for the ‘Scottish sound’. Tony had two new sets of reeds made by Hohner to rectify this and used the instrument throughout the life of the Glendaruel band.
Sandwiched for a short period between the Paolo Soprani accordion of the Cambridge band – a sharp sound with a good bite – and a Morino IV, was a Frontaline which had a kinder sound. Amplification was becoming more prevalent, so tone rather than volume was the order of the day.
THE SOUND OF THE ‘50’s
I was resident in Bedfordshire when I first heard the ‘Glendaruel Band’ in 1955 and was completely ‘sent’. I corresponded briefly with Tony who was most punctilious and courteous in replying. Space precludes further enlargement here but I would strongly recommend all Scottish dance music enthusiasts to get these new tapes and hear them for themselves.
The first thing that strikes one is the strong synchronised beat of the double bass / bass drum combination which lifts and drives the whole thing along. Again to quote, “If you’ve got a really first class rhythm section behind you like Wattie, John and Bill, you have total freedom to use the left hand for on and off-beat dynamics. The whole thing gets caught in a swaying motion. Relax into it, let it drive you on, your job is to play the music and interpret it…”
And believe me, Tony practiced what he preached, the exciting bounce and lift of the music on these recordings, not to mention the first class bass lines bear out every word.
THE ‘60’S AND AFTER
After the demise of the ‘Glendaruel’ in 1959, Tony did spells relieving with other bands, e.g. Angus Fitchet’s and Bobby MacLeod’s, and in the late ‘60’s and ‘70’s he frequently provided double bass backing for groups during the musical evening at his ‘Edelweiss Hotel’ in Glen Derby. Naturally, he has a fund of stories of events that happened over the years, but sadly space permits only the briefest mention of two such incidents.
Bobby MacLeod was ill, and Tony took over the ‘hot seat’ at a big Scottish Country Dance in York with 800 present. Sharing the front line on fiddle was erstwhile band colleague, Derek Auld. He collected his instrument from its perch on the engine cowling of the new rear engined V.W. van, opened the case and there lay something like a curled up banana skin – the glue had melted! A stand in fiddle of sorts was borrowed and they got through.
On another occasion at a big ball at Blair Atholl with Bobby MacLeod’s band officiating, the lights got progressively dimmer and the amplification faded so that by midnight the place was in darkness save for a few candles. Reels and Highland dances were now out of the question, so Bobby, Pibroch MacKenzie and the rest of the band played the most fantastic modern swing music for the remainder of the function. But why had the lights failed? The electrical supply was from a water driven generator. To cope with the amplification demands, a second turbo generator had been installed, but no extra water – so!
For the last few years, Tony has been plagued by an affliction which traps the tendons causing the fingers to curl up. Despite two operations, the problem is still there and he can no longer play properly, but he is very philosophical about the whole thing, still enjoys listening to the music and keeps himself very busy helping his wife, Helen, with the family business of self catering cottages, log cabins etc.
Helen also runs the Balnakilly Riding Centre and is a professional coach in all forms of athletics.
Incidentally, one of Tony’s forbearers was Byron Ruadh, alias John Reid, born 1721, who eventually reached the rank of General in a Highland Regiment. He was also an eminent musician, a piper, flautist and composer, his most famous piece being ‘The Garb of Old Gaul’. It’s in the blood right enough!
Reluctantly, I had to leave the lovely setting of Balnakilly with its swimming pool, croquet lawns, horses etc., for another appointment – I had learned a lot and I could have listener for hours.
Update to “The Boxes” above.
I spoke on the phone to Tony on 21st March 2007 and he explained that while he and Helen were on holiday in South Africa in 1999 they received a phone call to say that their home, Balnakilly House, had been burned to the ground with the loss of the entire contents including Bobby MacLeod’s accordion, a grand piano, a double bass, his huge record collection, and irreplaceable photos and reel-to-reel recordings of ‘jam sessions’ with many of the famous Scottish Dance Bands of yesteryear.
It transpired that a man who had moved into the locality, and who seemed nice enough on the surface, was in fact an arsonist with 55 previous convictions. The fire authorities reckoned that he had deliberately set six fires in Balnakilly, hence the complete loss. All Tony and Helen were left with were the few items of clothing etc they had taken on holiday with them.
CT
Accordions Galore 1990
by Peter Paterson
On an extremely cold and windy evening, Saturday, the 8th of December, a small number of hardy accordion enthusiasts ventured out for a great night at the Civic Centre Concert Hall, Motherwell.
I do really mean a great night. We had all the ingredients of a traditional Scottish show, music, song, a piper and tartan – yes, tartan! Our traditional clothing that the ‘yuppie’ so-be-it intellectual Scot sneers at, all there in their glorious colours.
This concert was the twelfth annual event in memory of the button accordion king, Will Starr. Its nearly fifteen years since Will passed on and with this annual concert, his name comes brightly into the fore, even if it’s only for a couple of hours.
As usual the concert had a host of talented people – most of them giving their services in the cause of charity.
As the curtains parted around 7.30 p.m. the strains of ‘Scotland the Brave’ echoed through the Concert Hall. Liam Howitt played this in his own fine style, hidden from the audience, as he stood in the wings.
This gave me a chance to come on stage, then it was right into the run through for the night. Calling Liam from the wings onto the centre stage, I left him to do his own thing as only he can, and what a performance he put across. This young man is one of our accordion greats, not only as a player, but as a composer. He offered us one or two of his compositions and hearing them for the first time, I was amazed at the thought behind the music, his music that he played.
After thunderous applause, Liam left the stage for the May Martin Dancers. This was the colour spectacular I mentioned earlier. Tartans of many colours were highlighted as the young dancers went through their dances, all to the sound of the kilted piper, Alex Martin.
Watching this from the wings, I could not imagine why any true Scot could decry and run down the heritage of our land. If the Americans had this as one of their traditions, they would certainly show the world how to appreciate it. Anyway, each person to their own taste.
After the dancers, we had the Will Starr Memorial Shield Contest. This, I’m afraid was a sad failure. We had a few enquiries before the contest about this, but on the night we only had one contestant.
Grant McConnell from Carluke, was in fine form as he went through his selections to make him the undisputed winner of the Will Starr Shield for 1990. So sad though with all the hundreds of accordion players in the Motherwell and District areas, pity that they did not make the effort to come along and make the challenge.
From the contest it was top of the bill time. On stage strutted the confident and happy character, Alan Roy.
Alan, was the ultimate entertainer, cracking jokes, singing and playing the accordion – he did it all.
