Box and Fiddle
Year 30 No 05
January 2007
Price £2.30
44 Page Magazine
12 month subscription £25.30 + p&p £8.80 (UK)
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
What a fantastic night we had at the Scots Trad Music Awards in Fort William. Simon Thoumire and his team do a brilliant job each year, but this one had to be the best yet. Well done to all of the winners, particularly to the Scottish Dance Band of the Year – Marian Anderson’s SDB. The NAAFC sponsor this award. Club of the Year was Wick A&F Club and Strathspey and Reel Society of the Year was Banchory. Boxes and fiddles were well to the fore in the Hall of Fame, with Sir Jimmy Shand MBE, Aly Bain MBE and Fergie MacDonald all being inducted. The highest honour (The Hamish Henderson Award for Services to Traditional Music) was this year awarded to Robbie shepherd MBE – a worthy winner indeed!
The NAAFC are gearing up already for the Musselburgh Festival. Read what Festival Chairman, James Coutts, has to say about it on Page 13.
Bobby Brown was one of the 4 nominees for Dance Band of the Year, and Karyn McCulloch caught up with his recently when he was over from Canada – read about it on Page 10.
We also have a very interesting article about piper Angus MacKay, written by Bruce Campbell, on Page 27.
Have a great New Year!
Karin Ingram
The Scots Trad Music Awards 2006
by
Breaking previous voting records, this year there were over 70,000 votes cast……..
All Ireland Championships
by Clyde Johnston
East Antrim (Killyglen) Accordion Orchestra…………..
Bobby Brown
by Karyn McCulloch
Bobby Brown and the Scottish Accent Band is a name well known in Scottish Country Dance circles. But how much do the Scottish people know about the man himself? Probably not a lot – since he lives in Canada! I met up with him during his recent visit over here to find out more…
Bobby was born in Dennyloanhead, near Falkirk, in 1941. Music was always a part of family life – Mum (Jean Day, originally from Monymusk in Aberdeenshire) was a well-known singer in the 1930’s and 40s. Dad, (John, from Slamannan) was a fiddler and all his uncles were involved in some way with the ‘Pipes and Drums’. Uncles John (who played the hammer dulcimer) had a band called ‘The D-Day Band’ which included two fiddles, bass, piano, drums and even the occasional appearance of a saxophone or trumpet. This was before the typical modern day band of two accordions, fiddle, piano, bass and drums.
Bobby and his two sisters (Jean and Christine) were “sent for piano lessons” to Mrs Spence in Bonnybridge. However, the young budding musician gave the woman a hard time – as he wasn’t very keen to learn to read music. So much so that he used to get “belted ower the fingers wi’ a pencil” when he played it wrong – she even complained to his father! However, he had a very good ear for music – in fact he cheated a wee bit in his first piano exam – he got his sister to read the music and play it for him, until he got the tunes into his head! And he would probably have got away with it if the music hadn’t slipped under another piece of paper while he continued to play what was written on it! Having a good ear for music has obviously paid off though, because Bobby doesn’t even remember learning the standard well-known tunes (such as The Fairy Dance, Mrs MacLeod of Raasay and Deil Amang the Tailors, etc, etc) “They were just always there”.
Sadly, when Bobby was only 13 his father died. After that he was sent to a private school in Dumbarton, but when he didn’t settle in there at all, he got on a train and ran away from home! In 1956, Bobby was working as an apprentice in a Grangemouth dockyard and he “absolutely hated every minute of it.” His sisters had already moved to Canada, so Bobby decided to move there too. In 1957 he emigrated to Winnipeg, at the age of 16, and a couple of years later he moved to Toronto.
It wasn’t until he was living in Canada that Bobby started playing the accordion. There was no piano in the house in Canada, so he had spotted a wee 12 bass Hohner accordion in a shop – and used the money he had saved up for his holidays to buy it. He decided to take a few lesson “just to confuse him even more”. He had the same problems with this teacher – mainly because he had eye problems, which made it more difficult for him to read music – which incidentally he can do. It was in Toronto that he met up with Stan Hamilton and Bobby Frew and after they got together to have a tune, Bobby was asked to join Stan’s band as second box player. Then, in 1975, he formed The Scottish Accent Band.
Bobby Brown has 15 recordings, including RSCDS Book 12, for which Bobby’s band was the first outside of Scotland to record for the Society in Edinburgh. In addition, Bobby has produced and arranged over 100 recordings for traditional musicians. BBC Scotland invited Bobby Brown and the Scottish Accent to participate in ‘TTF’ from Canada and he has also recorded twice for ‘TTF’ in Scotland – in Elgin and Aberdeen. The band also recorded broadcasts for Radio Forth hosted by Robin Brock.
So far, Bobby has composed approximately 30 tunes. And, although he does not consider himself to be a composer, he has been asked to write tunes for certain dances by the Hamilton Branch, the London Ontario Branch and the Toronto Branch of the RSCDS. In 2004 HQ in Edinburgh honoured Bobby with the prestigious award of the RSCDS Scroll.
So, how does the Canadian Scottish music scene differ from ours? Back in the 1950s and 60s it wasn’t much different – there were always people willing and able to take to the floor for a foxtrot or quickstep as well as the country dances. However, nowadays the country dances are pretty much on their own. And the dancers attending now are from all corners of the world, from ex-pat Scots, to New Zealanders, Australians, Japanese and many other cultures.
There are no Accordion Clubs in Canada and nowadays most concerts featuring Scottish music are poorly attended. Why? Possibly because the audiences no longer have any knowledge of the music the way our audiences do here in Scotland, so therefore they don’t appreciate this kind on music, unless it’s being played for a dance. However, if you go to certain places in America, such as Boston or San Francisco, you may well find a concert being held which features Scottish music – albeit “somewhat Americanised” Scottish music!
However, Pipe Bands and Highland Games still prove to be extremely popular – and indeed some Canadian Pipe Bands have competed in and won the World Championships. However, in America it’s a completely different story. A Scottish country Dance Band there could consist of a piano, a few fiddles, flute, cello, bodhran, guitar and even a banjo, but rarely an accordion. Bobby assures me that while many American musicians may be very good players, they don’t have the grounding in traditional pipe music that we have here in Scotland and they tend to over embellish. Their ‘Scottish’ music doesn’t have the lift or ‘the Dunt’ that we are used to hearing. As a close friend and fellow musician once said, “You need the Hee-Drum Ho-Drums”.
How does Bobby feel Scottish music evolved over the years? Well, nowadays the youngsters coming through can play just about any tune to perfection no matter how many notes there are in one bar of music. Bobby believes this is because they are being taught ‘properly’. It was possibly easier to be self-taught in the 1940s of 50s than it would be in this new Millennium, because many tunes being played then were not as technically demanding as the tunes being written today. However, although this technical prowess is vital – particularly for the more contemporary tunes – the music must have ‘soul’…”It needs to come from the heart”.
Maybe that’s why Bobby doesn’t agree with the competition scene. He feels music should be shared and enjoyed, without the fear of failure.
During his lifetime Bobby has only ever played in two bands – 20 great years with Stan Hamilton’s Flying Scotsmen and then his own Scottish Accent Band. The current line-up in The Scottish Accent is Bobby on lead accordion, Bobby’s son Laird on second accordion, Kathy Fraser-Collins on piano, Fred Collins on drums and bass duties are shared between Rob Wolanski and Don Wood. The band just celebrated its 30th anniversary by releasing a double CD set, Celtic Fire in the Music.
Gigs for the band can be anywhere from Vancouver, Edmonton, Calgary, Montreal, Ottawa or Toronto to Washington, New York, Philadelphia, Halifax and Cape Breton to play for an RSCDS dance. In July they play in North Carolina at Thistle School – which involves a 16-hour drive there and a 16-hour drive back. (Of course, “if it’s Laird that’s driving, then it only takes about 4 hours – and it’s easier on the tyres that way, ‘cos they don’t hit the road that often!”)
Bobby was involved with a television show for 6 years called The John Allan Cameron Show – where he formed The Cape Breton Symphony Fiddlers as a regular part of the show.
