Box and Fiddle
Year 24 No 06
March 2001
Price £1.20
44 Page Magazine
7 month subscription £12
Editor – Karin Ingram, Hawick
B&F Treasurer – Sandra Fleming, Blairgowrie
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Thank you for all your letters, phone calls, faxes and e-mails of support and appreciation of the Box and Fiddle. Thank you also to the B&F Sub-Committee for all your hard work, and for putting up with my nagging – you know who you are!! Huge thanks to Alison Riddell for proofreading and to the Printers for their patience. The club reports were much easier to do this month – many of you are now e-mailing them to me, and this cuts down my work load immensely. If you have a computer, but no e-mail, then a floppy disc is just as helpful and we’ll return it to you if required. We have another full issue this month. I was told that I should aim for about 36 pages maximum – it would be easier trying to nail a jelly to the ceiling! Keep those articles ands letters coming though, without your contributions and support there would be no magazine.
This month we ‘Take the Floor’ with Robbie Shepherd MBE. Anyone who has never been to a recording of the Saturday evening programme may be interested to put faces to the names that they hear each week, and Robbie took time out from his busy schedule to have a chat with me prior to the recording. Charlie’s tribute article to Sir Jimmy shand last month seems to have struck a few chords, and some of you have been kind enough to share your memories with us. This issue sees the fourth and final instalment of my interview with Aly Bain and Phil Cunningham, two of the nicest, funniest and most talented guys in the traditional music scene.
We have not yet received details of the Bill sharp Memorial Trust, and so have held back the article planned for this month, until April.
The main event in March is, of course, The Musselburgh Festival. As we go to print, preparations are well under way, and we look forward to meeting many of you there. The day’s events will be covered in full in the April issue.
Next month’s issue will be the last before the summer break, and we’re hoping to give you a few ideas of how to spend your holidays – there will be an article about Sabhal Mor Ostaig (the Gaelic College on Skye) and the traditional music and dance courses that will be happening there. You will also finally have a chance to read Sandy Tulloch’s article on the Ten-Key diatonic Melodeon, held over due to lack of space.
Karin Ingram
A Knight to Remember…
Sir Jimmy Shand 1908 - 2000
Last month’s tribute to Sir Jimmy Shand has inspired some of our readers to write in with their own memories of the great man. We thank you for your letters, and for your photographs. We do not have room for all of the photographs here, but are keeping them on file for future issues.
Bob Brown (Reading)
Reading Jimmy Scott and Stan Saunders’ to Jimmy Shand in the February B&F brought back memories of the 50’s. They mentioned the Festival of Scotland in London at the Royal Albert Hall. I was the Stage Manager for the Festival, which was compered by Andy Stewart. I had the privilege of meeting Jimmy Shand, making sure that he had everything he wanted (which was nothing!) “Dinnae worry aboot us son, the boys will sort their own chairs”.
At the end of the Festival, I spoke to Jimmy about the great Festival we had just witnessed and I mentioned that it had always been my dream to dance to a live Jimmy Shand Band. At the time I was Secretary of the Reading and District Caledonian society and he said ‘would you like us to play at your Annual Ball- when is it?’ I told him the date five months hence but I doubted that we could afford him. He answered that they were available on that date and would play for £100. I gulped (I was on £380 per annum salary at the time!) but said okay, if you give me your address, I will confirm it all in writing. He said, “I never write letters or answer them. Don’t worry son, we’ll be there.”
Yes, they came on the correct day at the correct time at Reading Town Hall and I spent that evening in bed with flu! When Jimmy was told, he said that the lad must be awful disappointed – could he visit him the next morning. He was persuaded not to visit due to the infectious nature of the illness. What a man!
Jim Cook (Windygates)
Regarding the Jimmy Sand story, my own personal association with Jimmy has only been since becoming involved with Buttonkey A&F Club, of which he was Life President, over the past five years, which were unfortunately his declining years. However, my association with his music has been for a much longer time, when his dance records have been taken all over the world over a period of some 25 years with my wife and I whilst working in many overseas locations. Wherever we went, from the remotest areas of West Africa, to the islands of the Caribbean, to Guyana, and to the Middle East in the Sultanate of Oman and Saudi Arabia, we formed Scottish Country Dance groups and danced to none other than the dance music of Jimmy Shand. In my only too short, person-to-person, association with Sir Jimmy Shand, I was always made welcome in his home, he had a delightful personality, and I found him always to be so friendly and a real gentleman.
Dr Bernard Dixon O.B.E.
None of the spine-tingling moments I’ve enjoyed at classical concerts over the years can quite compare with my rapture on first hearing Jimmy Shand and his Band playing live. The venue was the Baths Hall, Darlington, and I had gone to dance. Yet I spent much of the evening close to the stage, marvelling at the natural musicianship, distinctive lilt, rock solid tempi and tight ensemble playing of Jimmy, Syd Chalmers, Norman Whitelaw and the rest of the band. This was pure magic – a quantum leap from the harsh recording quality of many of the band’s early 78s. Later, in Leeds in 1958, I listened for the first time to Jimmy performing solo, when he accompanied Highland dancer Bobby Watson. The combination of precision and élan as he played ‘Whistling Rufus’ and ‘The Irish Washerwoman’ was electrifying. This was also the moment when I discovered Jimmy’s distinctive, indeed unique, skill in decorating the melody with grace notes, particularly in waltzes and 2/4 marches. What a pity there are so few commercial recordings of him playing unaccompanied in his middle and later years.
Between those two events, I had got to know the maestro and had warmed to his modest, kindly nature. One memory is of the first occasion when I played with my own band in the interval at a Jimmy Shand dance. I asked him afterwards what he thought of our efforts. His reply (“Aye, son, steady”) was both encouraging and wonderfully enigmatic.
Then there was Jimmy’s no-nonsense response when I was asked to book the band for a ball organised by Darlington Burns Association. Tiresomely two other locals societies had objected to the proposed event, which they saw as competition. I felt obliged, therefore, to tell Jimmy that they had both tried to dissuade the Burns Association from going ahead. “Don’r worry, son.” Jimmy said, “I’ll play for anybody.”
Robin Ellis (Bromley, Kent)
Firstly many congratulations on the cover of the recent B&F. ‘The Empty chair’ was so very, very appropriate and the picture on the back cover must be one of the best ever taken of the maestro. I felt that the thoughts and reminiscences of those who played with him were so right. It was good to see Stan Saunders and Jimmy Scott were included and interesting to note that they both remembered the Albert Hall concerts. We had about 5,500 in the audience every night and a few days later a Ball in The Rainbow Rooms, Derry & Thoms at which there were some 1,200 dancers. I was one of the Festival of Scotland organising Committee and remember so well Jimmy’s easy going attitude and ability to deliver exactly what was required without any fuss whatsoever. About 40 years ago I was also one of those who, when Jimmy came to London was invited to sit in with the band for a number of dances. I was ever grateful for his kindness as this encouraged me to start my career as a Scottish dance band leader, which continues to this day, and I might add that I am still enjoying it immensely. Those were certainly ‘Great Days’ which I doubt very much could be repeated today. When Jimmy retired from playing for dancing I lost touch until one day a few years ago I visited Letham Village Hall. There he was, just the same as ever. I think I can honestly say he was one of the nicest people I have ever met.
Renwick MacArthur
I first met Jimmy Shand at a dance in Lockerbie Town Hall during the war while I was home on leave from the Navy. A friend of mine, Jackie Wilson, was playing his accordion during the interval and, as Angus Fitchet had kindly loaned me his old black fiddle, I was able to join him.
Near the end of our session I became aware of someone standing just off-stage and, as I got up to leave, I found it was the Maestro himself. He turned to me and said, “If you’re all right for the Dashing White Sergeant laddie, just sit still and we’ll let the wee man have another fag.”
It possibly didn’t mean much to the Great Man, but for me it is a lifetime memory.
Wilma Shorthouse (Dunfermline)
Bert was a member of the ‘Shand Band’ from September 1957 to September 1965, then with more BBC ‘On Tour’ programmes in the summer of 1966. This at a time when the band was at its busiest and most popular. Theatre, radio, TV shows and records on top of the dances the length and breadth of the isles and also the Australian and New Zealand tours have all been well documented so I don’t know if I can add anything there.
Bert was the ‘young one’ and the extra one to the established band but was quickly accepted and fitted in. Coming from Fife, as was Jimmy then, the two of them often went in Jimmy’s car while the bus left with the others from Dundee. Particularly going north or west it saved Jimmy some time. Because of this he was often in my home and I found him a kindly, concerned man, always the same and unassuming. Bert and Jimmy were good friends and Jimmy would often have Bert playing duets with him on radio programmes or ask him to play solo. It was only Jimmy’s decision to become semi-retired and Bert’s need to be fully employed that made them split but still they would play together at local charity jobs.
Another occasion was when Bert was playing regularly in Glenrothes Centre for afternoon tea dances and it was coming near Christmas time. The Council arranged for Jimmy to switch on the town’s Christmas lights from the Centre. Jimmy did so, then joined Bert on the bandstand and played there for the rest of the afternoon. This was shown on BBC TV at 6.30 news time.
Ian L. Smith
In the beginning was the word, and the word was God. In six days he made the Heavens and Earth and all therein. On the seventh he rested but was not happy. He saw his people had sad faces. So he pondered, and thought long and hard, then smiled.
On the eighth day he madeth a fiddle, and from the multitude a man came forth and, placing it on his shoulder, he began to play and the people threw down their tools and sat down an listened and God was pleased.
