Box and Fiddle
Year 25 No 05
January 2002
Price £1.75
40 Page Magazine
3 month subscription £5.25 + p&p £1.65
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
I
Karen Ingram
There’s A Tavern in the Town
by Karin Ingram
Dougie MacLean has his roots planted firmly in the Perthshire town of Dunkeld. No matter where he travels, his thoughts are never far from the tiny village of Butterstone where he went to school (as did his father before him) and still lives. His father was a gardener on a big estate and the MacLeans lived in a tied house.
Dougie’s father played the fiddle, and his mother the melodeon. His family are all Gaelic speaking people from the West coast. Says Dougie, “They could knock a tune out of anything, but all by ear. You couldn’t easily escape music in the house. I played mouth organ when I was wee; in fact I played Morag of Dunvegan when I was about five up in the village hall with a dance band. Mum and Dad would go dancing, and we would all get dragged down, then I realised I knew all these tunes when I started playing the fiddle. I remember as a teenager, about twelve or thirteen, going to the village hall, and my mum would be saying, ‘Now go and get old Mrs MacGregor up to dance’, so I’d have to go and do a Canadian Barn Dance or something with her. You were totally embarrassed, and all you wanted to do was dance with the 13-year-old girls – but these old ladies were the ones who taught you to dance. I love dancing; I reckon you can’t play music if you can’t dance. The little hall where I played my first tunes is just up behind the village. The place was cooking every weekend in the 50s, the heady days of the Scottish Dance Bands. The Hawthorne Dance Band, all the Toshes, Jim Howe, and all the local dance bands would come through here.”
Dougie has played the fiddle since he was young, although now he is known more for his singing / songwriting talents. In his twenties he played fiddle with The Tannahill Weavers. He says, “I just play socially now, and I write a lot for the fiddle, but I don’t make a big deal out of performing with it. I use the fiddle a lot for writing melodies. People are surprised now when they find out I can play the fiddle, because they think of me as a songwriter”.
He has written hundreds of tunes, but here’s what he has to say about two of the best known : “I get all kinds of criticism about Caledonia from the media, and I think, ‘Give me a break, I was 19 when I wrote it!” It’s a bizarre song, but other people have turned it into what it’s become. I’m a real champion of independence and so I gave it to the SNP for one of their campaigns, and the media don’t like that – but it’s what I believe in.”
And ‘The Gael’ (the theme from the film ‘Last of the Mohicans’). “It’s nice that you can take what you grew up with in the village halls and put it into Hollywood. For a Perthshire fiddle tune to make that huge leap…..”
Dougie has never had any classical training, he can’t read music at all and he thinks that’s made a big difference when it comes to being a writer of tunes, “Because you don’t think of it as being the dots on the page, you feel the tune in your head or in your feet. People love the West coast Scottish Country Dance Bands, and they can’t quite work out why – but it’s because the rhythm’s in them, it’s just coming off their fingers, they’re not having to think about it. I grew up with the Niel Gow connection, living in Dunkeld. I remember years and years ago playing Niel Gow’s fiddle up at Blair Castle at a ball for the workers. Alec Barbour, the factor, brought the fiddle down so I could have a wee practice on it for a couple of weeks. I couldn’t sleep having it in the house!”
For the last 15 years Dougie has toured a lot in America. In radio interviews he tries to explain about the music and tells them, “You’d have to be at one of the village hall dances to really understand. I wrote a song called All Together based on being at a village hall dance and watching this mass of humanity jumping up and down with steam pouring off them. Everybody with big smiles, and class differences, age differences and all their troubles had gone. It’s like a privileged glimpse at what humanity is capable of, given the right opportunities – people can be great.”
Dougie recorded a CD called Perthshire Amber with the BT Scottish Ensemble: “They were all fiddle tunes that I wrote. I got commissioned to do it by The Perth Arts Festival. My friend Kevin McCrae plays cello and we collaborated on the project. Kevin was great at making the classical harmony for it. Classical players are fantastic players, but they don’t have any rhythm and have difficulty playing some of the tunes in the traditional style, but one of the nice things is putting the two styles together. There’s also a wee Celtic Band – John Morran playing rhythm guitar, my son Jamie on percussion, Graham Mulholland playing small pipes and Pete Clark playing fiddle.”
Etc
Alnwick Northumbrian Gathering
by Colin Bradford
The second weekend in November can be a cold and windy part of the year…………
52nd All Scotland Accordion & Fiddle Festival – 27th October 2001
by Robert Kennedy
Jack Emblow, with partner Tony Compton, captivated the capacity audience in The City Hall at The All Scotland Accordion & Fiddle Festival at Perth. Months before the Festival Bill Wilkie boldly stated, “This show will be a real sell-out”, and a sell-out it was, with almost every reserved seat being sold two and a half weeks in advance of the show.
The two accordions of Jack and Tony blended as one, in unbelievable arrangements of number such as Summertime, Pick Yourself Up, etc. Even the purely Scottish music enthusiasts must have appreciated the beauty, the harmonies and technical perfection of this virtuoso performance.
Jack Emblow last appeared in a Bill Wilkie Show in 1973, when Bill presented The All Britain N.A.O. Accordion Day in Perth. A fantastic occasion, also featuring Marcosignori. There were two accordion festivals in Perth that year – The All Britain in May, and The All Scotland in October – both organised by ‘The Wee Man’, who was then known as (because of his energy) ‘The Human Dynamo’.
Bill, who celebrates his 80th birthday on 6th January, is still a bit of a dynamo. He has now started on the organisation of his 53rd Perth Festival, but predicts big changes in the Classical Contests. He will be making a break from the N.A.O. He claims that they have all but killed off this part of the Festival by the dreich test pieces and extortionate entry fees. He now intends introducing new sections for polkas, musettes, duos, trios, etc., details of which will be announced soon. There will be free entry and cash prizes for these contests to get them off the ground the first year.
Patrons and contestants please note The 2002 Perth Festival will take place on Saturday the 18th of October (2 weeks in advance of the customary date). This change of date is due to the hall being used for important civic purposes.
The Festival Show on October 27th was, as usual, absolutely spectacular. Alan Small’s now well-developed ceilidh style got the show off to a great start with his Lomond Ceilidh Band. The folk were nearly dancing in the aisles.