Bobby and the Cape Breton Symphony Fiddlers with The Scottish Accent Band toured Scotland three times, including Orkney and Shetland, Aberdeen, Inverness, The Kings in Edinburgh, The Mitchell Theatre in Glasgow and even The Gaiety Theatre in Ayr with their ‘Variety Show’.
Other countries that Bobby has visited include Germany, Ireland, England and even the Bahamas. (It’s a hard job, but somebody’s got to do it!)
Andy Stewart, Moira Anderson, Dennis Clancy, Calum Kennedy, Alasdair Gillies and Will Starr were just a few of the famous Scottish names Bobby has shared the stage with over the years. Away from the Scottish scene, he has also worked with Anne Murray, Porter Wagner and Dolly Parton in Nashville.
Stuart Thomson (of The Wardlaw SDB) and his wife Audrey were looking after Bobby (and Lisa) during the first part of their holiday – and Stuart had planned various things for them to do, one of which was to visit an Accordion Club – and Bobby thoroughly enjoyed it. Just being able to sit and listen to Scottish music was great – after all, he can’t do that in Canada, since there are no Accordion Clubs over there. However, we shall leave the aforementioned Club nameless, to save any embarrassment! After they arrived and got themselves a seat and settled down to listen to the music, the boys were approached and asked if either of them were players. Bobby swiftly replied “Nope!” so that he could relax on vacation and listen.
Bobby enjoys most kinds of music – especially if it’s ‘harmonic’. Anything from traditional SDB, fiddle music, pipes and drums (his first love) to Frank Sinatra, from Gospel music to big bands – and he even likes to listen to Rod Stewart! Jack Emblow and Art Van Damme are amongst his favourite jazz accordionists, although there are many others.
When he’s not playing or listening to music, you’ll probably find Bobby somewhere on a golf course relaxing, although he seems to think he’s the worst golfer in the world. (He hasn’t seen me yet obviously!)
Although he has no specific plans for the future, Bobby Brown plans to continue playing (complete with his Hohner Morino IV) for as long as he possibly can – although he will probably eventually give more of the band’s responsibility to Laird, his son. He considers himself very fortunate to be able to do what he does in Canada for a living. It’s been a roller-coaster ride and he’s loved every minute of it – bur he wouldn’t advise anyone else to do it!
Words of advice to future dance bandleaders ; Be true to the music and keep it simple!
In November 2006, Bobby Brown and The Scottish Accent Band were one of 4 nominees for ‘Scottish Dance Band of the Year’ in the Scots Trad Music Awards.
Musselburgh
by James Coutts
It hardly seems any time…….
Angus MacKay – the First Sovereign’s Piper
by Bruce Campbell
It’s only when you write down all the pipe tunes regularly used by Scottish Dance Bands that you realise that a few composers far out-distance the rest. One such man was Angus MacKay who wrote such classic 2/4 marches as The Balmoral Highlanders, The Highland Wedding, The Abercairney Highlanders and The Duke of Roxburgh’s Farewell to the Blackmount Forrest. ‘Duntroon Publishing’ Editor Bruce Campbell has researched this great man’s life and mysterious death.
ANGUS Mackay was the son of John MacKay, the orphan Raasay herd boy who climbed from the poverty of his humble background to become the greatest piper in the world.
In turn, Angus took on that mantle. Perhaps he even eclipsed his famous father. As a music collector he certainly did, with the Piobaireachd he wrote into staff notational form being the cornerstone of the Piobaireachd Society’s great collection - and every other collector since he published his own book in 1838.
Angus MacKay was maybe the most important figure in the history of the bagpipe, certainly the most important in the last two hundred years. By the time he was twelve, MacKay was accepted as the major collector of Piobaireachd in Scotland - and at a time when few could read staff notation. But he not only read and wrote music, he also improved the recording of Piobaireachd in staff notation. He wasn't the first by any means but the standard which he set has been copied slavishly ever since.
Only in a few instances has the methods he used been superceded and his work was accepted to such an extent that it swept aside all other styles of piping to the point where even today, in an enlightened age of study and performance, few players will spend much time studying alternative styles of music, and fewer still would play them in open competition.
Had Angus MacKay lived a full and wholesome life then that almost reverence would be understandable, even applauded. But he didn't. He died before he reached his fiftieth birthday, drowned while attempting to escape from a lunatic asylum. The reason of his committal was a madness brought on by advanced syphilis. And in turn his wife and children turned their back on the piping world, spurning the art which had brought him to the drawing rooms of high society and also likely to the precipice of his own eventual self-destruction.
There is also a hint of other darker goings-on, maybe even from his early teenage years.
Is it possible that this dark-eyed and thoroughly handsome Highlander, who played better than the master players who were his senior and who was the acknowledged expert on writing the classics of piping, was ignored by the young ladies of the social elite who employed him?
Drummond Castle, where his father was employed as piper from 1824 onwards, must have been an amazing place for a young boy who had never traveled beyond the narrowness of the Isle of Raasay. To him, the-then small fishing village of Portree, which he probably only rarely ever saw, would have seemed like a metropolis. At Drummond, Angus also learned to read and write which was not common at that time amongst boys of his social standing.
Lord Gwydir, who had married Lady Sarah Drummond, was heavily involved in Highland Society politics and in 1819 had aided the start of the modern Highland Games movement by giving the St Fillans Society use of his land for their first gathering on the eastern shores of Loch Earn.
Gwydir was also on the social circuit and so the MacKays would have come in contact with the visiting aristocracy - and their pipers. On July 22, 1835 Angus MacKay won the ultimate accolade in piping, the Prize Pipe for Piobaireachd at the Highland Society of Edinburgh competition. In attendance were all the glitterati of Scottish high society. Piping competitions in those days were not dark halls with only a few of the most devout listening in attendance, instead they were very much part of the social calendar. That same year he also advertised his forthcoming book which he intended to have published by the following February.
Those last few years in Perthshire saw MacKay use the opportunity to collect even more music, to concentrate his efforts on writing and to delay the inevitable day when he would have to earn an independent income. He was still piper to Sarah Drummond, Lady Gwydir and fame and fortune would have not really interested him. His obsession was obviously still collecting music.
But it 1837 he was offered a position which despite its seeming remoteness would change his life totally. He was to become Piper to Walter Campbell of Islay, a remote place island the Kintyre peninsula. Just when it seemed that he would burst completely onto the national scene he chose the offer of full-time employment instead.
After a short time with the Laird of Islay (which he commemorated in his only known Piobaireachd composition, ‘Farewell to the Laird of Islay’) there followed an aborted attempt to establish a professional piping school in Edinburgh, then a spell as piper to Lord Ward (who had taken on the Glengarry estates) and, of course, more prizes.
In July 1843, at the height of his fame, he was recommended by the Marquis of Breadalbane to become the first ever Sovereign’s Piper. Angus MacKay served as Piper to Queen Victoria until 1854 when he suffered a mental breakdown. He was first admitted to London’s Bethlehem Mental Hospital (known as ‘Bedlam’) and then later to the Crichton Institute in Dumfries. At that time the Crichton was state-of-the-art. It had been opened only a few years before and its grounds were majestic. Rolling-lawns and well laid-out flower beds all gave the serenity which MacKay would have felt in his lucid moments.
It wasn’t dissimilar to the magnificent grounds of Drummond Castle where he spent his youth. As I walked the grounds of both places I thought of the dark thoughts which would have invaded the great piper’s mind. He was certainly troubled as his personal diaries clearly show. But he wasn’t a 100% madman either. He had many periods of calm and sanity. So what drove him to make his escape from the Crichton? In fact, was it really an escape?
The walls around the Crichton even today are more decorative that custodial so he wouldn’t have had to try too hard to make good his escape. On March 29, 1859 The Dumfries & Galloway Courier reported: “On the afternoon of March 21st Angus MacKay, a patient in the Crichton Institution, managed to escape from the grounds of the asylum, and proceeded down the bank of the Nith till near Glencaple, where he waded into the river, with the intention it is supposed, of crossing the estuary to Kirkconnel Wood, for concealment.
“The tide was running down at the time, and it is supposed that McKay had touched a quicksand, as he sank in the stream. “The occurrence was noticed by some persons working in a field near, who procured a boat, but no trace of the body could be seen.