On the ninth day he madeth a huge fiddle. It was as tall as a man and as fat as a woman. Again a man steppeth forth and began to play and God saw his people were smiling. On the tenth day he madeth a drum and a man came forth with two sticks and he kicked the drum and mightily hit it with his sticks and the people stood up smiling and clapping and stampeth their feet. At this the animals, the sheeps, goats and asses ran to the top of the hill and were afraid.
On the eleventh day God he madeth an accordion and a man came out and winding his arms round it he played so sweetly that a wondrous thing happened. A man tooketh a woman and with arms around each other they twisted and turned and twirled and were happy. Faster and faster and the woman shrieked with happiness and the man, he laughed and shouted. Another man took another woman, then another and another, till all were dancing.
Even the animals on the hill were happy with twitching tails and nodding heads, the sheep they baaaed, the goats they bleated and the asses they brayed.
When God saw all this he was happy. Even he stood up and stampeth his feet.
At last he reached his arms to Heaven and in a loud voice he cried out “Stop!” As his people faced him he saw his good works. “go forth from this place and spread the word that music is the Spice of Life. Take your animals and go in peace.”
Here ends the Gospel of Shand.
Noel Tuohy
I first met Jimmy Shand Snr when on tour in the early 60s. We traveled all over just to hear and meet him. He was a gentleman and was more than willing to speak to us. Because of these meetings I learned of Auchtermuchty and made my first of about four visits to him at his home. We would talk and play together and he would point out ways of improving my playing. Like for instance using the F sharp in ‘Jackson’s Jig’ (second note) on the Press rather than the Draw of the bellows. On stage Jimmy perhaps seemed to have ‘no personality’ but this was, I believe, due to the tremendous concentration he put into his playing.
In the 60s Hohner ran competitions for accordion and harmonica here in Ireland with a different venue each year. I entered my six-piece band in 1963, held in Limerick. We won the Hohner Shield for Ceili Music. We defended this All-Ireland title on four occasions = 1964 Galway, 1965 Dublin, 1966 Dundalk and 1967 cork. Jimmy was proud of his ‘pupil’s’ success in winning the shield five times.
In 1966 Jimmy did a dance in Shanagolden, twenty miles from Limerick. As before, we traveled to meet him. There was a local band on first and while waiting Jimmy would speak to us and do the waltz with my sister. His band would take the bandstand at 11 p.m., it was a 9 to 1 a.m. dance. On this occasion Jimmy came from the bandstand at about midnight and approached me. He suggested I play a waltz medley with the band. I was nervous about playing but he relaxed me and walked me to the bandstand. I took up his position near Bert Shorthouse – he removed my fountain pen from my breast pocket (in case it damaged the Morino bellows) and he personally announced my name and left the bandstand. Bert asked me what waltz medley and I said ‘Peggy O’Neill’. When the music ended Jimmy returned, took the accordion from me and replayed my fountain pen and asked the packed attendance for a round of applause. I will never forget his goodness to me then, and any time at his home.
Robbie Shepherd M.B.E.
Takes the Floor
by Karin Ingram
I scarcely know Robbie Shepherd (we’ve met only a handful of times), and yet when we met in Langholm prior to a ‘Take the Floor’ recording with Marian Anderson’s Band I feel as though I am greeting an old friend. In this I am not alone, thousands of listeners to his BBC Radio Scotland ‘Reel Blend’ and ‘Take the Floor’ programmes will frequently say, “I was listening to Robbie this morning”, or “ Who’s Robbie got on next week?” Such is the popularity of the man that we all feel that we are on first name terms with him – and this is just how he likes it. “I never forget that these people are inviting me into their homes each week”.
Before we begin our interview proper, I congratulate him on his recently awarded M.B.E., and ask him how he felt when he found out. “Well, I knew in November, but of course I was sworn to secrecy, I couldn’t tell a sole. I think it’s a wonderful honour for Scottish Dance Music, that’s what it’s for – nae for me!” At this point he is visibly moved, “My one big regret was that I couldn’t tell Jimmy (Shand). I knew he was very ill, but I wasn’t allowed to tell him. Shandy would have been so pleased for me, so proud…..”
Robbie comes from Dunecht near Aberdeen. He recalls his early childhood memories. “Our house was right next to the local hall, and I would lie in bed on a Saturday night listening to the dance music, from the likes of Jim Cameron’s Band. My dad used to go into town and bring home 78s by Adam Rennie and Jimmy shand, all the dance band greats”. His mother played piano, and encouraged the young Robbie to learn, but he claims to have had neither the patience nor the talent. He did however have quite a passable singing voice, and could coax a tune out of a moothie. He was in a band for a while – The Garlogie Four – and began to be in demand for compering concerts and dances.
Robbie has never been afraid of hard work, and although family circumstances necessitated him leaving school at fifteen to take a poorly paid job as an audit assistant, he attendied night school and became a Certified Management Accountant. He continued to compere in the evenings, and his talent was spotted by the powers that be in radio. His first broadcasting role was with BBC Radio Aberdeen, where he presented ‘Meet You Monday’, a request programme for the North-East of Scotland, Orkney and Shetland. Television followed, with the ‘Out and About’ series for Grampian. He also did the commentary for the sheepdog trials and was presenter and quizmaster for the early ‘Beechgrove Garden’ Roadshow. He decided to concentrate on his radio work, taking over the Scottish Dance Music slot after the tragic death in a car accident of the presenter David Findlay. I ask about ‘Take the Floor’. Does he decide which bands should broadcast? ”Never!”, he shakes his head emphatically. “That’s nae my job. I’m nae a musician after all. Sometimes I’ll meet up with someone who’s been in for an audition and they’ll ask me how they did. They don’t realise that I have no say in the matter.” Has he ever disagreed with the decision to broadcast a band? “Everyone has something to offer”, he says diplomatically. “It might not be my taste, but someone will enjoy it”.
He is thrilled that “our kind of music“ can now be heard all over the globe thanks to online digital radio. “I can remember when I used to do a local radio show frae Aberdeen, there was this chap down in Berwick who could pick up the signal – something to do with the way the radio waves traveled – he was our farthest away listener, and he still writes to me yet! Now they can hear me in Australia – if they want to! It’s really marvelous.”
Our talk turns to ‘The Reel Blend’ – his Sunday show. For many years it was available only on AM frequency, just recently being available on FM as well. This move was due to Robbie’s determination. “It was absolutely ridiculous,” he says. “We were the only programme that broadcast solely on AM. I fought for years to have it changed. Then I was told it would be cut to 90 minutes – no way!” At this point I have a vision of a determined Robbie digging his heels in, and slamming his fist on the controller’s desk! Despite his geniality and talent for self-depreciation Mr Shepherd is nobody’s fool. His persistence paid off – he still has his two hours, and it’s now on both frequencies. He puts in a lot of work for this show, “some folk think I’m like a minister, only working for a couple of hours on a Sunday!” Nothing could be further from the truth. Robbie can usually be found at his desk first thing in the morning, and ‘Take the Floor’ recordings can see him working late into the evening. Then there’s all the research. If someone writes in with a query, I like to see if I can answer it for them.” He values the rapport that he has with his listeners, and treats his shows as though he’s speaking to one person sitting in their living room or working away in the kitchen. He tries to answer every letter that he is sent, and will often phone the writers up out of the blue, just to tell them that their letter is going to be read out or a particular piece of music that they requested will be played. This happened to a lady of my acquaintance who had written a poem, which I sent in to ‘The Reel Blend’. She was already thrilled that it might be read out on air, but was over the moon when Robbie phoned her to say thank you for giving him the chance to read it.
Does he think that the dance music scene is changing? “Well there’s this whole new ceilidh scene now. There are some great young players nowadays – and they need someone young to present their music.” Surely he’s not thinking of retiring? “Bear in mind, I grew up along with some of the great bands like Shand, Cameron, MacLeod. There’s new bands now, and the BBC should be looking for someone younger to grow with them and replace meeventually.” I say nothing, but I can just imagine the outcry the day that happens!
At this point the rest of the ‘TTF’ team – Ken Mutch, Jean Sharman, Keith Simpson and Ron McCaskill – arrive, having completed the sound check with the Marian Anderson Band. Robbie nips upstairs to change, the crew have a bite to eat, and then we’re all off to the Buccleuch Hall.
It’s interesting to watch Robbie in ‘professional’ mode. He moves easily among the crowd of dancers, shaking hands here, patting a back there. He has a naturally friendly way with people, he has time for everyone.
He admits to always being nervous before a broadcast, but nobody would ever know. On stage he chats with the band and gives a few words of encouragement to the young guest artiste Sarah Hayes of Northumberland (she was the youngest finalist in Radio 2’s Young Folk Awards). Time for one or two funny asides to the audience, “In Bridge of Don they say the M.B.E. stands for ‘Man Behind Esma’ (his wife!), and the recording is about to begin. The band strikes up ‘Kate Dalrymple’ and we prepare to ‘Take the Floor’…
Two weeks later…
It’s 9 a.m. on the 1st of February. I was up late last night, and am enjoying a ‘long lie’ when the phone rings – it’s Robbie. “Got the Box and Fiddle this morning, well done lass.” Thanks Robbie, that means a lot to me.
The Lomond Ceilidh Band
by Andy Ramage
I am in the Lomond Tavern in Falkland, which is appropriate for an interview with The Lomond Ceilidh Band who are based in fife and Perth. The band consists of Alan Small (24) who is an extremely accomplished accordion player, Ewan Stark (24) who plays the fiddle and the mandolin and is also the band’s lead singer and last but not least is the man that makes the most noise in the band – Callum Wallace (25) the exuberant drummer, whistle player and guitarist who is also very capable of stepping into the lead singer role. Their music ranges from Scottish ceilidh dance to Scots ands Irish folk song favourites. Despite their youth they already have a very impressive track record.
When did you begin to play your respective instruments?