At one time, Bill explains, we had harmonica contests in the Festival and a star harmonic player in the show. WE don’t have the contests now, but we did have the star player in the person of Bryce Johnstone, who gave a brilliant performance in his own unique style.
Mention must be made of 2000 Scottish Champion Michael Philip who, with his quartet, brightened the show and dazzled everyone with his technique.
The vast experience and professionalism of Iain MacPhail and his SDB brought the show to a tremendous climax. Of course there was a superb variety cast, with The Bill Wilkie Orchestar and Minstrels, The Sandra Wright Dancers, Eddie Devine, The Julie Young Dancers, Alexander Morrison (Scotland’s celebrated singing star) and all the wonderful supporting artistes who make the show what it is.
The many contests were run off smoothly during the day, and there was great excitement in the evening show when the 6 finalists competed for The Scottish Championship. Neil Galloway came through with flying colours as the new 2001 All Scotland Champion. Robert Black led the John Carmichael Ceilidh Band, and everyone had a real knees-up super time at the Friday Night Ceilidh Dance, and the packed Accordion Club Dance on Saturday night was another joyful, fun-filled event. Do we really have to wait another year to do this again?
All Scotland Senior Amateur Traditional Solo (John Crawford Trophy)
1) Stuart Cameron (Fort William)
2) Kevin Yates (Fraserburgh)
3) David Hunt (Tarbert)
All Scotland Open Traditional Accordion Solo Championship (Jimmy Shand Shield)
1) Neil Galloway (Cupar)
2) Stuart Cameron (Fort William)
3) Bruce Peebles (Forfar)
Senior Scottish Country Dance Band (Bobby MacLeod Challenge Trophy)
1) Scott Gordon (Westhill)
2) Tom Orr (Lanark)
3) Blair Gardiner (Libberton, Casnwath)
Junior Scottish Country Dance Band (Alex MacArthur Cup)
1) Morgan Leslie (Biggar)
2) Duncan Hutchison (Moffat)
3)
Own Composition (Jimmy Blue Challenge Cup)
1) Michael Philip (Cardenden)
2) David McKenzie (Dingwall)
3) Gary Forrest (Jedburgh)
Scottish Trio (Perth Accordion & Fiddle Club Challenge Cup)
1) Tom Orr (Lanark)
2) Neil Adams (Prestwick)
3) Gary Forrest (Jedburgh)
Scottish Traditional Button Key Accordion Solo
1) Graham MacKay (Inverness)
2) John Weaks (Glasgow)
3)
Veterans’ Solo (40 and over) (Andrew Rankine Memorial Quaich)
1) Michael Philip (Cardenden)
2) Willie Lawrie (Kinlochleven)
3) Ian Mouat (East Lothian)
Junior Traditional Accordion Solo (Under 16) (Angus Accordion College Challenge Shield)
1) Neil Angus McNeil (Aberdeen)
2) Tom Orr (Lanark)
3) David McKenzie (Dingwall)
Junior Accordion Solo for Traditional Pipe Music (Under 16) (Cowie Cup)
1) Neil Angus McNeil (Aberdeen
2) Matthew MacLennan (Kiltarlity)
3) David McKenzie (Dingwall)
Senior Ladies Accordion Solo (Jimmy Stephens Silver Salver)
1) Susan MacFadyen (West Kilbride)
2) Claire Duncan (Banff)
3) Neva Burns (Penicuik)
Senior Accordion Solo for Traditional Pipe Music (Bill Black Challenge Cup)
1) Andrew Warren (Pencaitland)
2) John Burns (Falkirk)
3) Liam Stewart (Galston)
Junior Girls Traditional Accordion Solo (Under 16) (Margaret Hendrie Silver Salver)
1) Kerry Irvine (Fraserburgh)
2) Morgan Leslie (Biggar)
3) Alison Hope (Peebles)
Scottish Ceilidh Band (Bobby MacLeod Trophy)
1) Tom Orr (Lanark)
2) Nicky McMichan (Lochmaben)
3)
Junior Traditional Accordion Solo (Under 12)
1) Gemma Coupland (Loanhead)
2) Scott Nicol (Pathhead)
3) Andrew Dalgarno (Turriff)
FIDDLE CLASSES
Junior Fiddle Solo (Under 16) (Albie Tedham Trophy)
1) Erin Smith (Aberdeen)
2) Kathryn Mathews (Turriff)
3) Ruaridh McMillan (Inverness)
Junior Fiddle Solo Slow Air(Under 16)
1) Erin Smith (Aberdeen)
2) Kathryn Mathews (Turriff)
3) John Thow (Dundee)
Junior Fiddle Solo (Under 12) (Jim Ritchie Challenge Cup)
1)
2)
3)
Senior Fiddle Solo (16 and over) (Ian Powrie Cup)
1) Ingrid Hammond (Dundee)
2) Perdy Syres-Gibson (Edinburgh)
3) Neil Adams (Prestwick)
Senior Fiddle Solo Slow Air (16 and over)
1) Perdy Syres-Gibson (Edinburgh)
2) Ingrid Hammond (Dundee)
3) Reg Edwards (Dyfed)
Tommy Edmondson (1934 – 2001) - Obituary
by
Tommy Edmondson passed away at his home on Friday, 23rd November aged 67.
At the age of 12 he began playing his brother Bobby’s five-shilling button-box, and joined his other brother, Joe’s, band as drummer. However after Joe died in a tragic flying accident, Tommy took over accordion playing duties.
One of the proudest moments was being invited by Jimmy Shand to play his box after a dance at the age of 12. This began a lasting friendship with the Shand family – Jimmy encouraging Tommy to play a five-row button-box.
In the early 1950’s, the BBC (who at the time traveled the country seeking recordings of traditional music) called at Tommy’s home. He was out cutting wood, but agreed to come intoi the kitchen and play the accordion. The recording of The Trumpet Hornpipe that emerged was the tune used for the TV cartoon Captain Pugwash, for which he was paid 30/-.
Angus Fitchet invited Tommy to join hiss band when he played south of the border. He also joined Andrew Rankine when he played at ceilidhs in Newcastle.