I saw Alan a number of years ago in the Kings Theatre, Glasgow, and even then I knew he offered a new concept to the accordion entertainer image. He just did not follow the usual, play a selection intro over the next one, and so on type of act – he was fresh, with a happy and different aura about him. I had always wanted to invite him on the show, and here he was tonight, not letting my memory of him down, but enhancing it.
During his spot he introduced his wife, Jan, and she was a knockout, not only as a ‘looker’, but with her fine singing voice and when the two of them did their duets and harmonies, it was really something.
After taking the encore, Jan and Alan Roy concluded the first half.
SECOND HALF
The second half of the concert should have started with the fine veteran entertainer, Sandy Moir. By public demand, Sandy was asked back as he did so well in the concert.
Sadly, Sandy was not keeping well and could not come along. I hope you are feeling much better now, if you get a chance to read this article, you will see we had a great show – all the best, Sandy.
The Gardenside Ladies Choir took Sandy’s spot and the second half was on.
These ladies, fourteen in all, all senior citizens, they do a great work in the area, singing and entertaining. All resplendent in various coloured tartan skirts and white blouses – they gave us a fine selection of the songs of Scotland.
In tartan splendour again, it was the second appearance of the May Martin Dancers. Also, as a variation they did a hornpipe, accompanied again by Alex Martin on the pipes.
This was the first time the May Martin Dancers were on the Accordions Galore Concert – it will not be their last.
As the last notes of the pipes echoed off the stage, it was Liam Howitt’s second appearance. But, just before that, he handed over the Will Starr Memorial Shield, through Margaret Starrs to Grant McConnell. Margaret had missed the last two presentations owing to illness. Glad to say she is fighting fit.
Liam then struck up and away he was enjoying his playing, as we enjoyed listening to him. That is the secret of any entertainer. If he enjoys what he is doing, it comes through to the audience and it certainly came through to us – we enjoyed Liam Howitt!
After Liam, Alan Roy came back on stage bringing back his happy presence. He no doubt enjoys himself on stage – as well as a comedian and singer, he is a tremendous accordion player, with the unique sound from his Morino he certainly proved what an accordion could do. Jan joined him on stage half way through his act, and as in the first half of the show, they proved to be what a double act should be, both in accord.
As Jan and Alan came to the end of their spot, I brought on a surprise to finish the show – the Gardenside Ladies were introduced again and they finished off accompanied by alan and Jan, with a Festive selection of Carols.
We had a real community sing-along with the audience joining in.
After the carol ‘White Christmas’ I joined them on stage and with the customary ‘We’re No Awa’ Tae Bide Awa’’, we closed on the 1990 Accordion Galore Concert.
I would like to sum up a little on the event. The control of the concert as far as the artistes were concerned, was at its high standard as usual. Disappointment was a certainty with the Will Starr Shield Contest. The audience I thank for coming along, but it was well down on previous years, possibly be it being too close to Christmas, or with it being a very cold winter’s night.
I have now changed the date. The 1991 concert will take place on Saturday, 1st June, in the Civic Centre Concert Hall. This should make it a warmer time of year. If this does not help to bring up the attendance level – 1991 will be the last concert. A pity, as this venue is the last, more of less, fairly big accordion venue in the West of Scotland.
John Gibson
An Appreciation
By Iain MacPhail
Last August (1990), the death occurred of John Gibson at the age of only 29. Those of us who were privileged to know him, whether as a family member, musical colleague or, simply, a friend, were drawn to this most gregarious of men by his cheerfulness, sense of humour, natural friendliness and musical talent.
John enriched our lives and earned the admiration and respect of us all and this fact was substantiated by the large attendance, from all corners of the United Kingdom, at his funeral.
I met John when he was 15 and still at school. He was studying piano as part of his course and received tuition from my good friend, Pay Milbourne, known to many of us for his unstinting efforts to promulgate music of Scotland. Ray had greatly enthused about this young, rising star and soon engineered an opportunity for us to meet. I was immediately aware of John’s creative and innovative ideas, originality and empathy with music ; which were remarkable talents in one so young and inexperienced.
In time, as our friendship and his skills developed, John played with the band in cabaret, recordings and broadcasts. The fact that John was a happy, confident youngster with such a precocious talent helped enormously in the testing chamber of live performances. It quickly became apparent that, as he was so different in approach and playing , he influenced others – a notable feat in one so young among older and more experienced musicians. He was quite distinctive and always interested in others and what they were doing.
On leaving school, John attended college and, in the fullness of time, graduated as a piano-tuner, eventually aspiring to a prestigious post with Steinway in London, where he was heavily involved in preparing instruments for major concerts and performances.
As his career developed, however, he hankered for a return to his homeland and he was appointed the Steinway representative for Scotland and this opportunity opened new avenues for his many talents.
Apart from his obvious love for Scottish traditional music, he was capable of performing jazz, modern and contemporary music in addition to being a competent singer and, surprising to some, and able exponent of Scottish Country Dancing. John was always seeking to improve his skills because, simply, music was at the very centre of his whole being.
The friendly, outgoing nature possessed by John was complimented by a more serious side which often was not manifestly apparent.
On many occasions, he visited my home and long, sometimes heated, discussions would last well into the night. These chats were stimulating because John had so much to offer in the art of dialogue. The subjects varied ; politics, current affairs, Scottish affairs – John had clear opinions honed, perhaps, by the fact that he had lived outwith Scotland and was widely traveled.
Recently, he had moved sideways to a new career in computer software and had visited many countries of the world on business. Invariably, however, the last topic of conversation would be music : bands, personnel, styles, repertoires, musical arrangements and approach to harmony. Needless to say, we did not always agree, but John always tried to be constructive, seldom destructive, with his criticisms and observations.
No matter how long an absence, when John returned, he just took up where he had left off with his friends – by lifting the telephone and announcing brightly “Hello! It’s John here”. It was as though he had never been away.
I have many happy memories over the years of our musical association. We will all have our private memories of him : at dances, recordings, festivals in Shetland or Mull or just at parties and houses. He was cheerful, involved and always welcome.
Although John had known for some time that his health was failing, it did not preclude him from being involved and he continued to apply himself, enthusiastically, to the many calls on his services. The effort involved must have entailed an enormous amount of courage and fortitude but John, somehow or other, could cope with the pressures and life’s problems. He coped with his illness with dignity and with a degree of humour ; always ready to laugh, never too serious and good company.