Alan – I started playing the accordion at the age of 7. Bill Smith from Kinross was my first teacher and he taught me classical music. His technique and skills have definitely sharpened my sight reading abilities and this has made the learning of Continental and Scottish styles that little bit easier.
Ewan – The fiddle was always my first love. My grandfather, Dave Carrie, was a great player and he played and recorded with The Fife Yokels and The Lomond Cornkisters. I remember hearing him play the fiddle from a very early age and always wanted to imitate him. I must have been about 6 or 7 when I first started taking lessons.
family: Arial'>Dundalk and 1967 cork. Jimmy was proud of his ‘pupil’s’ success in winning the shield five times.
In 1966 Jimmy did a dance in Shanagolden, twenty miles from Limerick. As before, we traveled to meet him. There was a local band on first and while waiting Jimmy would speak to us and do the waltz with my sister. His band would take the bandstand at 11 p.m., it was a 9 to 1 a.m. dance. On this occasion Jimmy came from the bandstand at about midnight and approached me. He suggested I play a waltz medley with the band. I was nervous about playing but he relaxed me and walked me to the bandstand. I took up his position near Bert Shorthouse – he removed my fountain pen from my breast pocket (in case it damaged the Morino bellows) and he personally announced my name and left the bandstand. Bert asked me what waltz medley and I said ‘Peggy O’Neill’. When the music ended Jimmy returned, took the accordion from me and replayed my fountain pen and asked the packed attendance for a round of applause. I will never forget his goodness to me then, and any time at his home.
Callum – My mother reckons I was drumming in the womb, but my first serious drum kit was a Premier Olympic at the age of 11. For the first two years I gigged with my parents – my dad Vic still plays in a band. Then I joined the Andrew Bilsland Band from Crieff.
Alan – At 14 I started to sit in with Jack Suttie (saxophone) and John Walker (piano), playing mostly old time and modern music. They gave me a lot of encouragement and I gained experience of playing in a band. Ewan and I were both pupils at Bell Baxter High School in Cupar and Ronnie Bisset, a bothy ballad singer from Falkland, asked us to play at Victoria hospital in Kirkcaldy, that was our first gig together.
Ewan – About a year after that, Vicky Garland from Falkland joined us on keyboards and we called ourselves The Lomond Trio.
Alan – From then on I was hooked! For my parents’ silver wedding celebrations in Dunshalt Village Hall I managed to get some musicians together to form a four-oiece band. We called ourselves The Lomond Ceilidh Band. We had various changes over the next year or two, Jim Saunders from Glencarse joined us on drums, Vicky left and the late Dave Beattie, a second box player and singer from Perth joined and we made our first cassette recording called Stepping Out. Shortly after the recording both Dave and Jim left. Callum then joined the band as the permanent drummer.
Ewan – In January 1996 we discussed the possibilities of going full time. We also became the resident band at the Crieff Hydro Hotel. This gave us some stability and guaranteed income, which was a plus!
Callum – Some friends on the folk scene, Derek Richardson and Peter Wood, had contacts in Denmark. They recommended us to a Danish Agency called M.D.S. Booking and the next thing we knew a five-week, 20 night tour had been organized for the forthcoming May.
How do you cope with being full-time professional musicians?
Ewan – Firstly we are great friends. Secondly we have respect for each other. We have our disagreements of course, but if you can survive and still be friends at the end of it all, then you can tackle anything together.
Alan – When it comes to the musical arrangements we all provide our own input and ideas. I do most of the harmony arrangements as I provide the bass in the band with the midi system but everybody has their own talents and we all chip in.
Callum – I thrive on it, most of my closest friends are musicians so it’s great to meet up with them at clubs and Festivals although I really miss having quality time with family and friends outside of the music scene.
How many cassettes and CDs have you produced?
Alan – The very first album that I recorded on was in 1993 with bothy ballad singer Ted Poletyllo. Stepping Out was the band’s first recording in 1995 although Callum was not playing on that one. Our second, Whisky in the Jar was recorded in April 1996, also that year, the band recorded a cassette with bandleader John Stuart called The Braes of Buckhind. Our third, On A Higher Level, came out in 1997. In 1999 we brought out our first album on CD and cassette called Live in the Studio. Our latest album In Full Swing came out in December 2000 and is also available on CD or cassette.
What is you biggest achievement so far?
All – Undoubtedly our first BBC broadcast for Robbie Shepherd’s radio programme Take the Floor in March 1999. We felt then that we had arrived. It was a nerve-wracking experience going through the audition as we all kept thinking about the great bands that had graced the studio before us, and the realisation that we were about to follow in their footsteps was daunting. It was an exhilarating yet humbling experience. Since then we have recorded another broadcast which came out on Take the Floor in October 2000.
Have you any unfulfilled ambitions?
Callum – I would really like to play drums in a big Country and Western band. That would be tremendous. I have played session drums on other albums, notably David Vernon, Tich Frier and Robin Watson of Gaberlunzie. It would be nice to do some more session work.
Alan – I would love to travel and play in Canada, Australia and New Zealand. I teach piano accordion and now have 27 pupils. I hope some of them will become accomplished musicians.
Ewan – I would love to travel with other musicians. That is the only way you can gain experience in life and hopefully this lifestyle will continue for many more years.
Andy – Well there you have it. Three very likeable, talented young lads, who knows what they want and where they are going. I for one wish them all success in the future.
Shand Morino Gathering
by Jim Cook
The Button-Key Accordion & Fiddle Club hosted the 6th ‘Shand Morino Gathering’ on Sunday, 21st January 2001 in the Windygates Institute, which was organized to commemorate once again the creation of the Shand Morino button-key accordion as designed and played by the late, and renowned, Sir Jimmy Shand.
Needless to say a shadow of sadness hung over this year’s Gathering with everyone aware that the Great Man was no longer with us, but there was also a certain lightheartedness, in the knowledge that he would have been happy for this event to continue in his absence.
The day’s activities started at 1 p.m. but folk were already arriving before 12 noon, and by 12.30 the hall was nearly full. By 1.30 it was standing room only. The audience and players had once again come from near and far. From the North and South of Ireland, South of England, Wooller and the Borders, all corners of Scotland as far north as Inverness, Dingwall and the Black Isle, from both East and West coasts, and of course many from our local area. What a turnout!
Morino button-key accordions were once again well represented including one or two of the originals produced in 1951. The Morino boxes were brought and displayed by :-
Ken Hopkins (Original No 1) from County Down
George Rea from County Antrim
Hugh Wilkinson from Ballymena
Robin Waitt from Cannonbie
Tom Blamey from Lochgelly
Harold Smith & John Grieve from Aberdeen
Bill Black from Stanley
Fraser MacLean from the Black Isle
Jim and Graeme MacKay from Inverness
Jim Quigley from Glenrothes
Davie Ross from Kilmarnock
Ian Johnson from Keith
Sandy Tulloch & Charlie Mitchell from Dundee
Bruce Lindsay Jnr from Largoward
Dougie Milne from Kirriemuir
Jim MacFarlane from Forfar
Roy Magna from Markinch
Colin Chalmers from Longforgan
Charlie Todd from Biggar
John Weaks from Glasgow and
Jimmy and Sandy Lindsay from Amulree
There was also Original No 3 which belonged to the late Davie Simpson and was brought along by Mrs Simpson. All in all, a total of 26 of these wonderful instruments.
The afternoon started with a welcome to all from Bruce Lindsay Snr who also expressed his sorrow at the loss of such a great musician, writer and composer of Scottish Country Dance Music, Life President of the Button Key Accordion and Fiddle Club, and personal friend, Sir Jimmy Shand.
Bob McIntosh them reminisced about his personal relationship with Jimmy throughout his many years as a friend, emphasizing how he always made you welcome in his home with his delightful and friendly personality. He was a real gentleman.
The music started off with a full stage stramash led by Sandy Tulloch playing Jimmy’s first composition, the waltz ‘Lunan Bay’ and a set of marches. Lifelong friend John McDonald (who plays the mouthorgan) displayed his enormous personal collection of Jimmy Shand records and was asked to play Jimmy’s composition, in recognition of this friendship, ‘The John McDonald March’. For this John was joined by Sandy Tulloch, Tom Blamey, Jim Rodger and John Vance.
After this introduction to the musical entertainment we listened to all the Morino players giving their selections throughout the afternoon, accompanied by the group of their choice, and this produced some wonderful tunes, which of course continued to include many of Sir Jimmy’s compositions and favourites. Bill Black with Mabel on piano were there, as were Jim MacKay and his Band, The Bon Accords (Robin & Deryn Waitt) and Bruce Lindsay and his Band (Bruce playing the late Davie Simpson’s Morino). Some specials were played, such as Jimmy’s composition of the waltz ‘Tom and Betty Blamey’s Golden Wedding’, played by Tom Blamey, and Roy Magna played the first music he had ever played along with Jimmy, ‘The Bonnie Lass o’ Bon Accord’.
The accompanying musicians included :-
On other button boxes - David Rea from Co. Antrim and Andrew Liddell from Leven
On piano accordion – Charlie Lawie from Aberdeen, Ian McCallum from Gauldry and Lex Keith from Lenzie
On piano / keyboard – Bill Ewan from Glenrothes, Jimmy Scott from Clackmannan, Anne McCord from Aberdeen and Alan Adams from Kilmarnock.
On mouthorgan – Bryce Johnstone and John McDonald.
On drums 0 John Ireland from Bowhill and Dave Taylor from Glenrothes.
On double bass – Alex Cinclair from Crossford, Stan Saunders from Dollar and John Vance from Glenrothes.
Including the Shand Morinos, that made a total of 43 players attending the Gathering. What a great turnout!