Tommy met his second wife, Angela, at the Rothbury Accordion and Fiddle Club (of which he was a founder member) and after they were married she became the pianist with the band. After he gave up the band he continued composing and playing solo at barn dances and parties. He was then able to concentrate on the full orchestral range of his Elkavox. He was a fanatic about correct chords and bass, and had an incredible repertoire. Tommy was passionate about his music, and proud of the standard he achieved without tuition.
The highlight of the year was going to the Mull Music Festival – 19 times in all.
A funeral service took place at All Saints Parish Church, Rothbury on Thursday, 29th November, and was followed by interment at the village cemetery.
Dr Angus Armstrong, speaking at the service, described Tommy as one of the greatest accordion players that the Coquet Valley has ever produced.
John Glen (1833 – 1904)
by Charlie Gore
The traditional musicians of Scotland owe John Glen a mighty debt of gratitude, yet, strange as it may seem, of you ask them who he was, it is unlikely that you would receive anything more than a blank look from 99% of them
In the first place, he was one of a small group of devoted music collectors who set about re-publishing the dance music of the Gows, Marshall and their many contemporaries during the last decades of the 19th century. The compilations of James Kerr (Merry Melodies), James Stewart Robertson (Athole Collection) and several others contain the essential ingredients of the 20th century Scottish dance band repertoire. But whereas their published editions give scarcely a hint as to the sources or authorship of the music, John Glen was meticulous in his biographical notes and the attribution of every tune he selected either to its composer (if known) or to an original collection. If it hadn’t been for his careful work, there would be very much less information to guide us back to the 18th century and to the Golden Age of the Scottish Tradition. The sad tag of the music publisher, ‘traditional’, though indicating that copyright may not apply, does nothing for the character of the piece. On the contrary, the names of all but a handful of the contributing composers have faded into oblivion chiefly due to this oversight. Glen’s work bears eloquent witness to the importance of detail. His Collection of Scottish Dance Music was published in two volumes between 1891 and 1895 in Edinburgh. The music itself is arranged in ‘medley’ style, strathspey alternating with reel – as are all the larger collections of that period – and there is a significant absence of jigs (a dozen in a total of nearly 300 titles). It was followed in 1900 by Early Scottish Melodies, a valuable reference book for researchers into manuscripts and early printed music.
When he died in 1904, his collection of manuscripts, printed music and other material (said to number in the region of 4,000 items) was put up for auction and bought outright by a single bidder. So the second phase of the story unfolds…… beginning with a quote from an article in The Scotsman dated 18th March 1918 “…..a generous benefactor who has acquired a remarkable collection of Scottish music…. has deposited it on loan at the British Museum with the express wish that it be available to students. The collection was formed by the late John Glen, a partner in a well-known firm of Edinburgh music publishers founded in 1827 in the Cowgate and subsequently moved to North Bank Street.”
The article describes how Glen realised that many of the music books were becoming rare, even in his day, and that wear and tear and neglect would quickly do the rest. He went about deliberately seeking to buy up the collections of the Gows, MacGlashan, Dow, Oswald, Mackintosh, Bremner, Stewart and Marshall – there are well over 100 more contributors that could be added to this list – with the result that he “was enabled to get together what is undoubtedly the most complete collection of printed Scottish music of the 18th and 19th centuries.” Included are two editions of the rare Collection of the Choicest Scots Tunes of Adam Craig (known to have been living in Edinburgh in 1695), a fifth edition of Playford’s Apollo’s Banquet, a rare set of Jackson of Dublin’s Irish Tunes and The Sinclair Manuscript, over 100 tunes “written by Andrew Adam at Glasgow October the 31 day 1710”.
The name of ‘the benefactor’ was formally disclosed in 1927, two years after The National Library of Scotland officially came into being, although there was to be an intervention of years including those of the Second World War before the present building was ready to house such items as The Glen Collection of Scottish Music. From then on, every item of the collection carried this printed dedication ; ‘Presented by Lady Dorothea Ruggles-Brise to the National Library of Scotland in memory of her brother, Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914.’ This daughter of the 7th Duke of Atholl, three of whose predecessors had been patrons of the great Niel Gow of Inver, was herself a lifelong devotee of Scottish music. It was entirely appropriate that her action should have returned this great resource to the nation and to the care of the National Library in Edinburgh.
CD Reviews
Paul Anderson – The Singing Land – MO1CD 021
Letters to the Editor
Dear Karin
I was particularly pleased to read the letter from Sylvia Lockhart in the December issue of the B&F, and would like to support her views.
For as long as I have been involved in the running of the Dunblane Club our policies have been quite clear – and simple.
1) Endeavour to ensure the public and players enjoy our club in a pleasant atmosphere.
2) When players are playing keep the voices down and not annoy those beside you.
3) Always ensure that if there are sufficient numbers of Club players present they do the backing for the Club players.
This is the main theme of Sylvia’s letter and I agree.
I have had situations where I have called the Club player, and find that they are followed to the stage by one or more of the guest band, and I had already called the Club players to do the backing. This causes embarrassment to the backing group, to the player involved, to the guest player and to me. On the few occasions this has happened, I have apologized to the guest players but did not use them.
I actually find it a bit offensive that anyone should approach the guest players and ask them to back them without the courtesy of first clearing it with a member of the Committee or myself as the compiler of the programme. After all, as Sylvia points out, the Club pay the guests.
The only time I have varied from this is if at the start of the evening there are no Club players available, I may ask one of the guests if they would mind helping out to get us started.
One of the most important factors, I feel, in the successful running of a Club is that it does not become competitive, nor professionally motivated, and Clubs have gone to the wall because of that attitude. I can only conclude that there are two reasons why players require more professional backing. That it is nice for the less experienced to once in a while get the more professional players to support them, and the other is that they think they are too good to have just Club players. I sincerely hope the latter is not the case.
My own experience has been that I have had well known players back me just because they happened to be at a club I have visited and were only too happy to have a shot – with anyone.
It is very gratifying to see successful bandleaders who started their careers as youngsters at the Clubs come back and support them. I find the social atmosphere between the Clubs extremely good and long may it continue.