Life had much to offer John and he lived it to the full – crammed full of warmth, laughter and music. In addition to his very great talent as a musician, that is how we will remember him.
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Golden Fleece) – members only 13th Feb 91 Deirdre Adamson
Arbroath ( ) - 3rd Feb 91 Simon Howie SDB
Armadale (Masonic Arms Hotel) – 7th Feb 91 Donnie MacGregor SDB
Ayr (Gartferry Hotel) – Feb 91 Craig McCallum SDB
Balloch (St Kessog’s Hall) – 17th Feb 91 Liam Howitt
Banchory (Burnett Arms Hotel) –
Banff & District (Knowes Hotel, Macduff) – 27th Feb 91 Ian Cruickshank Trio
Beith & District (Hotel de Croft, Dalry) –
Belford (Community Club) – Feb 91 Alister Wood SDB
Biggar (Municipal Hall) – 10th Feb 91 Colin Forgrieve
Blairgowrie (Moorfield Hotel) - 12th Feb 91 Dave Stewart
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) –
Coalburn (Miners Welfare) - 21st Feb 91 Jimmy & Joan Blue & Ian Powrie
Crieff & District (Drummond Arms Hotel)
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 6th Feb 91 Mauice Duncan & Murray MacKillop
Dunblane (Westlands Hotel) – 19th Feb 91 Simon Howie SDB
Dundee (The Marquee) –
Dunfermline (Northern Roadhouse) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (Sweepers, Cambuslang) – 28th Feb 91 Simon Howie SDB
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 20th Feb 91 Paddy Neary
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Brig Motel) – 13th Feb 91 Bill Brian and Ena Anderson
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) –
Highland (Drumossie Hotel) –
Isle of Skye -
Islesteps (Driveway Inn) –
Kelso (Ednam House Hotel) –
Kinlochshiel (Tingle Creek Hotel) -
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 14th Feb 91 Morag Robertson & Frank Henery
Livingston (Golden Circle Hotel, Bathgate)
Lockerbie (Bluebell Hotel) -
Mauchline (The Jean Armour Restaurant) 19th Feb 91 Alan Gardiner SDB
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) –
Newtongrange (Dean Tavern) –
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Seafield Hotel, Keith) – 5th Feb 91 David Morris
Oban (Highlander Restaurant) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) – 21st Feb 91 John Laidlaw Band
Peebles (Greentree Hotel) –
Perth (Station Hotel) – 18th Feb 91 Gordon Pattullo Trio
Premier NI (Camlin function Rooms) -
Renfrew (Masonic Hall, Broadloom) – 12th Feb 91 Billy McGuire
Rothbury (Jubilee Hall) - Feb 91 Ian Hutson SDB
Shetland (venue?) -
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) –
Wooler ( ) - Feb 91 Donaldson Brothers
THERE WERE CLUB REPORTS FROM :-
1. Ayr
2. Coalburn
3. Dingwall
4. Dunoon & Cowal
5. Ettrick & Yarrow
6. Forres
7. Gretna
8. Isle of Skye
9. Kinlochshiel
10. Kintore
11. Mauchline
12. Renfrew
13. Turriff
14. Tynedale
15. Wooler
CLUB DIRECTORY AS AT SEPT 1990 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Blairgowrie A&F Club (
12. Brigmill A&F Club (Oct 1990
13. Button Key A&F Club (
14. Castle Douglas A&F Club (c Sept 1980)
15. Coalburn A&F Club
16. Crieff A&F Club (cSept 1981)
17. Dalriada A&F Club (Feb 1981)
18. Derwentside A&F Club
19. Dingwall & District A&F Club (May 1979 – per first report)
20. Dunblane & District A&F Club (1971)
21. Dundee & District A&F Club
22. Dunfermline & District A&F Club (1974 – per first edition)
23. Dunoon & Cowal A&F Club (
24. East Kilbride A&F Club (Sept 1980)
25. Ellon A&F Club (
26. Etterick & Yarrow (Jan 1989 -
27. Fintry A&F Club
28. Forfar A&F Club
29. Forres A&F Club (Jan 1978)
30. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
31. Galashiels A&F Club (joined Sept 1982)
32. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
33. Glendale Accordion Club (Jan 1973)
34. Highland A&F Club (Inverness)
35. Islesteps A&F Club (Jan 1981)
36. Isle of Skye A&F Club (
37. Kelso A&F Club (May 1976)
38. Kintore A&F Club
39. Langholm A&F Club (Oct 1967)
40. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
41. Livingston A&F Club (Sept 1973 – per first edition)
42. Lockerbie A&F Club (Nov 1973)
43. M.A.F.I.A. (early)
44. Mauchline A&F Club (first mention 1986?)
45. Montrose A&F Club (joined Sept 1982)
46. Mull A&F Club
47. Newtongrange A&F Club (joined Sept 1979)
48. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
49. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
50. North East A&F Club aka Keith A&FC (Sept 1971)
51. Oban A&F Club (Nov 1975)
52. Orkney A&F Club (Mar 1978)
53. Ormiston Miners’ Welfare Society A&F Club
54. Peebles A&F Club (26 Nov 1981)
55. Perth & District A&F Club (Aug 1970)
56. Premier A&F Club NI (cNov 1980)
57. Rothbury Accordion Club (1987??)
58. Shetland A&F Club (Sept 1978)
59. Sutherland A&F Club (
60. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
61. Thurso A&F Club (cSept 1981)
62. Turriff A&F Club (March 1982)
63. Tynedale A&F Club (Nov 1980)
64. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
65. Acharacle & District A&F Club (cMay 1988)
66. Bonchester Accordion Club (Closed?)
67. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
68. Buchan A&F Club
69. Callander A&F Club (
70. Campbeltown & District A&F Club (c Dec 1980)
71. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
72. Club Accord
73. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
74. Coupar Angus A&F Club (cSept 1978 - ?)
75. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
76. Denny & Dunipace A&F Club (Feb 1981)
77. Dornoch A&F Club (first mention in directory 1986)
78. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
79. Dunbar Cement Works A&F Club (Closed?)
80. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
81. Falkirk A&F Club (Sept 1978 - )
82. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
83. Gretna A&F Club (June 1966)
84. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
85. Kinlochsheil A&F Club (
86. Kirriemuir A&F Club (cSept 1981)
87. Monklands A&F Club (Nov 1978 – closed cApril 1983)
88. Morecambe A&F Club (joined Sept 1982)
89. Newcastleton Accordion Club
90. New Cumnock A&F Club (cMarch 1979)
91. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
92. Straiton Accordion Club (c1968 – closed March 1979)
93. Stranraer & District Accordion Club (1974 – per first edition)
94. Torthorwald A&F Club (near Dumfries)
95. Walmer (Bridge of Allan) A&F Club
96. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
The January Issue
We have had a few problems over the Festive Season, in our attempts to get the paper out in good time. Holiday closures meant that we would either be a bit earlier than normal or find ourselves sending out to Clubs well after the 1st of the month. We found it impossible to go early so, as most of you will know by now, it was mid-January before the ‘B&F’ was dispatched. Some Clubs have managed to absorb the problem this has caused, and my sincere thanks to all concerned.