We also had the pleasure of listening to some lovely singing from Grace McLean, Vina Forsyth and the bass/baritone voice of Marshall MacIntyre.
Video cameras were well in evidence throughout the day and it is hoped that some excellent records of this event will be produced in due course.
A vote of thanks was given by Bob McIntosh on behalf of the Club members and guests in the audience, to our Committee for all the hard work in organizing the day and especially to our ladies in the kitchen for providing the soup, tea and refreshments, and to Bruce Lindsay Snr for arranging and organizing the afternoon’s entertainment. This was followed by a thank you from Bruce Lindsay to all the players who had come along from near and far, and to everyone else who came along to make a wonderful audience, which all contributed to another great success of this memorable occasion.
The day ended as it began with a stage full of players and a superb stramash of grand music finished with ‘Scotland the Brave’, and ‘We’re No’ Awa’ Tae Bide Awa’’. What a great sound, what a great day.
Letters to the Editor
I noticed in the February issue of the B&F that you credit the tune ‘Wee Todd’ to the late Iain McLachlan of Benbecula. This tune was actually composed by the late Angus MacAulay, originally from Benbecula, who spent his adult life in Glasgow.
The real name of the tune is ‘Wee Tot’. He composed the tune in 1956 for his grand-daughter who was about a year old at the time and hence the title. Angus composed a number of tunes but none of them were written down.
Addie Harper of the Wick SDB heard the tune being played on night at a dance in Loch Carron and, obviously impressed, thankfully, decided to write it down. The Wick included it on their tape ‘By The Peat Fire Flame’. Other bands have included it in their selections since.
I hope this clears up any misunderstanding about this very popular tune.
John MacPhee, Glasgow
In response to Iain Anderson’s letter in the last edition what exactly is Iain point? Is he advocating £900 as a realistic figure to reflect the practice, the equipment and the travel? Furthermore, as all players are well aware, there are potential pitfalls of working through an agent. How much of the £962 + VAT would the band see?
It’s often said, and for the most part I believe sincerely, that none of us play only for the money. If we didn’t enjoy doing it then, for the sort of fees we do receive, we simply wouldn’t do it (having said that I reserve the right to reconsider if the Scottish Parliament creates a basic minimum wage of £900 for a wedding!)
I have to admire the players of the era covered in Jimmy Helm’s excellent book who by comparison with ourselves endured many discomforts in the shape of unheated cars, nothing better than an ‘A’ class road for journeys all over the UK, the most basic of PA, out of tune pianos etc but soldiered on at a pace that I suspect would leave most of us today in a state of utter exhaustion.
But back to fees, which are basically a matter of supply and demand. As in all fields of endeavour some players will market their services more aggressively and more successfully than others – they may well not be the best bands, but that’s life I suppose. The current trend seems to indicate also that bands are chasing fewer and fewer jobs. With fewer marriages, summers are quieter and in common with dwindling audiences at Box and Fiddle Clubs and an aging population of ‘real’ dancers it means that the number of events organized falls year by year.
For the most part the music is in safe hands with many extremely talented young players and bands, but in 10 years time will there be any dancers for them to play for?
Charlie Todd, Biggar
Take the Floor – Saturdays with Robbie Shepherd
3rd March 01 – Alan Gardiner SDB + Pat McNulty
10th March 01 – Allan McIntosh and the Heather Band Band + Musselburgh Festival
17th March 01 – Fiddlers 3+ 2 + Musselburgh
24th March 01 – John Renton
31st March 01 – Charlie Kirkpatrick SDB + Fiddle 2000
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 27th Mar 01 – David Cunningham
Alnwick (The Farrier’s Arms – Shilbottle) 14th Mar 01 – Roger Dobson SDB
Annan (St Andrew’s Social Club) - 18th Mar 01 – Jim johnstone SDB
Arbroath (Viewfield Hotel) - 4th Mar 01 – AGM & Garioch Blend
Armadale (Masonic Hall) – 1st Mar 01 – Julie Best
Balloch (St. Kessog’s Church Hall) – 18th Mar 01 – Allan McIntosh
Banchory (Burnett Arms Hotel) – 26th Mar 01 – Tommy Newcomen
Banff & District (Banff Springs Hotel) – 28th Mar 01 – Graeme Mitchell SDB
Beith & District (Anderson Hotel) – 19th Mar 01 – Gordon Pattullo
Belford (Community Centre) – 29th Mar 01 – Gary Donaldson
Biggar (Municipal Hall) – 11th Mar 01 – Ian Cruickshanks SDB
Blairgowrie (Moorfield Hotel) - 13th Mar 01 – Andy Greig SDB
Bromley (Trinity United Reform Church) - 13th Mar 01 – Stuart Forbes
Button Key (Windygates Institute) – 8th Mar 01 – Bryce Johnstone
Campsie (Glazert Country House Hotel) - 6th Mar 01 – Archie McAllister Trio
Carlisle (St Margaret Mary’s Social Club) - 8th Mar 01 – Morag Robertson Trio
Castle Douglas (Urr Valley Country House Hotel) – 20th Mar 01 – Jim MacLeod SDB
Coalburn (Miners’ Welfare) - 15th Mar 01 – Ian Holmes SDB
Crathes (Crathes Hall, Banchory) - 11th Mar 01 – All Players Welcome
Crieff & District (Crieff Hotel) 1st Mar 01 – Marian Anderson SDB
Cults (Culter Sports & Social Club) 14th Mar 01 – David Oswald Trio
Dalriada (Argyll Arms Hotel, Lochgilphead) 20th Mar 01 – Michael Garvin Trio
Dingwall (National Hotel) – 7th Mar 01 – Angus MacPhail Duo
Dunblane (Victoria Hall) – 21st Mar 01 – Jim MacLeod SDB
Dunfermline (Headwell Bowling Club) – 13th Mar 01 – Morag Robertson Trio
Dunoon & Cowal (McColl’s Hotel) 9th Mar 01 - tbc
East Kilbride (Torrance Hotel) – 29th Mar 01 - Tom Alexander
Ellon (Station Hotel) – 20th Mar 01 – Lothian SDB
Fintry (Fintry Sports Centre) – 26th Mar 01 – Tom alexander
Forfar (Plough Inn) - 25th Mar 01 - tbc
Forres (Victoria Hotel) – 14th Mar 01 – Pentland CB & Trio Competition
Galashiels (Abbotsford Arms Hotel) – 1st Mar 01 – John Douglas Trio
Galston (Barr Castle Social Club) – 12th Mar 01 – Gordon Pattullo
Glendale (Black Bull Hotel, Wooler) – 15th Mar 01 – Ian Cruickshanks SDB
Glenfarg (Lomond Hotel) - 7th Mar 01 – Jim MacFarlane Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 27th Mar 01 - tbc
Gretna (Halcrow Stadium) - 4th Mar 01 – Iain Lockhart
Highland (Drumossie Hotel) – 19th Mar 01 - tbc
Inveraray (Argyll Hotel) - 14th Mar 01 – Ross MacPherson SDB
Isle of Skye – (The Royal Hotel, Portree) - 1st Mar 01 – Scott Gordon Trio
Islesteps (The Embassy Hotel) – 6th Mar 01 – Roger Dobson SDB
Kelso (Ednam House Hotel) – 28th Mar 01 – The Big Squeeze
Kintore (Torryburn Hotel) – 7th Mar 01 - tbc
Lanark (Ravenstruther Hall) - 26th Mar 01 – Keith Dickson’s Top 10
Langholm (Crown Hotel) – 14th Mar 01 – Ian Muir
Lesmahagow (Masonic Hall) – 8th Mar 01 – Jimmy Cassidy
Lewis & Harris (Stornoway Legion) - 1st Mar 01 - tbc
Livingston (Hilcroft Hotel, Whitburn) 20th Mar 01 – Judith Linton Trio
Lockerbie (Queen’s Hotel) - 27th Mar 01 – Scott Leslie SDB
Mauchline (Harry Lyle Suite) - 20th Mar 01 – Dick Black SDB
Montrose (Park Hotel) – 7th Mar 01 – Andy Greig SDB
Muirhead (Belmont Arms, Meigle) -
Newmill-on-Teviot (Newmill Country Inn) - 7th Mar 01 – Jean McConnachie Trio
Newtongrange (Dean Tavern) – 26th Mar 01 - tbc
North East (Royal British Legion, Keith) – 6th Mar 01 – Davie Stewart Trio
Oban (McTavish’s Kitchen) – 1st Mar 01 – Jennifer Forrest SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 29th Mar 01 – Sandy Legget Trio
Perth (Salutation Hotel) – 20th Mar 01 – Hector McFadyen SDB
Premier NI (Camlin Function Rooms) - 6th Mar 01 - tbc
Renfrew (Masonic Hall, Broadloan) – 13th Mar 01 - Brian Laurie Orchestra
Rothbury (Queen’s Head) - 1st Mar 01 – Alastair Wood SDB
Selkirk (Cricket Club) - 8th Mar 01 – Bill Black SDB
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) - 17th Mar 01 - tbc
Thornhill (Masonic Hall) - 14th Mar 01 – Tom Porteous
Thurso (Pentland Hotel) – 5th Mar 01 – Marian Anderson SDB
Turriff (Royal British Legion) – 1st Mar 01 – Crathes A&F Club
Tynedale (Hexham Ex Service Club) – 15th Mar 01 - tbc
Wick (MacKay’s Hotel) – 20th Mar 01 – Jimmy Lindsay
Yarrow (Gordon Arms) - 21st Mar 01 - tbc
THERE WERE CLUB REPORTS FROM :-
1. Alnwick & District
2. Armadale
3. Balloch
4. Beith & District
5. Biggar
6. Blairgowrie
7. Bromley
8. Button Key
9. Campsie
10. Carlisle
11. Castle Douglas
12. Coalburn
13. Crathes
14. Crieff & District
15. Dalriada
16. Dunfermline & District
17. Dunoon & Cowal
18. East Kilbride
19. Ellon
20. Forres
21. Galashiels
22. Galston
23. Glendale
24. Glenrothes & District
27. Gretna
28. Islesteps
29. Kintore
30. Lanark
31. Langholm
32. Lesmahagow
33. Lewis & Harris
34. Livingston
35. Lockerbie
36. Montrose
37. Newmill-on-Teviot
38. Newtongrange
39. Oban
40. Orkney
41. Peebles
42. Premier
43. Renfrew
44. Rothbury
45. Thornhill
46. Turriff & district
47. Wick
48. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. Wick A&F Club (Oct 1975 - present)
76. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 -
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
77. Acharacle & District A&F Club (cMay 1988)
78. Ayr A&F Club (Nov 1983 – per Nov 83 edition) Closed
79. Bonchester Accordion Club (Closed?)
80. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
81. Brigmill A&F Club (Oct 1990) Closed
82. Buchan A&F Club
83. Callander A&F Club (
84. Campbeltown & District A&F Club (c Dec 1980)
85. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
86. Club Accord
87. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2? – became Rothbury?)