Andrew Dunbar
Take the Floor – Saturdays with Robbie Shepherd
5th Jan 02 – Ian Cruickshanks + feature on the MacKays from Inverness
12th Jan 02 – Gordon Shand + CD Reviews
19th Jan 02 – Alistair Hunter – Focus on Keith Dickson
26th Jan 02 - tbc
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 29th Jan 02 – Jennifer Forrest SDB
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 20th Jan 02 – Ian Cruickshanks Trio
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) – 3rd Jan 02 – Laurie Orchestra
Balloch (St. Kessog’s Church Hall) – 20th Jan 02 – Dochie McCallum & Friends
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 23rd Jan 02 – Graeme Mitchell SDB
Beith & District (Anderson Hotel) – 21st Jan 02 – Dochie McCallum & Friends
Belford (Community Centre) –
Biggar (Municipal Hall) – 13th Jan 02 – Tom Orr SDB
Blairgowrie (Moorfield Hotel) -
Bromley (Trinity United Reform Church) - 8th Jan 02 – The Footnotes
Button Key (Windygates Institute) – 10th Jan 02 – George Stirrat
Campbeltown (The Royal Hotel) -
Campsie (Glazert Country House Hotel) - 8th Jan 02 – Colin Dewar SDB
Carlisle (St Margaret Mary’s Social Club) - 10th Jan 02 – Caldew Dance Band
Castle Douglas (Urr Valley Country House Hotel) – 15th Jan 02 – Lian Stewart Trio
Coalburn (Miners’ Welfare) - 17th Jan 02 – Jim Johnstone Trio
Crathes (Crathes Hall, Banchory) -
Crieff & District (Crieff Hotel) 18th Jan 02 – Dance to Gordon Pattullo & Willie Simpson
Cults (Culter Sports & Social Club) 9th Jan 02 – Club Night
Dalriada (Argyll Arms Hotel, Lochgilphead) 15th Jan 02 – Archie & Alec MacAllister Trio
Dingwall (National Hotel) – 9th Jan 02 – Susan McIntosh & Scott Gordon Trio
Dunblane (Victoria Hall) – 16th Jan 02 – Jock Fraser SDB
Dunfermline (Headwell Bowling Club) – 8th Jan 02 – Michael Philip
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) – 31st Jan 02 – Club Night
Ellon (Station Hotel) – 22nd Jan 02 – Susan McIntosh Trio
Fintry (Fintry Sports Centre) – 28th Jan 02 – Angie MacEachern Trio
Forfar (Plough Inn) - 27th Jan 01 – Judith Linton Trio
Forres (Victoria Hotel) – 9th Jan 02 – Ian H. Cruickshank Trio
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) – 14th Jan 02 – Andrew Gordon Trio
Glendale (Black Bull Hotel, Wooler) – 17th Jan 02 – Marian Anderson SDB
Glenfarg (Lomond Hotel) - 8th Jan 02 – Club Night
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 29th Jan 02 – James Coutts SDB
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) – 21st Jan 02 – Ian Anderson Trio (Inverness)
Inveraray (Argyll Hotel) - 9th Jan 02 – James Coutts SDB
Isle of Skye – (The Royal Hotel, Portree) - 10th Jan 02 – Club Night
Islesteps (The Embassy Hotel) – 8th Jan 02 – Nicky McMichan Trio
Kelso (Ednam House Hotel) – 30th Jan 02 – Deirdre Adamson
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) -
Langholm (Crown Hotel) – 9th Jan 02 – Club Night
Lesmahagow (Masonic Hall) – 10th Jan 01 – Andy Kain Duo
Lewis & Harris (Stornoway Legion) -
Livingston (Hilcroft Hotel, Whitburn) 15th Jan 02 – Dick Black Band
Lockerbie (Queen’s Hotel) - 29th Jan 02 – Nicky McMichan Trio
Mauchline (Harry Lyle Suite) - 15th Jan 02 – John Douglas Trio
Montrose (Park Hotel) – 9th Jan 02 – Wayne Robertson & Malcolm Ross
Newmill-on-Teviot (Newmill Country Inn) - 6th Jan 02 – Open Day
Newtongrange (Dean Tavern) – 28th Jan 02 – Roger Crook & the Thistle CB
North East (Royal British Legion, Keith) – 8th Jan 02 – Ian Cruickshanks Trio
Oban (McTavish’s Kitchen) – 11th Jan 02 – Dance to Charlie Kirkpatrick
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 31st Jan 02 – Club Night
Perth (Salutation Hotel) –
Premier NI (Camlin Function Rooms) - 1st Jan 02 - tbc
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head) - 3rd Jan 02 – Club Night & Buffet
Selkirk (Cricket Club) - 10th Jan 02 – Scott Leslie
Shetland (Shetland Hotel, Lerwick) - 10th Jan 02 – Local night
28th Jan 02 – Up-Helly-Aa
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) - 9th Jan 02 – Tom Porteous Trio
Thurso (Pentland Hotel) – 7th Jan 02 – Bobby Coghill SDB
Turriff (Royal British Legion) – 3rd Jan 02 – Kathleen Hadden & Friends
Tynedale (Hexham Ex Service Club) –
Wick (MacKay’s Hotel) – 15th Jan 02 – Ceilidh Night
Yarrow (Gordon Arms) - 16th Jan 02 - tba
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Banff & District
4. Beith & District
5. Blairgowrie
6. Bromley
7. Campsie
8. Castle Douglas
9. Coalburn
10. Cults
11. Dalriada
12. Dunblane
13. East Kilbride
14. Fintry
15. Forfar
16. Glendale
17. Glenrothes & District
18. Gretna
19. Highland
20. Kintore
21. Langholm
22. Lesmahagow
23. Lewis & Harris
24. Livingston
25. Lockerbie
26. Newmill (on-Teviot)
27. Newtongrange
28. North East
29. Premier
30. Rothbury
31. Shetland
32. Thornhill
33. Wick
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. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. Wick A&F Club (Oct 1975 - present)
76. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – )
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
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Half Page - £60
Quarter Page - £30
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
I
Karen Ingram
There’s A Tavern in the Town
by Karin Ingram
Dougie MacLean has his roots planted firmly in the Perthshire town of Dunkeld. No matter where he travels, his thoughts are never far from the tiny village of Butterstone where he went to school (as did his father before him) and still lives. His father was a gardener on a big estate and the MacLeans lived in a tied house.