Musselburgh ‘91
Time is fast approaching again for our annual Festival. A great day is in store for all who attend. Competitors or listeners, everybody seems to thoroughly enjoy the day. See you there.
Tom Clark
Tony Reid of Balnakilly
“500 Folk in Shorts & Gym Shoes Jumping & Screaming – Coorse!”
by Norrie Williams
Linking Pitlochry with Bridge of Cally at the southern end of Glenshee, the A924 road rises to around 1,300 feet above sea level at its highest point, giving spectacular views of the Perthshire hills in every quarter. Then as it drops down in a south easterly direction into picturesque Strathardle and at a height of about 750 feet, it winds through the attractive village of Kirkmichael. About half a mile from the centre of this community, in its own partially wooded estate stands the ‘Big Hoose’.
On a sunny but breezy day last August I had an appointment at this very house. As I got out of the car near the front door, the laird, a very erect six footer in kilt and open neck check shirt came out to greet me and ushered me into the conservatory where we ensconced in large wicker chairs.
Our one and only precious meeting previously had been in June, 1956, in Montrose, at the Rosemount Rooms where he was leading his own Scottish Broadcasting Band at the regular mid-week hop. His name and that of the ‘Big Hoose’ are combined in the title of a fine reel tune composed by well known Kirriemuir fiddler, Angus Cameron – ‘Tony Reid of Balnakilly’.
But why this visit? Well, Tony, always a man of ideas recently had the brainwave of producing a couple of albums featuring some recordings of his band made in the ‘50’s. As I have always been an avid fan of the group, these new releases – of which more later – revived many happy memories and made me determined to find out something of this man and what makes him tick, musically. I was in for a few surprises. His approach to arranging and playing our traditional music is both interesting and refreshing and gives food for thought.
MUSIC – THE FORMATIVE YEARS
As his father’s business required two bases, one on each side of the border, Tony, the youngest of three, was actually born in Sussex in 1926, but happily his earliest memories are of “God’s own country” – Balnakilly. His introduction to music was in the serious side of the art, not surprisingly as his mother was a concert pianist.
He started piano lessons at the age of 5, but fortunately he was exposed to ‘real’ music in the person of an old worthy Harry Livingston, who sat and played his fiddle outside the farm bothy which was just round the corner from the big house. By the time he was three or four, Tony had become a Scottish dance music enthusiast.
At the age of seven, again following family tradition, he went to prep school in Kent and within two years was playing the cello in addition to piano.
Next stop, Harrow Public School, and Tony’s classical music training blossomed still further with the addition of double bass and organ, the latter superseding piano.
As a cellist he was involved in orchestral and chamber music with the Harrow School and Harrow Philharmonic Orchestras, and as an organist with choral music (surprise, surprise) and other classical music of all kinds.
But amidst all this erudition there was one saving grace, one escape route so to speak in the shape of a ‘box’ under the bed, a 24 bass Hohner piano key instrument. Tony had acquired this, because strange as it may seem, his mother albeit a concert pianist, possessed a piano accordion and as a 13 or 14 year old he had been intrigued by this.
The musical powers that be at Harrow might not have looked on Tony as the ‘flavour of the month’ had they known that frequently on returning from playing cello at some culture function he would have a tune on the box, but he was fortunate in that he started his musical training at Harrow under a truly great musician and a Scot to boot, Dr Henry Havelgal. The good doctor had a sneaking affection for all things Scottish and would undoubtedly have given young Tony every encouragement in his traditional excursions. Interesting to note too, that the assistant music master and principal organ teacher, Hector McCullough, also hailed from north of the border, Perth to be precise.
THE FIRST BAND AND THE SCOTTISH REFORM SOCIETY
When Tony left Harrow in 1944, age 17 ½, having volunteered for the forces, he was the proud possessor of a single coupler 80 bass Italian made ‘Semprini’ accordion, which he played until his demob in 1948, by which time he had reached the rank of Captain in the Irish Guards Armour.
Then followed 3 years at Cambridge University studying agriculture and estate management. Having had a good grounding in Scottish Country and Highland dancing at a tender age with both ‘Dancie Reid’ (Newtyle) and piper/dancer Lily McMillan (Kirkmichael), it was only natural that our man would home in on the Cambridge University Strathspey and Reel Society but and I quote…”500 folk in shorts and gym shoes jumping and screaming with the music going about eight times the proper speed and run by a couple of research students from Liverpool – coorse!”
This was more than Scottish flesh and blood could stand but the sheer ‘awfulness’ of the whole set-up produced an excellent spin-off and antidote. It brought together a number of like-minded enthusiasts and through this Tony met up with four fellow students, all Scots, who were also competent musicians.
A five piece band was duly formed with the specific purpose of producing some 12” 78 r.p.m. Scottish dance records which could actually be used for set dancing – the visiting standard 10” commercial discs did not cater for this. To complete the perfect aforementioned antidote a limited membership group was formed known as ‘The Scottish Reform Society’, which upheld the true traditions of our dances.
ON THE AIR
Authentic Scottish dance bands were a rarity in the south of England, word got around and things took off with a vengeance. Oxford, London, Bury St. Edmonds, Chelmsford, - in no time at all Tony’s band was overbooked and they found themselves playing almost out of control.
For the record the band comprised Tony himself on lead accordion (a 120 bass Paolo Soprani), on fiddle Alastair MacDonell, now minister of St. Mary’s, Haddington, Lucy Ashton on second accordion, Bill Leslie on piano and David Bouser on drums. Incidentally, Alastair and Bill are members of the current ‘Auld Reekie’ band, which has recently put out a double album of Scottish Country Dances ’Capital Reels’ on the Lismor label.
Three of Tony’s group were at that time Aberdeen based, one being Lucy who handled the bulk of the band bookings.