88. Coupar Angus A&F Club (cSept 1978 - ?)
89. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
90. Denny & Dunipace A&F Club (Feb 1981)
91. Derwentside A&F Club
92. Dornoch A&F Club (first mention in directory 1986)
93. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
94. Dunbar Cement Works A&F Club (Closed?)
95. Dundee & District A&F Club (1970? – 1995?)
96. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
97. Falkirk A&F Club (Sept 1978 - )
98. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
99. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
100. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
101. Kirriemuir A&F Club (cSept 1981)
102. M.A.F.I.A. (1966 – 1993?)
103. Monklands A&F Club (Nov 1978 – closed cApril 1983)
104. Morecambe A&F Club (joined Sept 1982)
105. Mull A&F Club
106. Newcastleton Accordion Club
107. New Cumnock A&F Club (cMarch 1979)
108. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
109. Ormiston Miners’ Welfare Society A&F Club (closed April 1992 – per Sept Editorial)
110. Reading Scottish Fiddlers (cMarch 1997
111. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
112. Straiton Accordion Club (c1968 – closed March 1979)
113. Stranraer & District Accordion Club (1974 – per first edition)
114. Torthorwald A&F Club (near Dumfries)
115. Tranent A&F Club
116. Walmer (Bridge of Allan) A&F Club
117. Wellbank A&F Club
Advertising rates
Full Page - £120
Half Page - £60
Quarter Page - £30
B&F Treasurer – Sandra Fleming, Blairgowrie
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
Thank you for all your letters, phone calls, faxes and e-mails of support and appreciation of the Box and Fiddle. Thank you also to the B&F Sub-Committee for all your hard work, and for putting up with my nagging – you know who you are!! Huge thanks to Alison Riddell for proofreading and to the Printers for their patience. The club reports were much easier to do this month – many of you are now e-mailing them to me, and this cuts down my work load immensely. If you have a computer, but no e-mail, then a floppy disc is just as helpful and we’ll return it to you if required. We have another full issue this month. I was told that I should aim for about 36 pages maximum – it would be easier trying to nail a jelly to the ceiling! Keep those articles ands letters coming though, without your contributions and support there would be no magazine.
This month we ‘Take the Floor’ with Robbie Shepherd MBE. Anyone who has never been to a recording of the Saturday evening programme may be interested to put faces to the names that they hear each week, and Robbie took time out from his busy schedule to have a chat with me prior to the recording. Charlie’s tribute article to Sir Jimmy shand last month seems to have struck a few chords, and some of you have been kind enough to share your memories with us. This issue sees the fourth and final instalment of my interview with Aly Bain and Phil Cunningham, two of the nicest, funniest and most talented guys in the traditional music scene.
We have not yet received details of the Bill sharp Memorial Trust, and so have held back the article planned for this month, until April.
The main event in March is, of course, The Musselburgh Festival. As we go to print, preparations are well under way, and we look forward to meeting many of you there. The day’s events will be covered in full in the April issue.
Next month’s issue will be the last before the summer break, and we’re hoping to give you a few ideas of how to spend your holidays – there will be an article about Sabhal Mor Ostaig (the Gaelic College on Skye) and the traditional music and dance courses that will be happening there. You will also finally have a chance to read Sandy Tulloch’s article on the Ten-Key diatonic Melodeon, held over due to lack of space.
Karin Ingram
A Knight to Remember…
Sir Jimmy Shand 1908 - 2000
Last month’s tribute to Sir Jimmy Shand has inspired some of our readers to write in with their own memories of the great man. We thank you for your letters, and for your photographs. We do not have room for all of the photographs here, but are keeping them on file for future issues.
Bob Brown (Reading)
Reading Jimmy Scott and Stan Saunders’ to Jimmy Shand in the February B&F brought back memories of the 50’s. They mentioned the Festival of Scotland in London at the Royal Albert Hall. I was the Stage Manager for the Festival, which was compered by Andy Stewart. I had the privilege of meeting Jimmy Shand, making sure that he had everything he wanted (which was nothing!) “Dinnae worry aboot us son, the boys will sort their own chairs”.
At the end of the Festival, I spoke to Jimmy about the great Festival we had just witnessed and I mentioned that it had always been my dream to dance to a live Jimmy Shand Band. At the time I was Secretary of the Reading and District Caledonian society and he said ‘would you like us to play at your Annual Ball- when is it?’ I told him the date five months hence but I doubted that we could afford him. He answered that they were available on that date and would play for £100. I gulped (I was on £380 per annum salary at the time!) but said okay, if you give me your address, I will confirm it all in writing. He said, “I never write letters or answer them. Don’t worry son, we’ll be there.”
Yes, they came on the correct day at the correct time at Reading Town Hall and I spent that evening in bed with flu! When Jimmy was told, he said that the lad must be awful disappointed – could he visit him the next morning. He was persuaded not to visit due to the infectious nature of the illness. What a man!
Jim Cook (Windygates)
Regarding the Jimmy Sand story, my own personal association with Jimmy has only been since becoming involved with Buttonkey A&F Club, of which he was Life President, over the past five years, which were unfortunately his declining years. However, my association with his music has been for a much longer time, when his dance records have been taken all over the world over a period of some 25 years with my wife and I whilst working in many overseas locations. Wherever we went, from the remotest areas of West Africa, to the islands of the Caribbean, to Guyana, and to the Middle East in the Sultanate of Oman and Saudi Arabia, we formed Scottish Country Dance groups and danced to none other than the dance music of Jimmy Shand. In my only too short, person-to-person, association with Sir Jimmy Shand, I was always made welcome in his home, he had a delightful personality, and I found him always to be so friendly and a real gentleman.
Dr Bernard Dixon O.B.E.
None of the spine-tingling moments I’ve enjoyed at classical concerts over the years can quite compare with my rapture on first hearing Jimmy Shand and his Band playing live. The venue was the Baths Hall, Darlington, and I had gone to dance. Yet I spent much of the evening close to the stage, marvelling at the natural musicianship, distinctive lilt, rock solid tempi and tight ensemble playing of Jimmy, Syd Chalmers, Norman Whitelaw and the rest of the band. This was pure magic – a quantum leap from the harsh recording quality of many of the band’s early 78s. Later, in Leeds in 1958, I listened for the first time to Jimmy performing solo, when he accompanied Highland dancer Bobby Watson. The combination of precision and élan as he played ‘Whistling Rufus’ and ‘The Irish Washerwoman’ was electrifying. This was also the moment when I discovered Jimmy’s distinctive, indeed unique, skill in decorating the melody with grace notes, particularly in waltzes and 2/4 marches. What a pity there are so few commercial recordings of him playing unaccompanied in his middle and later years.
Between those two events, I had got to know the maestro and had warmed to his modest, kindly nature. One memory is of the first occasion when I played with my own band in the interval at a Jimmy Shand dance. I asked him afterwards what he thought of our efforts. His reply (“Aye, son, steady”) was both encouraging and wonderfully enigmatic.
Then there was Jimmy’s no-nonsense response when I was asked to book the band for a ball organised by Darlington Burns Association. Tiresomely two other locals societies had objected to the proposed event, which they saw as competition. I felt obliged, therefore, to tell Jimmy that they had both tried to dissuade the Burns Association from going ahead. “Don’r worry, son.” Jimmy said, “I’ll play for anybody.”
Robin Ellis (Bromley, Kent)
Firstly many congratulations on the cover of the recent B&F. ‘The Empty chair’ was so very, very appropriate and the picture on the back cover must be one of the best ever taken of the maestro. I felt that the thoughts and reminiscences of those who played with him were so right. It was good to see Stan Saunders and Jimmy Scott were included and interesting to note that they both remembered the Albert Hall concerts. We had about 5,500 in the audience every night and a few days later a Ball in The Rainbow Rooms, Derry & Thoms at which there were some 1,200 dancers. I was one of the Festival of Scotland organising Committee and remember so well Jimmy’s easy going attitude and ability to deliver exactly what was required without any fuss whatsoever. About 40 years ago I was also one of those who, when Jimmy came to London was invited to sit in with the band for a number of dances. I was ever grateful for his kindness as this encouraged me to start my career as a Scottish dance band leader, which continues to this day, and I might add that I am still enjoying it immensely. Those were certainly ‘Great Days’ which I doubt very much could be repeated today. When Jimmy retired from playing for dancing I lost touch until one day a few years ago I visited Letham Village Hall. There he was, just the same as ever. I think I can honestly say he was one of the nicest people I have ever met.