“MacKay had been for three years a patient in the asylum, and had formerly been one of her Majesty’s pipers. “The body has not been recovered.”
Reading books and papers is one thing, going on site is another. As I walked the banks of the River Nith I wondered what possessed MacKay to go downstream to Glencaple Wood, some four or five miles away. Just over a mile upstream is the town of Dumfries, complete with roads and bridge. He would have been there in ten or twenty minutes, making his ‘escape’ easily in the process.
But if he did intend to cross the Nith why didn’t he do it before Glencaple where the quicksands are notorious? In the miles before the woods there are many easier places to cross the river and although the banks are muddy at low tide they are not as dangerous as the quicksands. Did Mackay not know, did he think he was heading for Dumfries and only realise his mistake when he imagined his pursuers were on him? And how did his ‘rescuers’ know it was him who drowned?
There was no body and no identification - it was only assumed it was Angus MacKay because he was missing at the same time. Then there is the legend that MacKay didn’t drown at all but lived out the remaining years as an itinerant piper. Is it too much to believe that such a great figure in the piping world could remain anonymous?
Piping, as has been said, is famous for its mysteries and characters. But standing on the banks of the River Nith that day close to the anniversary of his ‘death’ I found it hard to imagine that even someone as tormented as Angus MacKay would have waded into the quicksands
Tradstyle 2007
by Graeme Mitchell
Recent discussions involving a few well-known names in the Scottish Dance Band scene has resulted in a Traditional Music Day being organised for Saturday, June 2nd, 2007 in The Salutation Hotel, Perth. The musicians involved in these informal discussions were Dennis Morrison, Neil McMillan, Graeme Mitchell, Ian Hutson and Colin Dewar.
The overall objective was to try and set up a day of music that is very traditional in nature, hence the name ‘Tradstyle’. Rather than be perceived as a group who think that there is only one definitive version of a Scottish Dance Band or traditional musician, we would prefer to be responsible for promoting a style that influenced us so much and mustn’t be forgotten or disregarded. Indeed, preserving it as part of our culture was the consensus of opinion.
The day is going to take the format of a number of Guest Artistes from 12 noon until 4pm and from 4pm onwards, we hope to attract musicians from the floor to have an Accordion Club type session until 5pm. In the evening we propose to run a dance from 8pm until 1am. From 1am who knows??
We were very keen to include as guest artistes two solo fiddlers with piano accompaniment who could demonstrate their technique in the traditional idiom. Also, it was decided that we would invite the three finalists from the Open Accordion Championship at Perth staged in October 2006, to come along and do a 10-minute spot each. But instead of playing the type of tune necessary to do well in the competitive environment, we would ask them to choose as one of their sets, a march, strathspey and reel from perhaps Scott Skinner’s Collection, James Hunter’s Fiddle Collection or Angus Fitchet’s music for example. They would play unaccompanied in order to demonstrate their complete command of the instrument. We were fairly adamant that this mustn’t be perceived as a re-run of the competition, only serve as an encouragement to youngsters to experiment with perhaps a more traditional type of tune. It was also decided that an invitation would be extended to the 2006 Glenfiddich Fiddle Award Winner. The other guest artistes would consist of duos, trios and bands. In a bid to provide a slightly different format to other annual events, we decided to invite two 5/6 piece Scottish Dance Bands to play for the dance in the evening. We wanted the traditional format (two accordion, fiddle, piano, bass and drums) seldom heard apart from on radio and we were prepared to meet the financial commitment of that.
The Salutation Hotel has been more than helpful with the organisation of this day. Normally to book the Function Suite for a complete day, a fee has to be paid up front. We don’t need to pay until after the event. The layout in the hotel is iseal for both keen listeners and conversationalists and we are very grateful for the hotel’s support. They are also willing to offer slight reductions for block booking accommodation. The budget for the day amounts to a considerable sum. All invited artistes receive a realistic, but by no means extortionate fee. We intend to start licensed raffle ticket sales shortly and of course the admission fee on the day will also cover costs. Any money left over will be donated to Cancer Research and hopefully carried over so that it can become an annual event. The whole day is going to cost £15 and the evening or day ticket £10.
Much discussion took place regarding the chosen invited artistes and it became clear that there is plenty of scope for future development of this day. In a bid to include as many styles as possible and as many geographical areas of Scotland as possible, the following artistes have been invited and have agreed to perform on the day.
Compere – John Carmichael (Glasgow)
Ian Holmes Trio (Dumfries)
Fraser McGlynn Duo (Lochgilphead)
Judi Nicolson of Fiddle (Inverurie)
Douglas Muir, John Ellis and Irene Dear (Huntly and Dundee)
Douglas Lawrence on Fiddle (Glasgow)
The 3 Finalists from Perth Festival 2006 hopefully, and
The Glenfiddich Award Winner.
The two 6-piece bands for the Evening Dance are Hector MacFadyen, from Oban, and Craig McCallum, from Aberdeen.
We have, as reserves, of course ourselves. More than anything we would hope to attract a good number of players on the day to take part in the ‘Accordion Club’ type session as well as keen enthusiasts in the form of listeners and dancers.
Put the date in your diary. Let’s have a good one!
The Castle Douglas Ceilidh
by Robin & Deryn Waitt
The second Castle Dougals Ceilidh was held
CD Reviews – See Hear with Judith Linton
Alan Small’s Early Learning Ceilidh Band – ELCDDVD001 – Harp Recordings
Silver Strings – Iain Anderson (fiddle) – HRMCD014 – Highlander Music
Still Moments – Graeme MacKay – MCE001 – Meoran Ciuil Entertainment
Wir Waanderins – Swingin’ Fiddles – SW011 - Independent
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
6th Jan 07 – Hector MacFadyen SDB (Band Leaders’ Choices)
13th Jan 07 – Pentland Ceilidh Band
20th Jan 07 – tbc
27th Jan 07 – Ian Muir SDB (Live at Celtic Connections)
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 30th Jan 07 – Johnny Duncan Duo
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 21st Jan 07 – Dick Black Band
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) – 4th Jan 07 – Club Night
Balloch (St. Kessog’s Church Hall) – 21st Jan 07 – Hector MacFadyen SDB
Banchory (Burnett Arms Hotel) – 29th Jan 07 – Jennifer Forrest SDB
Banff & District (Banff Springs Hotel) – 24th Jan 07 – Paul Anderson
Beith & District (Anderson Hotel) – 15th Jan 07 – Susan MacFadyen Trio
Belford (Community Centre) –
Biggar (Municipal Hall) – 14th Jan 07 – Iain Anderson SDB
Blairgowrie (Moorfield Hotel) -
Bromley (Trinity United Reform Church) - 9th Jan 07 – Alistair Forbes SDB
Button Key (Windygates Institute) –
Campsie (Glazert Country House Hotel) - 9th Jan 07 – John Morgan
Carlisle (St Margaret Mary’s Social Club) -
Castle Douglas (Urr Valley Country House Hotel) – 16th Jan 07 – Stuart Anderson Trio
Coalburn (Miners’ Welfare) - 18th Jan 07 – Judith Linton Trio
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club) 10th Jan 07 – Club Night
Dalriada (Argyll Hotel, Lochgilphead)
Dingwall (National Hotel) – 10th Jan 07 – Lesley Currie
Dunblane (Victoria Hall) – 17th Jan 07 – Steven Carcary SDB
Dunfermline (Headwell Bowling Club) – 9th Jan 07 – Orwell Ceilidh Band
Dunoon & Cowal (McColl’s Hotel) 26th Jan 07 – Susan MacFadyen Trio 27th McAllister Brothers Trio 28th Hector MacFadyen Trio