Dougie’s father played the fiddle, and his mother the melodeon. His family are all Gaelic speaking people from the West coast. Says Dougie, “They could knock a tune out of anything, but all by ear. You couldn’t easily escape music in the house. I played mouth organ when I was wee; in fact I played Morag of Dunvegan when I was about five up in the village hall with a dance band. Mum and Dad would go dancing, and we would all get dragged down, then I realised I knew all these tunes when I started playing the fiddle. I remember as a teenager, about twelve or thirteen, going to the village hall, and my mum would be saying, ‘Now go and get old Mrs MacGregor up to dance’, so I’d have to go and do a Canadian Barn Dance or something with her. You were totally embarrassed, and all you wanted to do was dance with the 13-year-old girls – but these old ladies were the ones who taught you to dance. I love dancing; I reckon you can’t play music if you can’t dance. The little hall where I played my first tunes is just up behind the village. The place was cooking every weekend in the 50s, the heady days of the Scottish Dance Bands. The Hawthorne Dance Band, all the Toshes, Jim Howe, and all the local dance bands would come through here.”
Dougie has played the fiddle since he was young, although now he is known more for his singing / songwriting talents. In his twenties he played fiddle with The Tannahill Weavers. He says, “I just play socially now, and I write a lot for the fiddle, but I don’t make a big deal out of performing with it. I use the fiddle a lot for writing melodies. People are surprised now when they find out I can play the fiddle, because they think of me as a songwriter”.
He has written hundreds of tunes, but here’s what he has to say about two of the best known : “I get all kinds of criticism about Caledonia from the media, and I think, ‘Give me a break, I was 19 when I wrote it!” It’s a bizarre song, but other people have turned it into what it’s become. I’m a real champion of independence and so I gave it to the SNP for one of their campaigns, and the media don’t like that – but it’s what I believe in.”
And ‘The Gael’ (the theme from the film ‘Last of the Mohicans’). “It’s nice that you can take what you grew up with in the village halls and put it into Hollywood. For a Perthshire fiddle tune to make that huge leap…..”
Dougie has never had any classical training, he can’t read music at all and he thinks that’s made a big difference when it comes to being a writer of tunes, “Because you don’t think of it as being the dots on the page, you feel the tune in your head or in your feet. People love the West coast Scottish Country Dance Bands, and they can’t quite work out why – but it’s because the rhythm’s in them, it’s just coming off their fingers, they’re not having to think about it. I grew up with the Niel Gow connection, living in Dunkeld. I remember years and years ago playing Niel Gow’s fiddle up at Blair Castle at a ball for the workers. Alec Barbour, the factor, brought the fiddle down so I could have a wee practice on it for a couple of weeks. I couldn’t sleep having it in the house!”
For the last 15 years Dougie has toured a lot in America. In radio interviews he tries to explain about the music and tells them, “You’d have to be at one of the village hall dances to really understand. I wrote a song called All Together based on being at a village hall dance and watching this mass of humanity jumping up and down with steam pouring off them. Everybody with big smiles, and class differences, age differences and all their troubles had gone. It’s like a privileged glimpse at what humanity is capable of, given the right opportunities – people can be great.”
Dougie recorded a CD called Perthshire Amber with the BT Scottish Ensemble: “They were all fiddle tunes that I wrote. I got commissioned to do it by The Perth Arts Festival. My friend Kevin McCrae plays cello and we collaborated on the project. Kevin was great at making the classical harmony for it. Classical players are fantastic players, but they don’t have any rhythm and have difficulty playing some of the tunes in the traditional style, but one of the nice things is putting the two styles together. There’s also a wee Celtic Band – John Morran playing rhythm guitar, my son Jamie on percussion, Graham Mulholland playing small pipes and Pete Clark playing fiddle.”
Etc
Alnwick Northumbrian Gathering
by Colin Bradford
The second weekend in November can be a cold and windy part of the year…………
52nd All Scotland Accordion & Fiddle Festival – 27th October 2001
by Robert Kennedy
Jack Emblow, with partner Tony Compton, captivated the capacity audience in The City Hall at The All Scotland Accordion & Fiddle Festival at Perth. Months before the Festival Bill Wilkie boldly stated, “This show will be a real sell-out”, and a sell-out it was, with almost every reserved seat being sold two and a half weeks in advance of the show.
The two accordions of Jack and Tony blended as one, in unbelievable arrangements of number such as Summertime, Pick Yourself Up, etc. Even the purely Scottish music enthusiasts must have appreciated the beauty, the harmonies and technical perfection of this virtuoso performance.
Jack Emblow last appeared in a Bill Wilkie Show in 1973, when Bill presented The All Britain N.A.O. Accordion Day in Perth. A fantastic occasion, also featuring Marcosignori. There were two accordion festivals in Perth that year – The All Britain in May, and The All Scotland in October – both organised by ‘The Wee Man’, who was then known as (because of his energy) ‘The Human Dynamo’.
Bill, who celebrates his 80th birthday on 6th January, is still a bit of a dynamo. He has now started on the organisation of his 53rd Perth Festival, but predicts big changes in the Classical Contests. He will be making a break from the N.A.O. He claims that they have all but killed off this part of the Festival by the dreich test pieces and extortionate entry fees. He now intends introducing new sections for polkas, musettes, duos, trios, etc., details of which will be announced soon. There will be free entry and cash prizes for these contests to get them off the ground the first year.
Patrons and contestants please note The 2002 Perth Festival will take place on Saturday the 18th of October (2 weeks in advance of the customary date). This change of date is due to the hall being used for important civic purposes.
The Festival Show on October 27th was, as usual, absolutely spectacular. Alan Small’s now well-developed ceilidh style got the show off to a great start with his Lomond Ceilidh Band. The folk were nearly dancing in the aisles.
At one time, Bill explains, we had harmonica contests in the Festival and a star harmonic player in the show. WE don’t have the contests now, but we did have the star player in the person of Bryce Johnstone, who gave a brilliant performance in his own unique style.