Once, in 1950 during a university vacation, she said to Tony, “You know we’ve got a job in Beechgrove Terrace today?” “What job’s that?” “The B.B.C.” A successful audition with Herbert Wiseman resulted in three broadcasts for the Cambridge band.
This was when I first heard of Tony, and was impressed by the fresh sound of the group, liked the choice of tunes and especially his way of playing jigs.
I remember being very taken with their version of ‘My Wife’s a Wanton Wee Thing’ and in a rummage around afterwards was delighted to find it in a ‘Kerr’s Collection’. The band had rough edges, yes maybe, but it was swinging and had a sparkle. The two accordions, by the way, played in unison.
THE ‘MESSAGE’
For the first six months after the completion of his university training and before taking over Balnakilly Estate from his father, Tony worked as a post graduate student with one of the great hill farmers of the Aberfeldy district Michael McDermott, whose eldest son, Duncan was and still is, an excellent piper (currently a member of the celebrated ‘Atholl Pipers’) and an accordion player. He and Tony got stuck into the music especially the pipe variety (good lads), Tony learning quite a bit about some of the extra grace notes patterns, ‘birls’, grips etc, and how to simulate these on the accordion. They teamed up on pipes and box doing a number of concert turns in the Aberfeldy area with considerable success, except in the eyes of other big pipers, who considered it the ultimate desecration.
Other players who influenced Tony over the years especially in the field of pipe music were Iain McMillan of Kirkmichael and Bobby MacLeod of Tobermory.
The former, a shepherd and a superb Scottish fiddler was the youngest brother of Lily McMillan, the piper and dancing tutor mentioned earlier. He emigrated to Rhodesia after the war but made frequent visits home and during these sojourns he and Tony had long musical sessions far into the night, with our man learning a lot of fiddle and pipe tunes which were completely new to him.
Tony’s first meeting with Bobby MacLeod was at a dance in the wee Blackwater Hall in Glenshee, where all the Scottish broadcasting bands used to play.
Tony was introduced to Bobby, who had heard him through the Cambridge band broadcasts, invited him up to have a tune (on Alasdair Downie’s accordion).
After the dance, the whole band went back to Balnakilly for refreshments and a ‘session’ and from the first meeting Tony and Bobby became firm friends with frequent subsequent visits by the Tobermory maestro. “I was influenced by him, he played pipe music unashamedly, it wasn’t being watered down, or turned into a diatonic scale, it was being played the way it should be. Suddenly, one heard a whole different sound”. So say all of us.
And one mustn’t forget the contribution by yet another eminent Scottish dance band leader, Jim Cameron of Kirriemuir. He it was who encouraged Tony to form a band in the first place and gave help and advice whenever he could.
It would be appropriate at this point to put down some of Tony’s thoughts on the Scottish dance music scene of the 50’s and on his own approach to arranging and presenting our music.
THE SECOND BAND (GLENDARUEL)
On the 1950’s – “There was a watershed at that time. We had a lot of indigenous Scottish players, fiddlers and accordionists, mainly self taught but with the ability to play Scottish music the way it’s meant to be, beautiful with a tremendous lilt and lift – few had any musical training, mostly self taught and playing be ear. Nothing wrong with that at all.
Then we had the professional musicians, the ……… of this world (no names, no pack-drill), you couldn’t fault them musically, but they did not have this magic element, the missing factor, “the message’ so difficult to define, it’s the 40/50% that is not on the music. Without it Scottish music is a jumble of notes.
Now somewhere the challenge was to combine the two, and this is what we attempted to do. We were trying to couple the ability to play Scottish music with a fairly thorough musical training”.
To interrupt the flow here briefly. After taking over the reins at Balnakilly, Tony had managed to team up with four willing collaborators who were prepared to meet the above mentioned challenge to formulate and develop their own style together. On fiddle Derek Auld, piano Bill Hendry (Dundee) and latterly Eric Stewart (Luncarty), double bass John Casey (a native of Manchester but resident in Perth) and lastly on drums Wattie Crole (Blairgowrie) who talked Tony into forming the group.
Because it used the march ‘Glendaruel Highlanders’ as its signature tune, it became known as the ‘Glendaruel Scottish Dance Band’, broadcasting regularly from 1954 until its disbandment in 1959 due to business and family pressures etc.
COUNTERPOINT
But back to Tony on arrangement and presentation :- “There is an incredible similarity between classical and Scottish music. A lot of folk don’t appreciate that classical composers like Handel wrote a wealth of dance music, gavottes, minuet’s etc for dancing and listening.
Handel had this fantastic counterpoint in all his light music and it was this harmonisation which Scottish music so desperately needed.
Applying this counterpoint idea to the arrangement, not only gives beat a harmony, it is also directional. Arranged correctly it will lead the music to climax or take it out of a climax, it will point it this way, point it that way. This comes through automatically and everybody gets caught up in the infection of it, with the harmonic sequences and bass line progressions steering the whole thing”.
By this time I was agog and standing in six feet of water (metaphorically speaking) but Tony clarified the situation by demonstrating counterpoint on his box with the tune ‘Hot Punch’. “You know what a figured or ground bass is?” I didn’t! So he showed me – it is a kind of fundamental walking bass which not only harmonises with the melody line but also provides a basis for chord sequences. The water level dropped. Here endeth the lesson.
THE ‘BOXES’
And with the mention of box – the instrument in question is a very fine, grey, mother of pearl, hand made Hohner Morino IV of ’51-’52 vintage. It’s one previous owner, Bobby MacLeod, kept it for a short time because it had octavina tuning, which although having a fine tone range, did not give three reeds in line for the ‘Scottish sound’. Tony had two new sets of reeds made by Hohner to rectify this and used the instrument throughout the life of the Glendaruel band.
Sandwiched for a short period between the Paolo Soprani accordion of the Cambridge band – a sharp sound with a good bite – and a Morino IV, was a Frontaline which had a kinder sound. Amplification was becoming more prevalent, so tone rather than volume was the order of the day.
THE SOUND OF THE ‘50’s
I was resident in Bedfordshire when I first heard the ‘Glendaruel Band’ in 1955 and was completely ‘sent’. I corresponded briefly with Tony who was most punctilious and courteous in replying. Space precludes further enlargement here but I would strongly recommend all Scottish dance music enthusiasts to get these new tapes and hear them for themselves.