Duns (Royal British Legion Club, Langtongate) 15th Jan 07 – Ian Lowthian
East Kilbride (Masonic Hall, Kittoch St) –
Ellon (Station Hotel) – 23rd Jan 07 – Alasdair Salter & Ian Thow
Fintry (Fintry Sports Centre) – 22nd Jan 07 – Alistair McLeod SDB
Forfar (Plough Inn) - 28th Jan 07 – AGN + Local Players
Forres (Victoria Hotel) – 10th Jan 07 – Matthew MacLennan SDB
Galashiels (Abbotsford Arms Hotel) –
Glendale (Black Bull Hotel, Wooler) – 18th Jan 07 – John Stuart SDB
Glenfarg (Lomond Hotel) - 3rd Jan 07 – Club night (Christmas Dinner)
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 30th Jan 07 – Marian Anderson Trio
Gretna (Athlitic & Social Club) - 7th Jan 07 – Ian Muir Trio
Haddington (Railway Inn) - 28th Jan 07 – Ian Shepherd & The Reel Thing CB
Highland (Drumossie Hotel) – 15th Jan 07 – Tom Orr Trio
Inveraray (Argyll Hotel) - 10th Jan 07 – Michael Garvin SDB
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) – 4th Jan 07 – Michael Philip SDB
Kelso (Cross Keys Hotel) – 31st Jan 07 – Blair Gardiner SDB
Kintore (Torryburn Hotel) –
Ladybank (Railway Tavern) -
Lanark (Ravenstruther Hall) - 22nd Jan 07 – Seamus O’Sullivan Trio
Langholm (Eskdale Hotel) – 10th Jan 07 – Club Night
Lewis & Harris (Stornoway Legion) -
Livingston (Hilcroft Hotel, Whitburn) 16th Jan 07 – John Stuart SDB
Lockerbie (Queen’s Hotel) - 30th Jan 07 – Jin Gold SDB
Mauchline (Harry Lyle Suite) - 16th Jan 07 – John Douglas SDB
Montrose (Park Hotel) – 10th Jan 07 – Steven Carcary SDB
Newburgh (The Ship Inn) - 25th Jan 07 – Alistair McLeod
Newmill-on-Teviot (Newmill Country Inn) - 14th Jan 07 – Open Day from 2.30pm
Newtongrange (Dean Tavern) – 29th Jan 07 – Callum Wilson SDB
North East (Royal British Legion, Keith) –
Oban (McTavish’s Kitchen) – 12th Jan 07 – Dance to Graeme Mitchell SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Rugby Social Club) – 25th Jan 07 – Club Night
Perth (Salutation Hotel) – 16th Jan 07 – James Lindsay SDB
Phoenix (Argyll Arms hotel, Ardrishaig)
Premier NI (Chimney Corner Hotel) - 2nd Jan 07 - tbc
Reading Scottish Fiddlers (Willowbank Infant School, Woodley) -
Renfrew (Masonic Hall, Broadloan) – 9th Jan 07 – Dochie McCallum & Friends
Rothbury (Queen’s Head) - 4th Jan 07 – Club night & Buffet Supper
Scottish Accordion Music (Banchory) -
Selkirk (Angus O’Malley’s) - 11th Jan 07 – Scott Nichol Trio
Shetland (Shetland Hotel, Lerwick) - 11th Jan 07 – Local Club Night 29th Jan 07 – Up Helly Aa Visiting Bands
Stonehouse (Stonehouse Violet Football Social Club) - 10th Jan 07 – Club Night
Sutherland (Rogart Hall) -
Thornhill (Bowling Club Hall) - 9th Jan 07 – Karyn McCulloch
Thurso (Pentland Hotel) – 8th Jan 07 – Daniel McPhee Trio
Turriff (Commercail Hotel, Cuminestown) – 4th Jan 07 – Members / Players night
Tynedale (Hexham Ex Service Club) –
West Barnes (West Barnes Inn) 11th Jan 07 – Colin Brown Trio
Wick (MacKay’s Hotel) – 16th Jan 07 – Local Bands Night
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Arbroath
4. Armadale
5. Balloch
6. Bromley
7. Castle Douglas
8. Crieff
9. Cults
10. Fintry
11. Forfar
12. Glendale
13. Glenrothes
14. Gretna
15. Haddington
16. Islesteps
17. Kelso
18. Kintore
19. Lanark
20. Livingston
21. Lockerbie
22. Mauchline
23. Montrose
24. Newburgh
25. Newtongrange
26. Oban
27. Perth
28. Renfrew
29. Stonehouse
30. Turriff
31. Tynedale
CLUB DIRECTORY AS AT OCT 2005
(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 early 08-09
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. Brittania B&F Club ( joined 07-08
14. Bromley A&F Club (joined 95-96 – closed early 08-09)
15. Button Key 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. Duns A&F Club (formed 20th Sept 04 – present)
29. East Kilbride A&F Club (Sept 1980 – Closed 04/05)
30. Ellon A&F Club (
31. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
32. Forfar A&F Club (
33. Forres A&F Club (Jan 1978)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
38. Glenrothes A&F Club (Mar 93?
39. 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)
40. Haddington A&F Club (formed Feb 2005 - )
41. Highland A&F Club (Inverness) (Nov 1973 – present)
42. Inveraray A&F Club (Feb 1991 - present)
43. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
44. Isle of Skye A&F Club (June 1983 – present)
45. Kelso A&F Club (May 1976 – present)
46. Kintore A&F Club (
47. Ladybank A&F Club (joined Apr 98 but formed earlier
48. Lanark A&F Club (joined Sept 96 – closed March 2015)
49. Langholm A&F Club (Oct 1967 - present)
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. Maine Valley A&F Club (
54. Mauchline A&F Club (Sept 1983 - present)
55. Montrose A&F Club (joined Sept 1982 - present)
56. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Phoenix A&F Club, Ardrishaig (Dec 2004 -
66. Renfrew A&F Club (1984 -
67. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
68. Selkirk A&F Club (
69. Shetland A&F Club (Sept 1978 - present)
70. Stonehouse A&F Club (first report June 05 -
71. Sutherland A&F Club (
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Turriff A&F Club (March 1982 - present)
75. Tynedale A&F Club (Nov 1980 - present)
76. West Barnes ( - present)
77. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
78. Acharacle & District A&F Club (cMay 1988)
79. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
80. Bonchester Accordion Club (Closed?)
81. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
82. Brigmill A&F Club (Oct 1990) Closed
83. Buchan A&F Club
84 Callander A&F Club (
85 Campbeltown & District A&F Club (c Dec 1980)
86 Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
87 Club Accord
88 Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
89. Coupar Angus A&F Club (cSept 1978 - ?)
90. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
91. Denny & Dunipace A&F Club (Feb 1981)
92. Derwentside A&F Club
93. Dornoch A&F Club (first mention in directory 1986)
94. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
95. Dunbar Cement Works A&F Club (Closed?)
96. Dundee & District A&F Club (1970? – 1995?)
97. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
98. Falkirk A&F Club (Sept 1978 - )
99. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
100. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
101. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
102. Islay A&F Club (23 Apr 93 -
103. Kirriemuir A&F Club (cSept 1981)
104. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
105. M.A.F.I.A. (1966 – 1993?)
106. Monklands A&F Club (Nov 1978 – closed cApril 1983)
107. Morecambe A&F Club (joined Sept 1982)
108. Muirhead A&F Club (Dec 1994 -
109. Mull A&F Club
110. Newcastleton Accordion Club
111. New Cumnock A&F Club (cMarch 1979)
112. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
113. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
114. Reading Scottish Fiddlers (cMarch 1997
115. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
116. Stirling A&F Club (Oct 1991 – closed 20000/01?)
117. Straiton Accordion Club (c1968 – closed March 1979)
118. Stranraer & District Accordion Club (1974 – per first edition)
119. Torthorwald A&F Club (near Dumfries)
120. Tranent A&F Club
121. Vancouver
122. Walmer (Bridge of Allan) A&F Club
123. Wellbank A&F Club
124. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – closed 2001/02)
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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
What a fantastic night we had at the Scots Trad Music Awards in Fort William. Simon Thoumire and his team do a brilliant job each year, but this one had to be the best yet. Well done to all of the winners, particularly to the Scottish Dance Band of the Year – Marian Anderson’s SDB. The NAAFC sponsor this award. Club of the Year was Wick A&F Club and Strathspey and Reel Society of the Year was Banchory. Boxes and fiddles were well to the fore in the Hall of Fame, with Sir Jimmy Shand MBE, Aly Bain MBE and Fergie MacDonald all being inducted. The highest honour (The Hamish Henderson Award for Services to Traditional Music) was this year awarded to Robbie shepherd MBE – a worthy winner indeed!