Mention must be made of 2000 Scottish Champion Michael Philip who, with his quartet, brightened the show and dazzled everyone with his technique.
The vast experience and professionalism of Iain MacPhail and his SDB brought the show to a tremendous climax. Of course there was a superb variety cast, with The Bill Wilkie Orchestar and Minstrels, The Sandra Wright Dancers, Eddie Devine, The Julie Young Dancers, Alexander Morrison (Scotland’s celebrated singing star) and all the wonderful supporting artistes who make the show what it is.
The many contests were run off smoothly during the day, and there was great excitement in the evening show when the 6 finalists competed for The Scottish Championship. Neil Galloway came through with flying colours as the new 2001 All Scotland Champion. Robert Black led the John Carmichael Ceilidh Band, and everyone had a real knees-up super time at the Friday Night Ceilidh Dance, and the packed Accordion Club Dance on Saturday night was another joyful, fun-filled event. Do we really have to wait another year to do this again?
All Scotland Senior Amateur Traditional Solo (John Crawford Trophy)
1) Stuart Cameron (Fort William)
2) Kevin Yates (Fraserburgh)
3) David Hunt (Tarbert)
All Scotland Open Traditional Accordion Solo Championship (Jimmy Shand Shield)
1) Neil Galloway (Cupar)
2) Stuart Cameron (Fort William)
3) Bruce Peebles (Forfar)
Senior Scottish Country Dance Band (Bobby MacLeod Challenge Trophy)
1) Scott Gordon (Westhill)
2) Tom Orr (Lanark)
3) Blair Gardiner (Libberton, Casnwath)
Junior Scottish Country Dance Band (Alex MacArthur Cup)
1) Morgan Leslie (Biggar)
2) Duncan Hutchison (Moffat)
3)
Own Composition (Jimmy Blue Challenge Cup)
1) Michael Philip (Cardenden)
2) David McKenzie (Dingwall)
3) Gary Forrest (Jedburgh)
Scottish Trio (Perth Accordion & Fiddle Club Challenge Cup)
1) Tom Orr (Lanark)
2) Neil Adams (Prestwick)
3) Gary Forrest (Jedburgh)
Scottish Traditional Button Key Accordion Solo
1) Graham MacKay (Inverness)
2) John Weaks (Glasgow)
3)
Veterans’ Solo (40 and over) (Andrew Rankine Memorial Quaich)
1) Michael Philip (Cardenden)
2) Willie Lawrie (Kinlochleven)
3) Ian Mouat (East Lothian)
Junior Traditional Accordion Solo (Under 16) (Angus Accordion College Challenge Shield)
1) Neil Angus McNeil (Aberdeen)
2) Tom Orr (Lanark)
3) David McKenzie (Dingwall)
Junior Accordion Solo for Traditional Pipe Music (Under 16) (Cowie Cup)
1) Neil Angus McNeil (Aberdeen
2) Matthew MacLennan (Kiltarlity)
3) David McKenzie (Dingwall)
Senior Ladies Accordion Solo (Jimmy Stephens Silver Salver)
1) Susan MacFadyen (West Kilbride)
2) Claire Duncan (Banff)
3) Neva Burns (Penicuik)
Senior Accordion Solo for Traditional Pipe Music (Bill Black Challenge Cup)
1) Andrew Warren (Pencaitland)
2) John Burns (Falkirk)
3) Liam Stewart (Galston)
Junior Girls Traditional Accordion Solo (Under 16) (Margaret Hendrie Silver Salver)
1) Kerry Irvine (Fraserburgh)
2) Morgan Leslie (Biggar)
3) Alison Hope (Peebles)
Scottish Ceilidh Band (Bobby MacLeod Trophy)
1) Tom Orr (Lanark)
2) Nicky McMichan (Lochmaben)
3)
Junior Traditional Accordion Solo (Under 12)
1) Gemma Coupland (Loanhead)
2) Scott Nicol (Pathhead)
3) Andrew Dalgarno (Turriff)
FIDDLE CLASSES
Junior Fiddle Solo (Under 16) (Albie Tedham Trophy)
1) Erin Smith (Aberdeen)
2) Kathryn Mathews (Turriff)
3) Ruaridh McMillan (Inverness)
Junior Fiddle Solo Slow Air(Under 16)
1) Erin Smith (Aberdeen)
2) Kathryn Mathews (Turriff)
3) John Thow (Dundee)
Junior Fiddle Solo (Under 12) (Jim Ritchie Challenge Cup)
1)
2)
3)
Senior Fiddle Solo (16 and over) (Ian Powrie Cup)
1) Ingrid Hammond (Dundee)
2) Perdy Syres-Gibson (Edinburgh)
3) Neil Adams (Prestwick)
Senior Fiddle Solo Slow Air (16 and over)
1) Perdy Syres-Gibson (Edinburgh)
2) Ingrid Hammond (Dundee)
3) Reg Edwards (Dyfed)
Tommy Edmondson (1934 – 2001) - Obituary
by
Tommy Edmondson passed away at his home on Friday, 23rd November aged 67.
At the age of 12 he began playing his brother Bobby’s five-shilling button-box, and joined his other brother, Joe’s, band as drummer. However after Joe died in a tragic flying accident, Tommy took over accordion playing duties.
One of the proudest moments was being invited by Jimmy Shand to play his box after a dance at the age of 12. This began a lasting friendship with the Shand family – Jimmy encouraging Tommy to play a five-row button-box.
In the early 1950’s, the BBC (who at the time traveled the country seeking recordings of traditional music) called at Tommy’s home. He was out cutting wood, but agreed to come intoi the kitchen and play the accordion. The recording of The Trumpet Hornpipe that emerged was the tune used for the TV cartoon Captain Pugwash, for which he was paid 30/-.
Angus Fitchet invited Tommy to join hiss band when he played south of the border. He also joined Andrew Rankine when he played at ceilidhs in Newcastle.
Tommy met his second wife, Angela, at the Rothbury Accordion and Fiddle Club (of which he was a founder member) and after they were married she became the pianist with the band. After he gave up the band he continued composing and playing solo at barn dances and parties. He was then able to concentrate on the full orchestral range of his Elkavox. He was a fanatic about correct chords and bass, and had an incredible repertoire. Tommy was passionate about his music, and proud of the standard he achieved without tuition.