Renwick MacArthur
I first met Jimmy Shand at a dance in Lockerbie Town Hall during the war while I was home on leave from the Navy. A friend of mine, Jackie Wilson, was playing his accordion during the interval and, as Angus Fitchet had kindly loaned me his old black fiddle, I was able to join him.
Near the end of our session I became aware of someone standing just off-stage and, as I got up to leave, I found it was the Maestro himself. He turned to me and said, “If you’re all right for the Dashing White Sergeant laddie, just sit still and we’ll let the wee man have another fag.”
It possibly didn’t mean much to the Great Man, but for me it is a lifetime memory.
Wilma Shorthouse (Dunfermline)
Bert was a member of the ‘Shand Band’ from September 1957 to September 1965, then with more BBC ‘On Tour’ programmes in the summer of 1966. This at a time when the band was at its busiest and most popular. Theatre, radio, TV shows and records on top of the dances the length and breadth of the isles and also the Australian and New Zealand tours have all been well documented so I don’t know if I can add anything there.
Bert was the ‘young one’ and the extra one to the established band but was quickly accepted and fitted in. Coming from Fife, as was Jimmy then, the two of them often went in Jimmy’s car while the bus left with the others from Dundee. Particularly going north or west it saved Jimmy some time. Because of this he was often in my home and I found him a kindly, concerned man, always the same and unassuming. Bert and Jimmy were good friends and Jimmy would often have Bert playing duets with him on radio programmes or ask him to play solo. It was only Jimmy’s decision to become semi-retired and Bert’s need to be fully employed that made them split but still they would play together at local charity jobs.
Another occasion was when Bert was playing regularly in Glenrothes Centre for afternoon tea dances and it was coming near Christmas time. The Council arranged for Jimmy to switch on the town’s Christmas lights from the Centre. Jimmy did so, then joined Bert on the bandstand and played there for the rest of the afternoon. This was shown on BBC TV at 6.30 news time.
Ian L. Smith
In the beginning was the word, and the word was God. In six days he made the Heavens and Earth and all therein. On the seventh he rested but was not happy. He saw his people had sad faces. So he pondered, and thought long and hard, then smiled.
On the eighth day he madeth a fiddle, and from the multitude a man came forth and, placing it on his shoulder, he began to play and the people threw down their tools and sat down an listened and God was pleased.
On the ninth day he madeth a huge fiddle. It was as tall as a man and as fat as a woman. Again a man steppeth forth and began to play and God saw his people were smiling. On the tenth day he madeth a drum and a man came forth with two sticks and he kicked the drum and mightily hit it with his sticks and the people stood up smiling and clapping and stampeth their feet. At this the animals, the sheeps, goats and asses ran to the top of the hill and were afraid.
On the eleventh day God he madeth an accordion and a man came out and winding his arms round it he played so sweetly that a wondrous thing happened. A man tooketh a woman and with arms around each other they twisted and turned and twirled and were happy. Faster and faster and the woman shrieked with happiness and the man, he laughed and shouted. Another man took another woman, then another and another, till all were dancing.
Even the animals on the hill were happy with twitching tails and nodding heads, the sheep they baaaed, the goats they bleated and the asses they brayed.
When God saw all this he was happy. Even he stood up and stampeth his feet.
At last he reached his arms to Heaven and in a loud voice he cried out “Stop!” As his people faced him he saw his good works. “go forth from this place and spread the word that music is the Spice of Life. Take your animals and go in peace.”
Here ends the Gospel of Shand.
Noel Tuohy
I first met Jimmy Shand Snr when on tour in the early 60s. We traveled all over just to hear and meet him. He was a gentleman and was more than willing to speak to us. Because of these meetings I learned of Auchtermuchty and made my first of about four visits to him at his home. We would talk and play together and he would point out ways of improving my playing. Like for instance using the F sharp in ‘Jackson’s Jig’ (second note) on the Press rather than the Draw of the bellows. On stage Jimmy perhaps seemed to have ‘no personality’ but this was, I believe, due to the tremendous concentration he put into his playing.
In the 60s Hohner ran competitions for accordion and harmonica here in Ireland with a different venue each year. I entered my six-piece band in 1963, held in Limerick. We won the Hohner Shield for Ceili Music. We defended this All-Ireland title on four occasions = 1964 Galway, 1965 Dublin, 1966 Dundalk and 1967 cork. Jimmy was proud of his ‘pupil’s’ success in winning the shield five times.
In 1966 Jimmy did a dance in Shanagolden, twenty miles from Limerick. As before, we traveled to meet him. There was a local band on first and while waiting Jimmy would speak to us and do the waltz with my sister. His band would take the bandstand at 11 p.m., it was a 9 to 1 a.m. dance. On this occasion Jimmy came from the bandstand at about midnight and approached me. He suggested I play a waltz medley with the band. I was nervous about playing but he relaxed me and walked me to the bandstand. I took up his position near Bert Shorthouse – he removed my fountain pen from my breast pocket (in case it damaged the Morino bellows) and he personally announced my name and left the bandstand. Bert asked me what waltz medley and I said ‘Peggy O’Neill’. When the music ended Jimmy returned, took the accordion from me and replayed my fountain pen and asked the packed attendance for a round of applause. I will never forget his goodness to me then, and any time at his home.
Robbie Shepherd M.B.E.
Takes the Floor
by Karin Ingram
I scarcely know Robbie Shepherd (we’ve met only a handful of times), and yet when we met in Langholm prior to a ‘Take the Floor’ recording with Marian Anderson’s Band I feel as though I am greeting an old friend. In this I am not alone, thousands of listeners to his BBC Radio Scotland ‘Reel Blend’ and ‘Take the Floor’ programmes will frequently say, “I was listening to Robbie this morning”, or “ Who’s Robbie got on next week?” Such is the popularity of the man that we all feel that we are on first name terms with him – and this is just how he likes it. “I never forget that these people are inviting me into their homes each week”.
Before we begin our interview proper, I congratulate him on his recently awarded M.B.E., and ask him how he felt when he found out. “Well, I knew in November, but of course I was sworn to secrecy, I couldn’t tell a sole. I think it’s a wonderful honour for Scottish Dance Music, that’s what it’s for – nae for me!” At this point he is visibly moved, “My one big regret was that I couldn’t tell Jimmy (Shand). I knew he was very ill, but I wasn’t allowed to tell him. Shandy would have been so pleased for me, so proud…..”
Robbie comes from Dunecht near Aberdeen. He recalls his early childhood memories. “Our house was right next to the local hall, and I would lie in bed on a Saturday night listening to the dance music, from the likes of Jim Cameron’s Band. My dad used to go into town and bring home 78s by Adam Rennie and Jimmy shand, all the dance band greats”. His mother played piano, and encouraged the young Robbie to learn, but he claims to have had neither the patience nor the talent. He did however have quite a passable singing voice, and could coax a tune out of a moothie. He was in a band for a while – The Garlogie Four – and began to be in demand for compering concerts and dances.
Robbie has never been afraid of hard work, and although family circumstances necessitated him leaving school at fifteen to take a poorly paid job as an audit assistant, he attendied night school and became a Certified Management Accountant. He continued to compere in the evenings, and his talent was spotted by the powers that be in radio. His first broadcasting role was with BBC Radio Aberdeen, where he presented ‘Meet You Monday’, a request programme for the North-East of Scotland, Orkney and Shetland. Television followed, with the ‘Out and About’ series for Grampian. He also did the commentary for the sheepdog trials and was presenter and quizmaster for the early ‘Beechgrove Garden’ Roadshow. He decided to concentrate on his radio work, taking over the Scottish Dance Music slot after the tragic death in a car accident of the presenter David Findlay. I ask about ‘Take the Floor’. Does he decide which bands should broadcast? ”Never!”, he shakes his head emphatically. “That’s nae my job. I’m nae a musician after all. Sometimes I’ll meet up with someone who’s been in for an audition and they’ll ask me how they did. They don’t realise that I have no say in the matter.” Has he ever disagreed with the decision to broadcast a band? “Everyone has something to offer”, he says diplomatically. “It might not be my taste, but someone will enjoy it”.
He is thrilled that “our kind of music“ can now be heard all over the globe thanks to online digital radio. “I can remember when I used to do a local radio show frae Aberdeen, there was this chap down in Berwick who could pick up the signal – something to do with the way the radio waves traveled – he was our farthest away listener, and he still writes to me yet! Now they can hear me in Australia – if they want to! It’s really marvelous.”
Our talk turns to ‘The Reel Blend’ – his Sunday show. For many years it was available only on AM frequency, just recently being available on FM as well. This move was due to Robbie’s determination. “It was absolutely ridiculous,” he says. “We were the only programme that broadcast solely on AM. I fought for years to have it changed. Then I was told it would be cut to 90 minutes – no way!” At this point I have a vision of a determined Robbie digging his heels in, and slamming his fist on the controller’s desk! Despite his geniality and talent for self-depreciation Mr Shepherd is nobody’s fool. His persistence paid off – he still has his two hours, and it’s now on both frequencies. He puts in a lot of work for this show, “some folk think I’m like a minister, only working for a couple of hours on a Sunday!” Nothing could be further from the truth. Robbie can usually be found at his desk first thing in the morning, and ‘Take the Floor’ recordings can see him working late into the evening. Then there’s all the research. If someone writes in with a query, I like to see if I can answer it for them.” He values the rapport that he has with his listeners, and treats his shows as though he’s speaking to one person sitting in their living room or working away in the kitchen. He tries to answer every letter that he is sent, and will often phone the writers up out of the blue, just to tell them that their letter is going to be read out or a particular piece of music that they requested will be played. This happened to a lady of my acquaintance who had written a poem, which I sent in to ‘The Reel Blend’. She was already thrilled that it might be read out on air, but was over the moon when Robbie phoned her to say thank you for giving him the chance to read it.