The first thing that strikes one is the strong synchronised beat of the double bass / bass drum combination which lifts and drives the whole thing along. Again to quote, “If you’ve got a really first class rhythm section behind you like Wattie, John and Bill, you have total freedom to use the left hand for on and off-beat dynamics. The whole thing gets caught in a swaying motion. Relax into it, let it drive you on, your job is to play the music and interpret it…”
And believe me, Tony practiced what he preached, the exciting bounce and lift of the music on these recordings, not to mention the first class bass lines bear out every word.
THE ‘60’S AND AFTER
After the demise of the ‘Glendaruel’ in 1959, Tony did spells relieving with other bands, e.g. Angus Fitchet’s and Bobby MacLeod’s, and in the late ‘60’s and ‘70’s he frequently provided double bass backing for groups during the musical evening at his ‘Edelweiss Hotel’ in Glen Derby. Naturally, he has a fund of stories of events that happened over the years, but sadly space permits only the briefest mention of two such incidents.
Bobby MacLeod was ill, and Tony took over the ‘hot seat’ at a big Scottish Country Dance in York with 800 present. Sharing the front line on fiddle was erstwhile band colleague, Derek Auld. He collected his instrument from its perch on the engine cowling of the new rear engined V.W. van, opened the case and there lay something like a curled up banana skin – the glue had melted! A stand in fiddle of sorts was borrowed and they got through.
On another occasion at a big ball at Blair Atholl with Bobby MacLeod’s band officiating, the lights got progressively dimmer and the amplification faded so that by midnight the place was in darkness save for a few candles. Reels and Highland dances were now out of the question, so Bobby, Pibroch MacKenzie and the rest of the band played the most fantastic modern swing music for the remainder of the function. But why had the lights failed? The electrical supply was from a water driven generator. To cope with the amplification demands, a second turbo generator had been installed, but no extra water – so!
For the last few years, Tony has been plagued by an affliction which traps the tendons causing the fingers to curl up. Despite two operations, the problem is still there and he can no longer play properly, but he is very philosophical about the whole thing, still enjoys listening to the music and keeps himself very busy helping his wife, Helen, with the family business of self catering cottages, log cabins etc.
Helen also runs the Balnakilly Riding Centre and is a professional coach in all forms of athletics.
Incidentally, one of Tony’s forbearers was Byron Ruadh, alias John Reid, born 1721, who eventually reached the rank of General in a Highland Regiment. He was also an eminent musician, a piper, flautist and composer, his most famous piece being ‘The Garb of Old Gaul’. It’s in the blood right enough!
Reluctantly, I had to leave the lovely setting of Balnakilly with its swimming pool, croquet lawns, horses etc., for another appointment – I had learned a lot and I could have listener for hours.
Update to “The Boxes” above.
I spoke on the phone to Tony on 21st March 2007 and he explained that while he and Helen were on holiday in South Africa in 1999 they received a phone call to say that their home, Balnakilly House, had been burned to the ground with the loss of the entire contents including Bobby MacLeod’s accordion, a grand piano, a double bass, his huge record collection, and irreplaceable photos and reel-to-reel recordings of ‘jam sessions’ with many of the famous Scottish Dance Bands of yesteryear.
It transpired that a man who had moved into the locality, and who seemed nice enough on the surface, was in fact an arsonist with 55 previous convictions. The fire authorities reckoned that he had deliberately set six fires in Balnakilly, hence the complete loss. All Tony and Helen were left with were the few items of clothing etc they had taken on holiday with them.
CT
Accordions Galore 1990
by Peter Paterson
On an extremely cold and windy evening, Saturday, the 8th of December, a small number of hardy accordion enthusiasts ventured out for a great night at the Civic Centre Concert Hall, Motherwell.
I do really mean a great night. We had all the ingredients of a traditional Scottish show, music, song, a piper and tartan – yes, tartan! Our traditional clothing that the ‘yuppie’ so-be-it intellectual Scot sneers at, all there in their glorious colours.
This concert was the twelfth annual event in memory of the button accordion king, Will Starr. Its nearly fifteen years since Will passed on and with this annual concert, his name comes brightly into the fore, even if it’s only for a couple of hours.
As usual the concert had a host of talented people – most of them giving their services in the cause of charity.
As the curtains parted around 7.30 p.m. the strains of ‘Scotland the Brave’ echoed through the Concert Hall. Liam Howitt played this in his own fine style, hidden from the audience, as he stood in the wings.
This gave me a chance to come on stage, then it was right into the run through for the night. Calling Liam from the wings onto the centre stage, I left him to do his own thing as only he can, and what a performance he put across. This young man is one of our accordion greats, not only as a player, but as a composer. He offered us one or two of his compositions and hearing them for the first time, I was amazed at the thought behind the music, his music that he played.
After thunderous applause, Liam left the stage for the May Martin Dancers. This was the colour spectacular I mentioned earlier. Tartans of many colours were highlighted as the young dancers went through their dances, all to the sound of the kilted piper, Alex Martin.
Watching this from the wings, I could not imagine why any true Scot could decry and run down the heritage of our land. If the Americans had this as one of their traditions, they would certainly show the world how to appreciate it. Anyway, each person to their own taste.
After the dancers, we had the Will Starr Memorial Shield Contest. This, I’m afraid was a sad failure. We had a few enquiries before the contest about this, but on the night we only had one contestant.
Grant McConnell from Carluke, was in fine form as he went through his selections to make him the undisputed winner of the Will Starr Shield for 1990. So sad though with all the hundreds of accordion players in the Motherwell and District areas, pity that they did not make the effort to come along and make the challenge.
From the contest it was top of the bill time. On stage strutted the confident and happy character, Alan Roy.
Alan, was the ultimate entertainer, cracking jokes, singing and playing the accordion – he did it all.
I saw Alan a number of years ago in the Kings Theatre, Glasgow, and even then I knew he offered a new concept to the accordion entertainer image. He just did not follow the usual, play a selection intro over the next one, and so on type of act – he was fresh, with a happy and different aura about him. I had always wanted to invite him on the show, and here he was tonight, not letting my memory of him down, but enhancing it.
During his spot he introduced his wife, Jan, and she was a knockout, not only as a ‘looker’, but with her fine singing voice and when the two of them did their duets and harmonies, it was really something.
After taking the encore, Jan and Alan Roy concluded the first half.
SECOND HALF
The second half of the concert should have started with the fine veteran entertainer, Sandy Moir. By public demand, Sandy was asked back as he did so well in the concert.
Sadly, Sandy was not keeping well and could not come along. I hope you are feeling much better now, if you get a chance to read this article, you will see we had a great show – all the best, Sandy.