The highlight of the year was going to the Mull Music Festival – 19 times in all.
A funeral service took place at All Saints Parish Church, Rothbury on Thursday, 29th November, and was followed by interment at the village cemetery.
Dr Angus Armstrong, speaking at the service, described Tommy as one of the greatest accordion players that the Coquet Valley has ever produced.
John Glen (1833 – 1904)
by Charlie Gore
The traditional musicians of Scotland owe John Glen a mighty debt of gratitude, yet, strange as it may seem, of you ask them who he was, it is unlikely that you would receive anything more than a blank look from 99% of them
In the first place, he was one of a small group of devoted music collectors who set about re-publishing the dance music of the Gows, Marshall and their many contemporaries during the last decades of the 19th century. The compilations of James Kerr (Merry Melodies), James Stewart Robertson (Athole Collection) and several others contain the essential ingredients of the 20th century Scottish dance band repertoire. But whereas their published editions give scarcely a hint as to the sources or authorship of the music, John Glen was meticulous in his biographical notes and the attribution of every tune he selected either to its composer (if known) or to an original collection. If it hadn’t been for his careful work, there would be very much less information to guide us back to the 18th century and to the Golden Age of the Scottish Tradition. The sad tag of the music publisher, ‘traditional’, though indicating that copyright may not apply, does nothing for the character of the piece. On the contrary, the names of all but a handful of the contributing composers have faded into oblivion chiefly due to this oversight. Glen’s work bears eloquent witness to the importance of detail. His Collection of Scottish Dance Music was published in two volumes between 1891 and 1895 in Edinburgh. The music itself is arranged in ‘medley’ style, strathspey alternating with reel – as are all the larger collections of that period – and there is a significant absence of jigs (a dozen in a total of nearly 300 titles). It was followed in 1900 by Early Scottish Melodies, a valuable reference book for researchers into manuscripts and early printed music.
When he died in 1904, his collection of manuscripts, printed music and other material (said to number in the region of 4,000 items) was put up for auction and bought outright by a single bidder. So the second phase of the story unfolds…… beginning with a quote from an article in The Scotsman dated 18th March 1918 “…..a generous benefactor who has acquired a remarkable collection of Scottish music…. has deposited it on loan at the British Museum with the express wish that it be available to students. The collection was formed by the late John Glen, a partner in a well-known firm of Edinburgh music publishers founded in 1827 in the Cowgate and subsequently moved to North Bank Street.”
The article describes how Glen realised that many of the music books were becoming rare, even in his day, and that wear and tear and neglect would quickly do the rest. He went about deliberately seeking to buy up the collections of the Gows, MacGlashan, Dow, Oswald, Mackintosh, Bremner, Stewart and Marshall – there are well over 100 more contributors that could be added to this list – with the result that he “was enabled to get together what is undoubtedly the most complete collection of printed Scottish music of the 18th and 19th centuries.” Included are two editions of the rare Collection of the Choicest Scots Tunes of Adam Craig (known to have been living in Edinburgh in 1695), a fifth edition of Playford’s Apollo’s Banquet, a rare set of Jackson of Dublin’s Irish Tunes and The Sinclair Manuscript, over 100 tunes “written by Andrew Adam at Glasgow October the 31 day 1710”.
The name of ‘the benefactor’ was formally disclosed in 1927, two years after The National Library of Scotland officially came into being, although there was to be an intervention of years including those of the Second World War before the present building was ready to house such items as The Glen Collection of Scottish Music. From then on, every item of the collection carried this printed dedication ; ‘Presented by Lady Dorothea Ruggles-Brise to the National Library of Scotland in memory of her brother, Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914.’ This daughter of the 7th Duke of Atholl, three of whose predecessors had been patrons of the great Niel Gow of Inver, was herself a lifelong devotee of Scottish music. It was entirely appropriate that her action should have returned this great resource to the nation and to the care of the National Library in Edinburgh.
CD Reviews
Paul Anderson – The Singing Land – MO1CD 021
Letters to the Editor
Dear Karin
I was particularly pleased to read the letter from Sylvia Lockhart in the December issue of the B&F, and would like to support her views.
For as long as I have been involved in the running of the Dunblane Club our policies have been quite clear – and simple.
1) Endeavour to ensure the public and players enjoy our club in a pleasant atmosphere.
2) When players are playing keep the voices down and not annoy those beside you.
3) Always ensure that if there are sufficient numbers of Club players present they do the backing for the Club players.
This is the main theme of Sylvia’s letter and I agree.
I have had situations where I have called the Club player, and find that they are followed to the stage by one or more of the guest band, and I had already called the Club players to do the backing. This causes embarrassment to the backing group, to the player involved, to the guest player and to me. On the few occasions this has happened, I have apologized to the guest players but did not use them.
I actually find it a bit offensive that anyone should approach the guest players and ask them to back them without the courtesy of first clearing it with a member of the Committee or myself as the compiler of the programme. After all, as Sylvia points out, the Club pay the guests.
The only time I have varied from this is if at the start of the evening there are no Club players available, I may ask one of the guests if they would mind helping out to get us started.
One of the most important factors, I feel, in the successful running of a Club is that it does not become competitive, nor professionally motivated, and Clubs have gone to the wall because of that attitude. I can only conclude that there are two reasons why players require more professional backing. That it is nice for the less experienced to once in a while get the more professional players to support them, and the other is that they think they are too good to have just Club players. I sincerely hope the latter is not the case.
My own experience has been that I have had well known players back me just because they happened to be at a club I have visited and were only too happy to have a shot – with anyone.
It is very gratifying to see successful bandleaders who started their careers as youngsters at the Clubs come back and support them. I find the social atmosphere between the Clubs extremely good and long may it continue.