The NAAFC are gearing up already for the Musselburgh Festival. Read what Festival Chairman, James Coutts, has to say about it on Page 13.
Bobby Brown was one of the 4 nominees for Dance Band of the Year, and Karyn McCulloch caught up with his recently when he was over from Canada – read about it on Page 10.
We also have a very interesting article about piper Angus MacKay, written by Bruce Campbell, on Page 27.
Have a great New Year!
Karin Ingram
The Scots Trad Music Awards 2006
by
Breaking previous voting records, this year there were over 70,000 votes cast……..
All Ireland Championships
by Clyde Johnston
East Antrim (Killyglen) Accordion Orchestra…………..
Bobby Brown
by Karyn McCulloch
Bobby Brown and the Scottish Accent Band is a name well known in Scottish Country Dance circles. But how much do the Scottish people know about the man himself? Probably not a lot – since he lives in Canada! I met up with him during his recent visit over here to find out more…
Bobby was born in Dennyloanhead, near Falkirk, in 1941. Music was always a part of family life – Mum (Jean Day, originally from Monymusk in Aberdeenshire) was a well-known singer in the 1930’s and 40s. Dad, (John, from Slamannan) was a fiddler and all his uncles were involved in some way with the ‘Pipes and Drums’. Uncles John (who played the hammer dulcimer) had a band called ‘The D-Day Band’ which included two fiddles, bass, piano, drums and even the occasional appearance of a saxophone or trumpet. This was before the typical modern day band of two accordions, fiddle, piano, bass and drums.
Bobby and his two sisters (Jean and Christine) were “sent for piano lessons” to Mrs Spence in Bonnybridge. However, the young budding musician gave the woman a hard time – as he wasn’t very keen to learn to read music. So much so that he used to get “belted ower the fingers wi’ a pencil” when he played it wrong – she even complained to his father! However, he had a very good ear for music – in fact he cheated a wee bit in his first piano exam – he got his sister to read the music and play it for him, until he got the tunes into his head! And he would probably have got away with it if the music hadn’t slipped under another piece of paper while he continued to play what was written on it! Having a good ear for music has obviously paid off though, because Bobby doesn’t even remember learning the standard well-known tunes (such as The Fairy Dance, Mrs MacLeod of Raasay and Deil Amang the Tailors, etc, etc) “They were just always there”.
Sadly, when Bobby was only 13 his father died. After that he was sent to a private school in Dumbarton, but when he didn’t settle in there at all, he got on a train and ran away from home! In 1956, Bobby was working as an apprentice in a Grangemouth dockyard and he “absolutely hated every minute of it.” His sisters had already moved to Canada, so Bobby decided to move there too. In 1957 he emigrated to Winnipeg, at the age of 16, and a couple of years later he moved to Toronto.
It wasn’t until he was living in Canada that Bobby started playing the accordion. There was no piano in the house in Canada, so he had spotted a wee 12 bass Hohner accordion in a shop – and used the money he had saved up for his holidays to buy it. He decided to take a few lesson “just to confuse him even more”. He had the same problems with this teacher – mainly because he had eye problems, which made it more difficult for him to read music – which incidentally he can do. It was in Toronto that he met up with Stan Hamilton and Bobby Frew and after they got together to have a tune, Bobby was asked to join Stan’s band as second box player. Then, in 1975, he formed The Scottish Accent Band.
Bobby Brown has 15 recordings, including RSCDS Book 12, for which Bobby’s band was the first outside of Scotland to record for the Society in Edinburgh. In addition, Bobby has produced and arranged over 100 recordings for traditional musicians. BBC Scotland invited Bobby Brown and the Scottish Accent to participate in ‘TTF’ from Canada and he has also recorded twice for ‘TTF’ in Scotland – in Elgin and Aberdeen. The band also recorded broadcasts for Radio Forth hosted by Robin Brock.
So far, Bobby has composed approximately 30 tunes. And, although he does not consider himself to be a composer, he has been asked to write tunes for certain dances by the Hamilton Branch, the London Ontario Branch and the Toronto Branch of the RSCDS. In 2004 HQ in Edinburgh honoured Bobby with the prestigious award of the RSCDS Scroll.
So, how does the Canadian Scottish music scene differ from ours? Back in the 1950s and 60s it wasn’t much different – there were always people willing and able to take to the floor for a foxtrot or quickstep as well as the country dances. However, nowadays the country dances are pretty much on their own. And the dancers attending now are from all corners of the world, from ex-pat Scots, to New Zealanders, Australians, Japanese and many other cultures.
There are no Accordion Clubs in Canada and nowadays most concerts featuring Scottish music are poorly attended. Why? Possibly because the audiences no longer have any knowledge of the music the way our audiences do here in Scotland, so therefore they don’t appreciate this kind on music, unless it’s being played for a dance. However, if you go to certain places in America, such as Boston or San Francisco, you may well find a concert being held which features Scottish music – albeit “somewhat Americanised” Scottish music!
However, Pipe Bands and Highland Games still prove to be extremely popular – and indeed some Canadian Pipe Bands have competed in and won the World Championships. However, in America it’s a completely different story. A Scottish country Dance Band there could consist of a piano, a few fiddles, flute, cello, bodhran, guitar and even a banjo, but rarely an accordion. Bobby assures me that while many American musicians may be very good players, they don’t have the grounding in traditional pipe music that we have here in Scotland and they tend to over embellish. Their ‘Scottish’ music doesn’t have the lift or ‘the Dunt’ that we are used to hearing. As a close friend and fellow musician once said, “You need the Hee-Drum Ho-Drums”.
How does Bobby feel Scottish music evolved over the years? Well, nowadays the youngsters coming through can play just about any tune to perfection no matter how many notes there are in one bar of music. Bobby believes this is because they are being taught ‘properly’. It was possibly easier to be self-taught in the 1940s of 50s than it would be in this new Millennium, because many tunes being played then were not as technically demanding as the tunes being written today. However, although this technical prowess is vital – particularly for the more contemporary tunes – the music must have ‘soul’…”It needs to come from the heart”.
Maybe that’s why Bobby doesn’t agree with the competition scene. He feels music should be shared and enjoyed, without the fear of failure.
During his lifetime Bobby has only ever played in two bands – 20 great years with Stan Hamilton’s Flying Scotsmen and then his own Scottish Accent Band. The current line-up in The Scottish Accent is Bobby on lead accordion, Bobby’s son Laird on second accordion, Kathy Fraser-Collins on piano, Fred Collins on drums and bass duties are shared between Rob Wolanski and Don Wood. The band just celebrated its 30th anniversary by releasing a double CD set, Celtic Fire in the Music.
Gigs for the band can be anywhere from Vancouver, Edmonton, Calgary, Montreal, Ottawa or Toronto to Washington, New York, Philadelphia, Halifax and Cape Breton to play for an RSCDS dance. In July they play in North Carolina at Thistle School – which involves a 16-hour drive there and a 16-hour drive back. (Of course, “if it’s Laird that’s driving, then it only takes about 4 hours – and it’s easier on the tyres that way, ‘cos they don’t hit the road that often!”)
Bobby was involved with a television show for 6 years called The John Allan Cameron Show – where he formed The Cape Breton Symphony Fiddlers as a regular part of the show.
Bobby and the Cape Breton Symphony Fiddlers with The Scottish Accent Band toured Scotland three times, including Orkney and Shetland, Aberdeen, Inverness, The Kings in Edinburgh, The Mitchell Theatre in Glasgow and even The Gaiety Theatre in Ayr with their ‘Variety Show’.
Other countries that Bobby has visited include Germany, Ireland, England and even the Bahamas. (It’s a hard job, but somebody’s got to do it!)
Andy Stewart, Moira Anderson, Dennis Clancy, Calum Kennedy, Alasdair Gillies and Will Starr were just a few of the famous Scottish names Bobby has shared the stage with over the years. Away from the Scottish scene, he has also worked with Anne Murray, Porter Wagner and Dolly Parton in Nashville.