The Gardenside Ladies Choir took Sandy’s spot and the second half was on.
These ladies, fourteen in all, all senior citizens, they do a great work in the area, singing and entertaining. All resplendent in various coloured tartan skirts and white blouses – they gave us a fine selection of the songs of Scotland.
In tartan splendour again, it was the second appearance of the May Martin Dancers. Also, as a variation they did a hornpipe, accompanied again by Alex Martin on the pipes.
This was the first time the May Martin Dancers were on the Accordions Galore Concert – it will not be their last.
As the last notes of the pipes echoed off the stage, it was Liam Howitt’s second appearance. But, just before that, he handed over the Will Starr Memorial Shield, through Margaret Starrs to Grant McConnell. Margaret had missed the last two presentations owing to illness. Glad to say she is fighting fit.
Liam then struck up and away he was enjoying his playing, as we enjoyed listening to him. That is the secret of any entertainer. If he enjoys what he is doing, it comes through to the audience and it certainly came through to us – we enjoyed Liam Howitt!
After Liam, Alan Roy came back on stage bringing back his happy presence. He no doubt enjoys himself on stage – as well as a comedian and singer, he is a tremendous accordion player, with the unique sound from his Morino he certainly proved what an accordion could do. Jan joined him on stage half way through his act, and as in the first half of the show, they proved to be what a double act should be, both in accord.
As Jan and Alan came to the end of their spot, I brought on a surprise to finish the show – the Gardenside Ladies were introduced again and they finished off accompanied by alan and Jan, with a Festive selection of Carols.
We had a real community sing-along with the audience joining in.
After the carol ‘White Christmas’ I joined them on stage and with the customary ‘We’re No Awa’ Tae Bide Awa’’, we closed on the 1990 Accordion Galore Concert.
I would like to sum up a little on the event. The control of the concert as far as the artistes were concerned, was at its high standard as usual. Disappointment was a certainty with the Will Starr Shield Contest. The audience I thank for coming along, but it was well down on previous years, possibly be it being too close to Christmas, or with it being a very cold winter’s night.
I have now changed the date. The 1991 concert will take place on Saturday, 1st June, in the Civic Centre Concert Hall. This should make it a warmer time of year. If this does not help to bring up the attendance level – 1991 will be the last concert. A pity, as this venue is the last, more of less, fairly big accordion venue in the West of Scotland.
John Gibson
An Appreciation
By Iain MacPhail
Last August (1990), the death occurred of John Gibson at the age of only 29. Those of us who were privileged to know him, whether as a family member, musical colleague or, simply, a friend, were drawn to this most gregarious of men by his cheerfulness, sense of humour, natural friendliness and musical talent.
John enriched our lives and earned the admiration and respect of us all and this fact was substantiated by the large attendance, from all corners of the United Kingdom, at his funeral.
I met John when he was 15 and still at school. He was studying piano as part of his course and received tuition from my good friend, Pay Milbourne, known to many of us for his unstinting efforts to promulgate music of Scotland. Ray had greatly enthused about this young, rising star and soon engineered an opportunity for us to meet. I was immediately aware of John’s creative and innovative ideas, originality and empathy with music ; which were remarkable talents in one so young and inexperienced.
In time, as our friendship and his skills developed, John played with the band in cabaret, recordings and broadcasts. The fact that John was a happy, confident youngster with such a precocious talent helped enormously in the testing chamber of live performances. It quickly became apparent that, as he was so different in approach and playing , he influenced others – a notable feat in one so young among older and more experienced musicians. He was quite distinctive and always interested in others and what they were doing.
On leaving school, John attended college and, in the fullness of time, graduated as a piano-tuner, eventually aspiring to a prestigious post with Steinway in London, where he was heavily involved in preparing instruments for major concerts and performances.
As his career developed, however, he hankered for a return to his homeland and he was appointed the Steinway representative for Scotland and this opportunity opened new avenues for his many talents.
Apart from his obvious love for Scottish traditional music, he was capable of performing jazz, modern and contemporary music in addition to being a competent singer and, surprising to some, and able exponent of Scottish Country Dancing. John was always seeking to improve his skills because, simply, music was at the very centre of his whole being.
The friendly, outgoing nature possessed by John was complimented by a more serious side which often was not manifestly apparent.
On many occasions, he visited my home and long, sometimes heated, discussions would last well into the night. These chats were stimulating because John had so much to offer in the art of dialogue. The subjects varied ; politics, current affairs, Scottish affairs – John had clear opinions honed, perhaps, by the fact that he had lived outwith Scotland and was widely traveled.
Recently, he had moved sideways to a new career in computer software and had visited many countries of the world on business. Invariably, however, the last topic of conversation would be music : bands, personnel, styles, repertoires, musical arrangements and approach to harmony. Needless to say, we did not always agree, but John always tried to be constructive, seldom destructive, with his criticisms and observations.
No matter how long an absence, when John returned, he just took up where he had left off with his friends – by lifting the telephone and announcing brightly “Hello! It’s John here”. It was as though he had never been away.
I have many happy memories over the years of our musical association. We will all have our private memories of him : at dances, recordings, festivals in Shetland or Mull or just at parties and houses. He was cheerful, involved and always welcome.
Although John had known for some time that his health was failing, it did not preclude him from being involved and he continued to apply himself, enthusiastically, to the many calls on his services. The effort involved must have entailed an enormous amount of courage and fortitude but John, somehow or other, could cope with the pressures and life’s problems. He coped with his illness with dignity and with a degree of humour ; always ready to laugh, never too serious and good company.
Life had much to offer John and he lived it to the full – crammed full of warmth, laughter and music. In addition to his very great talent as a musician, that is how we will remember him.