Andrew Dunbar
Take the Floor – Saturdays with Robbie Shepherd
5th Jan 02 – Ian Cruickshanks + feature on the MacKays from Inverness
12th Jan 02 – Gordon Shand + CD Reviews
19th Jan 02 – Alistair Hunter – Focus on Keith Dickson
26th Jan 02 - tbc
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 29th Jan 02 – Jennifer Forrest SDB
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 20th Jan 02 – Ian Cruickshanks Trio
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) – 3rd Jan 02 – Laurie Orchestra
Balloch (St. Kessog’s Church Hall) – 20th Jan 02 – Dochie McCallum & Friends
Banchory (Burnett Arms Hotel) –
Banff & District (Banff Springs Hotel) – 23rd Jan 02 – Graeme Mitchell SDB
Beith & District (Anderson Hotel) – 21st Jan 02 – Dochie McCallum & Friends
Belford (Community Centre) –
Biggar (Municipal Hall) – 13th Jan 02 – Tom Orr SDB
Blairgowrie (Moorfield Hotel) -
Bromley (Trinity United Reform Church) - 8th Jan 02 – The Footnotes
Button Key (Windygates Institute) – 10th Jan 02 – George Stirrat
Campbeltown (The Royal Hotel) -
Campsie (Glazert Country House Hotel) - 8th Jan 02 – Colin Dewar SDB
Carlisle (St Margaret Mary’s Social Club) - 10th Jan 02 – Caldew Dance Band
Castle Douglas (Urr Valley Country House Hotel) – 15th Jan 02 – Lian Stewart Trio
Coalburn (Miners’ Welfare) - 17th Jan 02 – Jim Johnstone Trio
Crathes (Crathes Hall, Banchory) -
Crieff & District (Crieff Hotel) 18th Jan 02 – Dance to Gordon Pattullo & Willie Simpson
Cults (Culter Sports & Social Club) 9th Jan 02 – Club Night
Dalriada (Argyll Arms Hotel, Lochgilphead) 15th Jan 02 – Archie & Alec MacAllister Trio
Dingwall (National Hotel) – 9th Jan 02 – Susan McIntosh & Scott Gordon Trio
Dunblane (Victoria Hall) – 16th Jan 02 – Jock Fraser SDB
Dunfermline (Headwell Bowling Club) – 8th Jan 02 – Michael Philip
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (The Village Inn) – 31st Jan 02 – Club Night
Ellon (Station Hotel) – 22nd Jan 02 – Susan McIntosh Trio
Fintry (Fintry Sports Centre) – 28th Jan 02 – Angie MacEachern Trio
Forfar (Plough Inn) - 27th Jan 01 – Judith Linton Trio
Forres (Victoria Hotel) – 9th Jan 02 – Ian H. Cruickshank Trio
Galashiels (Abbotsford Arms Hotel) –
Galston (Barr Castle Social Club) – 14th Jan 02 – Andrew Gordon Trio
Glendale (Black Bull Hotel, Wooler) – 17th Jan 02 – Marian Anderson SDB
Glenfarg (Lomond Hotel) - 8th Jan 02 – Club Night
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 29th Jan 02 – James Coutts SDB
Gretna (Halcrow Stadium) -
Highland (Drumossie Hotel) – 21st Jan 02 – Ian Anderson Trio (Inverness)
Inveraray (Argyll Hotel) - 9th Jan 02 – James Coutts SDB
Isle of Skye – (The Royal Hotel, Portree) - 10th Jan 02 – Club Night
Islesteps (The Embassy Hotel) – 8th Jan 02 – Nicky McMichan Trio
Kelso (Ednam House Hotel) – 30th Jan 02 – Deirdre Adamson
Kintore (Torryburn Hotel) –
Lanark (Ravenstruther Hall) -
Langholm (Crown Hotel) – 9th Jan 02 – Club Night
Lesmahagow (Masonic Hall) – 10th Jan 01 – Andy Kain Duo
Lewis & Harris (Stornoway Legion) -
Livingston (Hilcroft Hotel, Whitburn) 15th Jan 02 – Dick Black Band
Lockerbie (Queen’s Hotel) - 29th Jan 02 – Nicky McMichan Trio
Mauchline (Harry Lyle Suite) - 15th Jan 02 – John Douglas Trio
Montrose (Park Hotel) – 9th Jan 02 – Wayne Robertson & Malcolm Ross
Newmill-on-Teviot (Newmill Country Inn) - 6th Jan 02 – Open Day
Newtongrange (Dean Tavern) – 28th Jan 02 – Roger Crook & the Thistle CB
North East (Royal British Legion, Keith) – 8th Jan 02 – Ian Cruickshanks Trio
Oban (McTavish’s Kitchen) – 11th Jan 02 – Dance to Charlie Kirkpatrick
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 31st Jan 02 – Club Night
Perth (Salutation Hotel) –
Premier NI (Camlin Function Rooms) - 1st Jan 02 - tbc
Renfrew (Masonic Hall, Broadloan) –
Rothbury (Queen’s Head) - 3rd Jan 02 – Club Night & Buffet
Selkirk (Cricket Club) - 10th Jan 02 – Scott Leslie
Shetland (Shetland Hotel, Lerwick) - 10th Jan 02 – Local night
28th Jan 02 – Up-Helly-Aa
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) - 9th Jan 02 – Tom Porteous Trio
Thurso (Pentland Hotel) – 7th Jan 02 – Bobby Coghill SDB
Turriff (Royal British Legion) – 3rd Jan 02 – Kathleen Hadden & Friends
Tynedale (Hexham Ex Service Club) –
Wick (MacKay’s Hotel) – 15th Jan 02 – Ceilidh Night
Yarrow (Gordon Arms) - 16th Jan 02 - tba
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Banff & District
4. Beith & District
5. Blairgowrie
6. Bromley
7. Campsie
8. Castle Douglas
9. Coalburn
10. Cults
11. Dalriada
12. Dunblane
13. East Kilbride
14. Fintry
15. Forfar
16. Glendale
17. Glenrothes & District
18. Gretna
19. Highland
20. Kintore
21. Langholm
22. Lesmahagow
23. Lewis & Harris
24. Livingston
25. Lockerbie
26. Newmill (on-Teviot)
27. Newtongrange
28. North East
29. Premier
30. Rothbury
31. Shetland
32. Thornhill
33. Wick
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. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. Wick A&F Club (Oct 1975 - present)
76. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – )
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
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