Does he think that the dance music scene is changing? “Well there’s this whole new ceilidh scene now. There are some great young players nowadays – and they need someone young to present their music.” Surely he’s not thinking of retiring? “Bear in mind, I grew up along with some of the great bands like Shand, Cameron, MacLeod. There’s new bands now, and the BBC should be looking for someone younger to grow with them and replace meeventually.” I say nothing, but I can just imagine the outcry the day that happens!
At this point the rest of the ‘TTF’ team – Ken Mutch, Jean Sharman, Keith Simpson and Ron McCaskill – arrive, having completed the sound check with the Marian Anderson Band. Robbie nips upstairs to change, the crew have a bite to eat, and then we’re all off to the Buccleuch Hall.
It’s interesting to watch Robbie in ‘professional’ mode. He moves easily among the crowd of dancers, shaking hands here, patting a back there. He has a naturally friendly way with people, he has time for everyone.
He admits to always being nervous before a broadcast, but nobody would ever know. On stage he chats with the band and gives a few words of encouragement to the young guest artiste Sarah Hayes of Northumberland (she was the youngest finalist in Radio 2’s Young Folk Awards). Time for one or two funny asides to the audience, “In Bridge of Don they say the M.B.E. stands for ‘Man Behind Esma’ (his wife!), and the recording is about to begin. The band strikes up ‘Kate Dalrymple’ and we prepare to ‘Take the Floor’…
Two weeks later…
It’s 9 a.m. on the 1st of February. I was up late last night, and am enjoying a ‘long lie’ when the phone rings – it’s Robbie. “Got the Box and Fiddle this morning, well done lass.” Thanks Robbie, that means a lot to me.
The Lomond Ceilidh Band
by Andy Ramage
I am in the Lomond Tavern in Falkland, which is appropriate for an interview with The Lomond Ceilidh Band who are based in fife and Perth. The band consists of Alan Small (24) who is an extremely accomplished accordion player, Ewan Stark (24) who plays the fiddle and the mandolin and is also the band’s lead singer and last but not least is the man that makes the most noise in the band – Callum Wallace (25) the exuberant drummer, whistle player and guitarist who is also very capable of stepping into the lead singer role. Their music ranges from Scottish ceilidh dance to Scots ands Irish folk song favourites. Despite their youth they already have a very impressive track record.
When did you begin to play your respective instruments?
Alan – I started playing the accordion at the age of 7. Bill Smith from Kinross was my first teacher and he taught me classical music. His technique and skills have definitely sharpened my sight reading abilities and this has made the learning of Continental and Scottish styles that little bit easier.
Ewan – The fiddle was always my first love. My grandfather, Dave Carrie, was a great player and he played and recorded with The Fife Yokels and The Lomond Cornkisters. I remember hearing him play the fiddle from a very early age and always wanted to imitate him. I must have been about 6 or 7 when I first started taking lessons.
family: Arial'>Dundalk and 1967 cork. Jimmy was proud of his ‘pupil’s’ success in winning the shield five times.
In 1966 Jimmy did a dance in Shanagolden, twenty miles from Limerick. As before, we traveled to meet him. There was a local band on first and while waiting Jimmy would speak to us and do the waltz with my sister. His band would take the bandstand at 11 p.m., it was a 9 to 1 a.m. dance. On this occasion Jimmy came from the bandstand at about midnight and approached me. He suggested I play a waltz medley with the band. I was nervous about playing but he relaxed me and walked me to the bandstand. I took up his position near Bert Shorthouse – he removed my fountain pen from my breast pocket (in case it damaged the Morino bellows) and he personally announced my name and left the bandstand. Bert asked me what waltz medley and I said ‘Peggy O’Neill’. When the music ended Jimmy returned, took the accordion from me and replayed my fountain pen and asked the packed attendance for a round of applause. I will never forget his goodness to me then, and any time at his home.
Callum – My mother reckons I was drumming in the womb, but my first serious drum kit was a Premier Olympic at the age of 11. For the first two years I gigged with my parents – my dad Vic still plays in a band. Then I joined the Andrew Bilsland Band from Crieff.
Alan – At 14 I started to sit in with Jack Suttie (saxophone) and John Walker (piano), playing mostly old time and modern music. They gave me a lot of encouragement and I gained experience of playing in a band. Ewan and I were both pupils at Bell Baxter High School in Cupar and Ronnie Bisset, a bothy ballad singer from Falkland, asked us to play at Victoria hospital in Kirkcaldy, that was our first gig together.
Ewan – About a year after that, Vicky Garland from Falkland joined us on keyboards and we called ourselves The Lomond Trio.
Alan – From then on I was hooked! For my parents’ silver wedding celebrations in Dunshalt Village Hall I managed to get some musicians together to form a four-oiece band. We called ourselves The Lomond Ceilidh Band. We had various changes over the next year or two, Jim Saunders from Glencarse joined us on drums, Vicky left and the late Dave Beattie, a second box player and singer from Perth joined and we made our first cassette recording called Stepping Out. Shortly after the recording both Dave and Jim left. Callum then joined the band as the permanent drummer.
Ewan – In January 1996 we discussed the possibilities of going full time. We also became the resident band at the Crieff Hydro Hotel. This gave us some stability and guaranteed income, which was a plus!
Callum – Some friends on the folk scene, Derek Richardson and Peter Wood, had contacts in Denmark. They recommended us to a Danish Agency called M.D.S. Booking and the next thing we knew a five-week, 20 night tour had been organized for the forthcoming May.
How do you cope with being full-time professional musicians?
Ewan – Firstly we are great friends. Secondly we have respect for each other. We have our disagreements of course, but if you can survive and still be friends at the end of it all, then you can tackle anything together.
Alan – When it comes to the musical arrangements we all provide our own input and ideas. I do most of the harmony arrangements as I provide the bass in the band with the midi system but everybody has their own talents and we all chip in.
Callum – I thrive on it, most of my closest friends are musicians so it’s great to meet up with them at clubs and Festivals although I really miss having quality time with family and friends outside of the music scene.
How many cassettes and CDs have you produced?
Alan – The very first album that I recorded on was in 1993 with bothy ballad singer Ted Poletyllo. Stepping Out was the band’s first recording in 1995 although Callum was not playing on that one. Our second, Whisky in the Jar was recorded in April 1996, also that year, the band recorded a cassette with bandleader John Stuart called The Braes of Buckhind. Our third, On A Higher Level, came out in 1997. In 1999 we brought out our first album on CD and cassette called Live in the Studio. Our latest album In Full Swing came out in December 2000 and is also available on CD or cassette.
What is you biggest achievement so far?
All – Undoubtedly our first BBC broadcast for Robbie Shepherd’s radio programme Take the Floor in March 1999. We felt then that we had arrived. It was a nerve-wracking experience going through the audition as we all kept thinking about the great bands that had graced the studio before us, and the realisation that we were about to follow in their footsteps was daunting. It was an exhilarating yet humbling experience. Since then we have recorded another broadcast which came out on Take the Floor in October 2000.
Have you any unfulfilled ambitions?
Callum – I would really like to play drums in a big Country and Western band. That would be tremendous. I have played session drums on other albums, notably David Vernon, Tich Frier and Robin Watson of Gaberlunzie. It would be nice to do some more session work.
Alan – I would love to travel and play in Canada, Australia and New Zealand. I teach piano accordion and now have 27 pupils. I hope some of them will become accomplished musicians.
Ewan – I would love to travel with other musicians. That is the only way you can gain experience in life and hopefully this lifestyle will continue for many more years.
Andy – Well there you have it. Three very likeable, talented young lads, who knows what they want and where they are going. I for one wish them all success in the future.
Shand Morino Gathering
by Jim Cook
The Button-Key Accordion & Fiddle Club hosted the 6th ‘Shand Morino Gathering’ on Sunday, 21st January 2001 in the Windygates Institute, which was organized to commemorate once again the creation of the Shand Morino button-key accordion as designed and played by the late, and renowned, Sir Jimmy Shand.
Needless to say a shadow of sadness hung over this year’s Gathering with everyone aware that the Great Man was no longer with us, but there was also a certain lightheartedness, in the knowledge that he would have been happy for this event to continue in his absence.
The day’s activities started at 1 p.m. but folk were already arriving before 12 noon, and by 12.30 the hall was nearly full. By 1.30 it was standing room only. The audience and players had once again come from near and far. From the North and South of Ireland, South of England, Wooller and the Borders, all corners of Scotland as far north as Inverness, Dingwall and the Black Isle, from both East and West coasts, and of course many from our local area. What a turnout!
Morino button-key accordions were once again well represented including one or two of the originals produced in 1951. The Morino boxes were brought and displayed by :-
Ken Hopkins (Original No 1) from County Down
George Rea from County Antrim
Hugh Wilkinson from Ballymena
Robin Waitt from Cannonbie
Tom Blamey from Lochgelly
Harold Smith & John Grieve from Aberdeen
Bill Black from Stanley
Fraser MacLean from the Black Isle
Jim and Graeme MacKay from Inverness
Jim Quigley from Glenrothes
Davie Ross from Kilmarnock
Ian Johnson from Keith
Sandy Tulloch & Charlie Mitchell from Dundee
Bruce Lindsay Jnr from Largoward
Dougie Milne from Kirriemuir
Jim MacFarlane from Forfar
Roy Magna from Markinch
Colin Chalmers from Longforgan
Charlie Todd from Biggar
John Weaks from Glasgow and
Jimmy and Sandy Lindsay from Amulree
There was also Original No 3 which belonged to the late Davie Simpson and was brought along by Mrs Simpson. All in all, a total of 26 of these wonderful instruments.