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Golden Fleece) – members only 13th Feb 91 Deirdre Adamson
Arbroath ( ) - 3rd Feb 91 Simon Howie SDB
Armadale (Masonic Arms Hotel) – 7th Feb 91 Donnie MacGregor SDB
Ayr (Gartferry Hotel) – Feb 91 Craig McCallum SDB
Balloch (St Kessog’s Hall) – 17th Feb 91 Liam Howitt
Banchory (Burnett Arms Hotel) –
Banff & District (Knowes Hotel, Macduff) – 27th Feb 91 Ian Cruickshank Trio
Beith & District (Hotel de Croft, Dalry) –
Belford (Community Club) – Feb 91 Alister Wood SDB
Biggar (Municipal Hall) – 10th Feb 91 Colin Forgrieve
Blairgowrie (Moorfield Hotel) - 12th Feb 91 Dave Stewart
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) –
Coalburn (Miners Welfare) - 21st Feb 91 Jimmy & Joan Blue & Ian Powrie
Crieff & District (Drummond Arms Hotel)
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (National Hotel) – 6th Feb 91 Mauice Duncan & Murray MacKillop
Dunblane (Westlands Hotel) – 19th Feb 91 Simon Howie SDB
Dundee (The Marquee) –
Dunfermline (Northern Roadhouse) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (Sweepers, Cambuslang) – 28th Feb 91 Simon Howie SDB
Ellon (Ladbroke Hotel) –
Ettrick & Yarrow (The Gordon Arms) - 20th Feb 91 Paddy Neary
Fintry (Fintry Sports Centre) –
Forfar (Plough Inn) -
Forres (Brig Motel) – 13th Feb 91 Bill Brian and Ena Anderson
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) –
Highland (Drumossie Hotel) –
Isle of Skye -
Islesteps (Driveway Inn) –
Kelso (Ednam House Hotel) –
Kinlochshiel (Tingle Creek Hotel) -
Kintore (Crown Hotel) –
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 14th Feb 91 Morag Robertson & Frank Henery
Livingston (Golden Circle Hotel, Bathgate)
Lockerbie (Bluebell Hotel) -
Mauchline (The Jean Armour Restaurant) 19th Feb 91 Alan Gardiner SDB
M.A.F.I.A. (Masonic Hall, Milngavie) –
Montrose (Park Hotel) –
Newtongrange (Dean Tavern) –
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Seafield Hotel, Keith) – 5th Feb 91 David Morris
Oban (Highlander Restaurant) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) – 21st Feb 91 John Laidlaw Band
Peebles (Greentree Hotel) –
Perth (Station Hotel) – 18th Feb 91 Gordon Pattullo Trio
Premier NI (Camlin function Rooms) -
Renfrew (Masonic Hall, Broadloom) – 12th Feb 91 Billy McGuire
Rothbury (Jubilee Hall) - Feb 91 Ian Hutson SDB
Shetland (venue?) -
Thornhill (?)
Thurso (McKay’s Hotel) –
Turriff (Royal Oak Hotel) –
Tynedale (Hexham Ex Service Club) –
Wick (McKay’s Hotel) –
Wooler ( ) - Feb 91 Donaldson Brothers
THERE WERE CLUB REPORTS FROM :-
1. Ayr
2. Coalburn
3. Dingwall
4. Dunoon & Cowal
5. Ettrick & Yarrow
6. Forres
7. Gretna
8. Isle of Skye
9. Kinlochshiel
10. Kintore
11. Mauchline
12. Renfrew
13. Turriff
14. Tynedale
15. Wooler
CLUB DIRECTORY AS AT SEPT 1990 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Alnwick A&F Club (Sept 1976)
3. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
4. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Blairgowrie A&F Club (
12. Brigmill A&F Club (Oct 1990
13. Button Key A&F Club (
14. Castle Douglas A&F Club (c Sept 1980)
15. Coalburn A&F Club
16. Crieff A&F Club (cSept 1981)
17. Dalriada A&F Club (Feb 1981)
18. Derwentside A&F Club
19. Dingwall & District A&F Club (May 1979 – per first report)
20. Dunblane & District A&F Club (1971)
21. Dundee & District A&F Club
22. Dunfermline & District A&F Club (1974 – per first edition)
23. Dunoon & Cowal A&F Club (
24. East Kilbride A&F Club (Sept 1980)
25. Ellon A&F Club (
26. Etterick & Yarrow (Jan 1989 -
27. Fintry A&F Club
28. Forfar A&F Club
29. Forres A&F Club (Jan 1978)
30. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
31. Galashiels A&F Club (joined Sept 1982)
32. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
33. Glendale Accordion Club (Jan 1973)
34. Highland A&F Club (Inverness)
35. Islesteps A&F Club (Jan 1981)
36. Isle of Skye A&F Club (
37. Kelso A&F Club (May 1976)
38. Kintore A&F Club
39. Langholm A&F Club (Oct 1967)
40. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
41. Livingston A&F Club (Sept 1973 – per first edition)
42. Lockerbie A&F Club (Nov 1973)
43. M.A.F.I.A. (early)
44. Mauchline A&F Club (first mention 1986?)
45. Montrose A&F Club (joined Sept 1982)
46. Mull A&F Club
47. Newtongrange A&F Club (joined Sept 1979)
48. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
49. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
50. North East A&F Club aka Keith A&FC (Sept 1971)
51. Oban A&F Club (Nov 1975)
52. Orkney A&F Club (Mar 1978)
53. Ormiston Miners’ Welfare Society A&F Club
54. Peebles A&F Club (26 Nov 1981)
55. Perth & District A&F Club (Aug 1970)
56. Premier A&F Club NI (cNov 1980)
57. Rothbury Accordion Club (1987??)
58. Shetland A&F Club (Sept 1978)
59. Sutherland A&F Club (
60. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
61. Thurso A&F Club (cSept 1981)
62. Turriff A&F Club (March 1982)
63. Tynedale A&F Club (Nov 1980)
64. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
65. Acharacle & District A&F Club (cMay 1988)
66. Bonchester Accordion Club (Closed?)
67. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
68. Buchan A&F Club
69. Callander A&F Club (
70. Campbeltown & District A&F Club (c Dec 1980)
71. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
72. Club Accord
73. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
74. Coupar Angus A&F Club (cSept 1978 - ?)
75. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
76. Denny & Dunipace A&F Club (Feb 1981)
77. Dornoch A&F Club (first mention in directory 1986)
78. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
79. Dunbar Cement Works A&F Club (Closed?)
80. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
81. Falkirk A&F Club (Sept 1978 - )
82. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
83. Gretna A&F Club (June 1966)
84. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
85. Kinlochsheil A&F Club (
86. Kirriemuir A&F Club (cSept 1981)
87. Monklands A&F Club (Nov 1978 – closed cApril 1983)
88. Morecambe A&F Club (joined Sept 1982)
89. Newcastleton Accordion Club
90. New Cumnock A&F Club (cMarch 1979)
91. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
92. Straiton Accordion Club (c1968 – closed March 1979)
93. Stranraer & District Accordion Club (1974 – per first edition)
94. Torthorwald A&F Club (near Dumfries)
95. Walmer (Bridge of Allan) A&F Club
96. Wellbank A&F Club
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