Stuart Thomson (of The Wardlaw SDB) and his wife Audrey were looking after Bobby (and Lisa) during the first part of their holiday – and Stuart had planned various things for them to do, one of which was to visit an Accordion Club – and Bobby thoroughly enjoyed it. Just being able to sit and listen to Scottish music was great – after all, he can’t do that in Canada, since there are no Accordion Clubs over there. However, we shall leave the aforementioned Club nameless, to save any embarrassment! After they arrived and got themselves a seat and settled down to listen to the music, the boys were approached and asked if either of them were players. Bobby swiftly replied “Nope!” so that he could relax on vacation and listen.
Bobby enjoys most kinds of music – especially if it’s ‘harmonic’. Anything from traditional SDB, fiddle music, pipes and drums (his first love) to Frank Sinatra, from Gospel music to big bands – and he even likes to listen to Rod Stewart! Jack Emblow and Art Van Damme are amongst his favourite jazz accordionists, although there are many others.
When he’s not playing or listening to music, you’ll probably find Bobby somewhere on a golf course relaxing, although he seems to think he’s the worst golfer in the world. (He hasn’t seen me yet obviously!)
Although he has no specific plans for the future, Bobby Brown plans to continue playing (complete with his Hohner Morino IV) for as long as he possibly can – although he will probably eventually give more of the band’s responsibility to Laird, his son. He considers himself very fortunate to be able to do what he does in Canada for a living. It’s been a roller-coaster ride and he’s loved every minute of it – bur he wouldn’t advise anyone else to do it!
Words of advice to future dance bandleaders ; Be true to the music and keep it simple!
In November 2006, Bobby Brown and The Scottish Accent Band were one of 4 nominees for ‘Scottish Dance Band of the Year’ in the Scots Trad Music Awards.
Musselburgh
by James Coutts
It hardly seems any time…….
Angus MacKay – the First Sovereign’s Piper
by Bruce Campbell
It’s only when you write down all the pipe tunes regularly used by Scottish Dance Bands that you realise that a few composers far out-distance the rest. One such man was Angus MacKay who wrote such classic 2/4 marches as The Balmoral Highlanders, The Highland Wedding, The Abercairney Highlanders and The Duke of Roxburgh’s Farewell to the Blackmount Forrest. ‘Duntroon Publishing’ Editor Bruce Campbell has researched this great man’s life and mysterious death.
ANGUS Mackay was the son of John MacKay, the orphan Raasay herd boy who climbed from the poverty of his humble background to become the greatest piper in the world.
In turn, Angus took on that mantle. Perhaps he even eclipsed his famous father. As a music collector he certainly did, with the Piobaireachd he wrote into staff notational form being the cornerstone of the Piobaireachd Society’s great collection - and every other collector since he published his own book in 1838.
Angus MacKay was maybe the most important figure in the history of the bagpipe, certainly the most important in the last two hundred years. By the time he was twelve, MacKay was accepted as the major collector of Piobaireachd in Scotland - and at a time when few could read staff notation. But he not only read and wrote music, he also improved the recording of Piobaireachd in staff notation. He wasn't the first by any means but the standard which he set has been copied slavishly ever since.
Only in a few instances has the methods he used been superceded and his work was accepted to such an extent that it swept aside all other styles of piping to the point where even today, in an enlightened age of study and performance, few players will spend much time studying alternative styles of music, and fewer still would play them in open competition.
Had Angus MacKay lived a full and wholesome life then that almost reverence would be understandable, even applauded. But he didn't. He died before he reached his fiftieth birthday, drowned while attempting to escape from a lunatic asylum. The reason of his committal was a madness brought on by advanced syphilis. And in turn his wife and children turned their back on the piping world, spurning the art which had brought him to the drawing rooms of high society and also likely to the precipice of his own eventual self-destruction.
There is also a hint of other darker goings-on, maybe even from his early teenage years.
Is it possible that this dark-eyed and thoroughly handsome Highlander, who played better than the master players who were his senior and who was the acknowledged expert on writing the classics of piping, was ignored by the young ladies of the social elite who employed him?
Drummond Castle, where his father was employed as piper from 1824 onwards, must have been an amazing place for a young boy who had never traveled beyond the narrowness of the Isle of Raasay. To him, the-then small fishing village of Portree, which he probably only rarely ever saw, would have seemed like a metropolis. At Drummond, Angus also learned to read and write which was not common at that time amongst boys of his social standing.
Lord Gwydir, who had married Lady Sarah Drummond, was heavily involved in Highland Society politics and in 1819 had aided the start of the modern Highland Games movement by giving the St Fillans Society use of his land for their first gathering on the eastern shores of Loch Earn.
Gwydir was also on the social circuit and so the MacKays would have come in contact with the visiting aristocracy - and their pipers. On July 22, 1835 Angus MacKay won the ultimate accolade in piping, the Prize Pipe for Piobaireachd at the Highland Society of Edinburgh competition. In attendance were all the glitterati of Scottish high society. Piping competitions in those days were not dark halls with only a few of the most devout listening in attendance, instead they were very much part of the social calendar. That same year he also advertised his forthcoming book which he intended to have published by the following February.
Those last few years in Perthshire saw MacKay use the opportunity to collect even more music, to concentrate his efforts on writing and to delay the inevitable day when he would have to earn an independent income. He was still piper to Sarah Drummond, Lady Gwydir and fame and fortune would have not really interested him. His obsession was obviously still collecting music.
But it 1837 he was offered a position which despite its seeming remoteness would change his life totally. He was to become Piper to Walter Campbell of Islay, a remote place island the Kintyre peninsula. Just when it seemed that he would burst completely onto the national scene he chose the offer of full-time employment instead.
After a short time with the Laird of Islay (which he commemorated in his only known Piobaireachd composition, ‘Farewell to the Laird of Islay’) there followed an aborted attempt to establish a professional piping school in Edinburgh, then a spell as piper to Lord Ward (who had taken on the Glengarry estates) and, of course, more prizes.
In July 1843, at the height of his fame, he was recommended by the Marquis of Breadalbane to become the first ever Sovereign’s Piper. Angus MacKay served as Piper to Queen Victoria until 1854 when he suffered a mental breakdown. He was first admitted to London’s Bethlehem Mental Hospital (known as ‘Bedlam’) and then later to the Crichton Institute in Dumfries. At that time the Crichton was state-of-the-art. It had been opened only a few years before and its grounds were majestic. Rolling-lawns and well laid-out flower beds all gave the serenity which MacKay would have felt in his lucid moments.
It wasn’t dissimilar to the magnificent grounds of Drummond Castle where he spent his youth. As I walked the grounds of both places I thought of the dark thoughts which would have invaded the great piper’s mind. He was certainly troubled as his personal diaries clearly show. But he wasn’t a 100% madman either. He had many periods of calm and sanity. So what drove him to make his escape from the Crichton? In fact, was it really an escape?
The walls around the Crichton even today are more decorative that custodial so he wouldn’t have had to try too hard to make good his escape. On March 29, 1859 The Dumfries & Galloway Courier reported: “On the afternoon of March 21st Angus MacKay, a patient in the Crichton Institution, managed to escape from the grounds of the asylum, and proceeded down the bank of the Nith till near Glencaple, where he waded into the river, with the intention it is supposed, of crossing the estuary to Kirkconnel Wood, for concealment.
“The tide was running down at the time, and it is supposed that McKay had touched a quicksand, as he sank in the stream. “The occurrence was noticed by some persons working in a field near, who procured a boat, but no trace of the body could be seen.
“MacKay had been for three years a patient in the asylum, and had formerly been one of her Majesty’s pipers. “The body has not been recovered.”
Reading books and papers is one thing, going on site is another. As I walked the banks of the River Nith I wondered what possessed MacKay to go downstream to Glencaple Wood, some four or five miles away. Just over a mile upstream is the town of Dumfries, complete with roads and bridge. He would have been there in ten or twenty minutes, making his ‘escape’ easily in the process.
But if he did intend to cross the Nith why didn’t he do it before Glencaple where the quicksands are notorious? In the miles before the woods there are many easier places to cross the river and although the banks are muddy at low tide they are not as dangerous as the quicksands. Did Mackay not know, did he think he was heading for Dumfries and only realise his mistake when he imagined his pursuers were on him? And how did his ‘rescuers’ know it was him who drowned?
There was no body and no identification - it was only assumed it was Angus MacKay because he was missing at the same time. Then there is the legend that MacKay didn’t drown at all but lived out the remaining years as an itinerant piper. Is it too much to believe that such a great figure in the piping world could remain anonymous?
Piping, as has been said, is famous for its mysteries and characters. But standing on the banks of the River Nith that day close to the anniversary of his ‘death’ I found it hard to imagine that even someone as tormented as Angus MacKay would have waded into the quicksands
Tradstyle 2007
by Graeme Mitchell
Recent discussions involving a few well-known names in the Scottish Dance Band scene has resulted in a Traditional Music Day being organised for Saturday, June 2nd, 2007 in The Salutation Hotel, Perth. The musicians involved in these informal discussions were Dennis Morrison, Neil McMillan, Graeme Mitchell, Ian Hutson and Colin Dewar.
The overall objective was to try and set up a day of music that is very traditional in nature, hence the name ‘Tradstyle’. Rather than be perceived as a group who think that there is only one definitive version of a Scottish Dance Band or traditional musician, we would prefer to be responsible for promoting a style that influenced us so much and mustn’t be forgotten or disregarded. Indeed, preserving it as part of our culture was the consensus of opinion.
The day is going to take the format of a number of Guest Artistes from 12 noon until 4pm and from 4pm onwards, we hope to attract musicians from the floor to have an Accordion Club type session until 5pm. In the evening we propose to run a dance from 8pm until 1am. From 1am who knows??
We were very keen to include as guest artistes two solo fiddlers with piano accompaniment who could demonstrate their technique in the traditional idiom. Also, it was decided that we would invite the three finalists from the Open Accordion Championship at Perth staged in October 2006, to come along and do a 10-minute spot each. But instead of playing the type of tune necessary to do well in the competitive environment, we would ask them to choose as one of their sets, a march, strathspey and reel from perhaps Scott Skinner’s Collection, James Hunter’s Fiddle Collection or Angus Fitchet’s music for example. They would play unaccompanied in order to demonstrate their complete command of the instrument. We were fairly adamant that this mustn’t be perceived as a re-run of the competition, only serve as an encouragement to youngsters to experiment with perhaps a more traditional type of tune. It was also decided that an invitation would be extended to the 2006 Glenfiddich Fiddle Award Winner. The other guest artistes would consist of duos, trios and bands. In a bid to provide a slightly different format to other annual events, we decided to invite two 5/6 piece Scottish Dance Bands to play for the dance in the evening. We wanted the traditional format (two accordion, fiddle, piano, bass and drums) seldom heard apart from on radio and we were prepared to meet the financial commitment of that.
The Salutation Hotel has been more than helpful with the organisation of this day. Normally to book the Function Suite for a complete day, a fee has to be paid up front. We don’t need to pay until after the event. The layout in the hotel is iseal for both keen listeners and conversationalists and we are very grateful for the hotel’s support. They are also willing to offer slight reductions for block booking accommodation. The budget for the day amounts to a considerable sum. All invited artistes receive a realistic, but by no means extortionate fee. We intend to start licensed raffle ticket sales shortly and of course the admission fee on the day will also cover costs. Any money left over will be donated to Cancer Research and hopefully carried over so that it can become an annual event. The whole day is going to cost £15 and the evening or day ticket £10.
Much discussion took place regarding the chosen invited artistes and it became clear that there is plenty of scope for future development of this day. In a bid to include as many styles as possible and as many geographical areas of Scotland as possible, the following artistes have been invited and have agreed to perform on the day.
Compere – John Carmichael (Glasgow)
Ian Holmes Trio (Dumfries)
Fraser McGlynn Duo (Lochgilphead)
Judi Nicolson of Fiddle (Inverurie)
Douglas Muir, John Ellis and Irene Dear (Huntly and Dundee)
Douglas Lawrence on Fiddle (Glasgow)
The 3 Finalists from Perth Festival 2006 hopefully, and
The Glenfiddich Award Winner.
The two 6-piece bands for the Evening Dance are Hector MacFadyen, from Oban, and Craig McCallum, from Aberdeen.
We have, as reserves, of course ourselves. More than anything we would hope to attract a good number of players on the day to take part in the ‘Accordion Club’ type session as well as keen enthusiasts in the form of listeners and dancers.
Put the date in your diary. Let’s have a good one!
The Castle Douglas Ceilidh
by Robin & Deryn Waitt
The second Castle Dougals Ceilidh was held
CD Reviews – See Hear with Judith Linton
Alan Small’s Early Learning Ceilidh Band – ELCDDVD001 – Harp Recordings
Silver Strings – Iain Anderson (fiddle) – HRMCD014 – Highlander Music
Still Moments – Graeme MacKay – MCE001 – Meoran Ciuil Entertainment
Wir Waanderins – Swingin’ Fiddles – SW011 - Independent
Take the Floor – Saturday Evenings 19.05 – 20.30 with Robbie Shepherd
6th Jan 07 – Hector MacFadyen SDB (Band Leaders’ Choices)
13th Jan 07 – Pentland Ceilidh Band
20th Jan 07 – tbc
27th Jan 07 – Ian Muir SDB (Live at Celtic Connections)
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 30th Jan 07 – Johnny Duncan Duo
Alnwick (The Farrier’s Arms – Shilbottle)
Annan (St Andrew’s Social Club) - 21st Jan 07 – Dick Black Band
Arbroath (Viewfield Hotel) -
Armadale (Masonic Hall) – 4th Jan 07 – Club Night
Balloch (St. Kessog’s Church Hall) – 21st Jan 07 – Hector MacFadyen SDB
Banchory (Burnett Arms Hotel) – 29th Jan 07 – Jennifer Forrest SDB
Banff & District (Banff Springs Hotel) – 24th Jan 07 – Paul Anderson
Beith & District (Anderson Hotel) – 15th Jan 07 – Susan MacFadyen Trio
Belford (Community Centre) –
Biggar (Municipal Hall) – 14th Jan 07 – Iain Anderson SDB
Blairgowrie (Moorfield Hotel) -
Bromley (Trinity United Reform Church) - 9th Jan 07 – Alistair Forbes SDB
Button Key (Windygates Institute) –
Campsie (Glazert Country House Hotel) - 9th Jan 07 – John Morgan
Carlisle (St Margaret Mary’s Social Club) -
Castle Douglas (Urr Valley Country House Hotel) – 16th Jan 07 – Stuart Anderson Trio
Coalburn (Miners’ Welfare) - 18th Jan 07 – Judith Linton Trio
Crieff & District (Crieff Hotel)
Cults (Culter Sports & Social Club) 10th Jan 07 – Club Night
Dalriada (Argyll Hotel, Lochgilphead)
Dingwall (National Hotel) – 10th Jan 07 – Lesley Currie
Dunblane (Victoria Hall) – 17th Jan 07 – Steven Carcary SDB
Dunfermline (Headwell Bowling Club) – 9th Jan 07 – Orwell Ceilidh Band
Dunoon & Cowal (McColl’s Hotel) 26th Jan 07 – Susan MacFadyen Trio 27th McAllister Brothers Trio 28th Hector MacFadyen Trio
Duns (Royal British Legion Club, Langtongate) 15th Jan 07 – Ian Lowthian
East Kilbride (Masonic Hall, Kittoch St) –
Ellon (Station Hotel) – 23rd Jan 07 – Alasdair Salter & Ian Thow
Fintry (Fintry Sports Centre) – 22nd Jan 07 – Alistair McLeod SDB
Forfar (Plough Inn) - 28th Jan 07 – AGN + Local Players
Forres (Victoria Hotel) – 10th Jan 07 – Matthew MacLennan SDB
Galashiels (Abbotsford Arms Hotel) –
Glendale (Black Bull Hotel, Wooler) – 18th Jan 07 – John Stuart SDB
Glenfarg (Lomond Hotel) - 3rd Jan 07 – Club night (Christmas Dinner)
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 30th Jan 07 – Marian Anderson Trio
Gretna (Athlitic & Social Club) - 7th Jan 07 – Ian Muir Trio
Haddington (Railway Inn) - 28th Jan 07 – Ian Shepherd & The Reel Thing CB
Highland (Drumossie Hotel) – 15th Jan 07 – Tom Orr Trio
Inveraray (Argyll Hotel) - 10th Jan 07 – Michael Garvin SDB
Isle of Skye – (The Royal Hotel, Portree) -
Islesteps (The Embassy Hotel) – 4th Jan 07 – Michael Philip SDB
Kelso (Cross Keys Hotel) – 31st Jan 07 – Blair Gardiner SDB
Kintore (Torryburn Hotel) –
Ladybank (Railway Tavern) -
Lanark (Ravenstruther Hall) - 22nd Jan 07 – Seamus O’Sullivan Trio
Langholm (Eskdale Hotel) – 10th Jan 07 – Club Night
Lewis & Harris (Stornoway Legion) -
Livingston (Hilcroft Hotel, Whitburn) 16th Jan 07 – John Stuart SDB
Lockerbie (Queen’s Hotel) - 30th Jan 07 – Jin Gold SDB
Mauchline (Harry Lyle Suite) - 16th Jan 07 – John Douglas SDB
Montrose (Park Hotel) – 10th Jan 07 – Steven Carcary SDB
Newburgh (The Ship Inn) - 25th Jan 07 – Alistair McLeod
Newmill-on-Teviot (Newmill Country Inn) - 14th Jan 07 – Open Day from 2.30pm
Newtongrange (Dean Tavern) – 29th Jan 07 – Callum Wilson SDB
North East (Royal British Legion, Keith) –
Oban (McTavish’s Kitchen) – 12th Jan 07 – Dance to Graeme Mitchell SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Rugby Social Club) – 25th Jan 07 – Club Night
Perth (Salutation Hotel) – 16th Jan 07 – James Lindsay SDB
Phoenix (Argyll Arms hotel, Ardrishaig)
Premier NI (Chimney Corner Hotel) - 2nd Jan 07 - tbc
Reading Scottish Fiddlers (Willowbank Infant School, Woodley) -
Renfrew (Masonic Hall, Broadloan) – 9th Jan 07 – Dochie McCallum & Friends
Rothbury (Queen’s Head) - 4th Jan 07 – Club night & Buffet Supper
Scottish Accordion Music (Banchory) -
Selkirk (Angus O’Malley’s) - 11th Jan 07 – Scott Nichol Trio
Shetland (Shetland Hotel, Lerwick) - 11th Jan 07 – Local Club Night 29th Jan 07 – Up Helly Aa Visiting Bands
Stonehouse (Stonehouse Violet Football Social Club) - 10th Jan 07 – Club Night
Sutherland (Rogart Hall) -
Thornhill (Bowling Club Hall) - 9th Jan 07 – Karyn McCulloch
Thurso (Pentland Hotel) – 8th Jan 07 – Daniel McPhee Trio
Turriff (Commercail Hotel, Cuminestown) – 4th Jan 07 – Members / Players night
Tynedale (Hexham Ex Service Club) –
West Barnes (West Barnes Inn) 11th Jan 07 – Colin Brown Trio
Wick (MacKay’s Hotel) – 16th Jan 07 – Local Bands Night
THERE WERE CLUB REPORTS FROM :-
1. Aberdeen
2. Annan
3. Arbroath
4. Armadale
5. Balloch
6. Bromley
7. Castle Douglas
8. Crieff
9. Cults
10. Fintry
11. Forfar
12. Glendale
13. Glenrothes
14. Gretna
15. Haddington
16. Islesteps
17. Kelso
18. Kintore
19. Lanark
20. Livingston
21. Lockerbie
22. Mauchline
23. Montrose
24. Newburgh
25. Newtongrange
26. Oban
27. Perth
28. Renfrew
29. Stonehouse
30. Turriff
31. Tynedale
CLUB DIRECTORY AS AT OCT 2005
(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 early 08-09
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. Brittania B&F Club ( joined 07-08
14. Bromley A&F Club (joined 95-96 – closed early 08-09)
15. Button Key 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. Duns A&F Club (formed 20th Sept 04 – present)
29. East Kilbride A&F Club (Sept 1980 – Closed 04/05)
30. Ellon A&F Club (
31. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
32. Forfar A&F Club (
33. Forres A&F Club (Jan 1978)
34. Galashiels A&F Club (joined Sept 1982 - present)
35. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
36. Glendale Accordion Club (Jan 1973)
37. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
38. Glenrothes A&F Club (Mar 93?
39. 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)
40. Haddington A&F Club (formed Feb 2005 - )
41. Highland A&F Club (Inverness) (Nov 1973 – present)
42. Inveraray A&F Club (Feb 1991 - present)
43. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
44. Isle of Skye A&F Club (June 1983 – present)
45. Kelso A&F Club (May 1976 – present)
46. Kintore A&F Club (
47. Ladybank A&F Club (joined Apr 98 but formed earlier
48. Lanark A&F Club (joined Sept 96 – closed March 2015)
49. Langholm A&F Club (Oct 1967 - present)
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. Maine Valley A&F Club (
54. Mauchline A&F Club (Sept 1983 - present)
55. Montrose A&F Club (joined Sept 1982 - present)
56. Newburgh A&F Club (joined 2002 but founded
57. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
58. Newtongrange A&F Club (joined Sept 1977 - present)
59. North East A&F Club aka Keith A&FC (Sept 1971 - present)
60. Oban A&F Club (Nov 1975 - present)
61. Orkney A&F Club (Mar 1978 - present)
62. Peebles A&F Club (26 Nov 1981 - present)
63. Perth & District A&F Club (Aug 1970 - present)
64. Premier A&F Club NI (April 1980)
65. Phoenix A&F Club, Ardrishaig (Dec 2004 -
66. Renfrew A&F Club (1984 -
67. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
68. Selkirk A&F Club (
69. Shetland A&F Club (Sept 1978 - present)
70. Stonehouse A&F Club (first report June 05 -
71. Sutherland A&F Club (
72. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
73. Thurso A&F Club (Oct 1981 - present)
74. Turriff A&F Club (March 1982 - present)
75. Tynedale A&F Club (Nov 1980 - present)
76. West Barnes ( - present)
77. Wick A&F Club (Oct 1975 - present)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
78. Acharacle & District A&F Club (cMay 1988)
79. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
80. Bonchester Accordion Club (Closed?)
81. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
82. Brigmill A&F Club (Oct 1990) Closed
83. Buchan A&F Club
84 Callander A&F Club (
85 Campbeltown & District A&F Club (c Dec 1980)
86 Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
87 Club Accord
88 Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
89. Coupar Angus A&F Club (cSept 1978 - ?)
90. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
91. Denny & Dunipace A&F Club (Feb 1981)
92. Derwentside A&F Club
93. Dornoch A&F Club (first mention in directory 1986)
94. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
95. Dunbar Cement Works A&F Club (Closed?)
96. Dundee & District A&F Club (1970? – 1995?)
97. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
98. Falkirk A&F Club (Sept 1978 - )
99. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
100. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
101. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
102. Islay A&F Club (23 Apr 93 -
103. Kirriemuir A&F Club (cSept 1981)
104. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
105. M.A.F.I.A. (1966 – 1993?)
106. Monklands A&F Club (Nov 1978 – closed cApril 1983)
107. Morecambe A&F Club (joined Sept 1982)
108. Muirhead A&F Club (Dec 1994 -
109. Mull A&F Club
110. Newcastleton Accordion Club
111. New Cumnock A&F Club (cMarch 1979)
112. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
113. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
114. Reading Scottish Fiddlers (cMarch 1997
115. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
116. Stirling A&F Club (Oct 1991 – closed 20000/01?)
117. Straiton Accordion Club (c1968 – closed March 1979)
118. Stranraer & District Accordion Club (1974 – per first edition)
119. Torthorwald A&F Club (near Dumfries)
120. Tranent A&F Club
121. Vancouver
122. Walmer (Bridge of Allan) A&F Club
123. Wellbank A&F Club
124. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 – closed 2001/02)
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