The afternoon started with a welcome to all from Bruce Lindsay Snr who also expressed his sorrow at the loss of such a great musician, writer and composer of Scottish Country Dance Music, Life President of the Button Key Accordion and Fiddle Club, and personal friend, Sir Jimmy Shand.
Bob McIntosh them reminisced about his personal relationship with Jimmy throughout his many years as a friend, emphasizing how he always made you welcome in his home with his delightful and friendly personality. He was a real gentleman.
The music started off with a full stage stramash led by Sandy Tulloch playing Jimmy’s first composition, the waltz ‘Lunan Bay’ and a set of marches. Lifelong friend John McDonald (who plays the mouthorgan) displayed his enormous personal collection of Jimmy Shand records and was asked to play Jimmy’s composition, in recognition of this friendship, ‘The John McDonald March’. For this John was joined by Sandy Tulloch, Tom Blamey, Jim Rodger and John Vance.
After this introduction to the musical entertainment we listened to all the Morino players giving their selections throughout the afternoon, accompanied by the group of their choice, and this produced some wonderful tunes, which of course continued to include many of Sir Jimmy’s compositions and favourites. Bill Black with Mabel on piano were there, as were Jim MacKay and his Band, The Bon Accords (Robin & Deryn Waitt) and Bruce Lindsay and his Band (Bruce playing the late Davie Simpson’s Morino). Some specials were played, such as Jimmy’s composition of the waltz ‘Tom and Betty Blamey’s Golden Wedding’, played by Tom Blamey, and Roy Magna played the first music he had ever played along with Jimmy, ‘The Bonnie Lass o’ Bon Accord’.
The accompanying musicians included :-
On other button boxes - David Rea from Co. Antrim and Andrew Liddell from Leven
On piano accordion – Charlie Lawie from Aberdeen, Ian McCallum from Gauldry and Lex Keith from Lenzie
On piano / keyboard – Bill Ewan from Glenrothes, Jimmy Scott from Clackmannan, Anne McCord from Aberdeen and Alan Adams from Kilmarnock.
On mouthorgan – Bryce Johnstone and John McDonald.
On drums 0 John Ireland from Bowhill and Dave Taylor from Glenrothes.
On double bass – Alex Cinclair from Crossford, Stan Saunders from Dollar and John Vance from Glenrothes.
Including the Shand Morinos, that made a total of 43 players attending the Gathering. What a great turnout!
We also had the pleasure of listening to some lovely singing from Grace McLean, Vina Forsyth and the bass/baritone voice of Marshall MacIntyre.
Video cameras were well in evidence throughout the day and it is hoped that some excellent records of this event will be produced in due course.
A vote of thanks was given by Bob McIntosh on behalf of the Club members and guests in the audience, to our Committee for all the hard work in organizing the day and especially to our ladies in the kitchen for providing the soup, tea and refreshments, and to Bruce Lindsay Snr for arranging and organizing the afternoon’s entertainment. This was followed by a thank you from Bruce Lindsay to all the players who had come along from near and far, and to everyone else who came along to make a wonderful audience, which all contributed to another great success of this memorable occasion.
The day ended as it began with a stage full of players and a superb stramash of grand music finished with ‘Scotland the Brave’, and ‘We’re No’ Awa’ Tae Bide Awa’’. What a great sound, what a great day.
Letters to the Editor
I noticed in the February issue of the B&F that you credit the tune ‘Wee Todd’ to the late Iain McLachlan of Benbecula. This tune was actually composed by the late Angus MacAulay, originally from Benbecula, who spent his adult life in Glasgow.
The real name of the tune is ‘Wee Tot’. He composed the tune in 1956 for his grand-daughter who was about a year old at the time and hence the title. Angus composed a number of tunes but none of them were written down.
Addie Harper of the Wick SDB heard the tune being played on night at a dance in Loch Carron and, obviously impressed, thankfully, decided to write it down. The Wick included it on their tape ‘By The Peat Fire Flame’. Other bands have included it in their selections since.
I hope this clears up any misunderstanding about this very popular tune.
John MacPhee, Glasgow
In response to Iain Anderson’s letter in the last edition what exactly is Iain point? Is he advocating £900 as a realistic figure to reflect the practice, the equipment and the travel? Furthermore, as all players are well aware, there are potential pitfalls of working through an agent. How much of the £962 + VAT would the band see?
It’s often said, and for the most part I believe sincerely, that none of us play only for the money. If we didn’t enjoy doing it then, for the sort of fees we do receive, we simply wouldn’t do it (having said that I reserve the right to reconsider if the Scottish Parliament creates a basic minimum wage of £900 for a wedding!)
I have to admire the players of the era covered in Jimmy Helm’s excellent book who by comparison with ourselves endured many discomforts in the shape of unheated cars, nothing better than an ‘A’ class road for journeys all over the UK, the most basic of PA, out of tune pianos etc but soldiered on at a pace that I suspect would leave most of us today in a state of utter exhaustion.
But back to fees, which are basically a matter of supply and demand. As in all fields of endeavour some players will market their services more aggressively and more successfully than others – they may well not be the best bands, but that’s life I suppose. The current trend seems to indicate also that bands are chasing fewer and fewer jobs. With fewer marriages, summers are quieter and in common with dwindling audiences at Box and Fiddle Clubs and an aging population of ‘real’ dancers it means that the number of events organized falls year by year.
For the most part the music is in safe hands with many extremely talented young players and bands, but in 10 years time will there be any dancers for them to play for?
Charlie Todd, Biggar
Take the Floor – Saturdays with Robbie Shepherd
3rd March 01 – Alan Gardiner SDB + Pat McNulty
10th March 01 – Allan McIntosh and the Heather Band Band + Musselburgh Festival
17th March 01 – Fiddlers 3+ 2 + Musselburgh
24th March 01 – John Renton
31st March 01 – Charlie Kirkpatrick SDB + Fiddle 2000
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 27th Mar 01 – David Cunningham
Alnwick (The Farrier’s Arms – Shilbottle) 14th Mar 01 – Roger Dobson SDB
Annan (St Andrew’s Social Club) - 18th Mar 01 – Jim johnstone SDB
Arbroath (Viewfield Hotel) - 4th Mar 01 – AGM & Garioch Blend
Armadale (Masonic Hall) – 1st Mar 01 – Julie Best
Balloch (St. Kessog’s Church Hall) – 18th Mar 01 – Allan McIntosh
Banchory (Burnett Arms Hotel) – 26th Mar 01 – Tommy Newcomen
Banff & District (Banff Springs Hotel) – 28th Mar 01 – Graeme Mitchell SDB
Beith & District (Anderson Hotel) – 19th Mar 01 – Gordon Pattullo
Belford (Community Centre) – 29th Mar 01 – Gary Donaldson
Biggar (Municipal Hall) – 11th Mar 01 – Ian Cruickshanks SDB
Blairgowrie (Moorfield Hotel) - 13th Mar 01 – Andy Greig SDB
Bromley (Trinity United Reform Church) - 13th Mar 01 – Stuart Forbes
Button Key (Windygates Institute) – 8th Mar 01 – Bryce Johnstone
Campsie (Glazert Country House Hotel) - 6th Mar 01 – Archie McAllister Trio
Carlisle (St Margaret Mary’s Social Club) - 8th Mar 01 – Morag Robertson Trio
Castle Douglas (Urr Valley Country House Hotel) – 20th Mar 01 – Jim MacLeod SDB
Coalburn (Miners’ Welfare) - 15th Mar 01 – Ian Holmes SDB
Crathes (Crathes Hall, Banchory) - 11th Mar 01 – All Players Welcome
Crieff & District (Crieff Hotel) 1st Mar 01 – Marian Anderson SDB
Cults (Culter Sports & Social Club) 14th Mar 01 – David Oswald Trio
Dalriada (Argyll Arms Hotel, Lochgilphead) 20th Mar 01 – Michael Garvin Trio
Dingwall (National Hotel) – 7th Mar 01 – Angus MacPhail Duo
Dunblane (Victoria Hall) – 21st Mar 01 – Jim MacLeod SDB
Dunfermline (Headwell Bowling Club) – 13th Mar 01 – Morag Robertson Trio
Dunoon & Cowal (McColl’s Hotel) 9th Mar 01 - tbc
East Kilbride (Torrance Hotel) – 29th Mar 01 - Tom Alexander
Ellon (Station Hotel) – 20th Mar 01 – Lothian SDB
Fintry (Fintry Sports Centre) – 26th Mar 01 – Tom alexander
Forfar (Plough Inn) - 25th Mar 01 - tbc
Forres (Victoria Hotel) – 14th Mar 01 – Pentland CB & Trio Competition
Galashiels (Abbotsford Arms Hotel) – 1st Mar 01 – John Douglas Trio
Galston (Barr Castle Social Club) – 12th Mar 01 – Gordon Pattullo
Glendale (Black Bull Hotel, Wooler) – 15th Mar 01 – Ian Cruickshanks SDB
Glenfarg (Lomond Hotel) - 7th Mar 01 – Jim MacFarlane Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) - 27th Mar 01 - tbc
Gretna (Halcrow Stadium) - 4th Mar 01 – Iain Lockhart
Highland (Drumossie Hotel) – 19th Mar 01 - tbc
Inveraray (Argyll Hotel) - 14th Mar 01 – Ross MacPherson SDB
Isle of Skye – (The Royal Hotel, Portree) - 1st Mar 01 – Scott Gordon Trio
Islesteps (The Embassy Hotel) – 6th Mar 01 – Roger Dobson SDB
Kelso (Ednam House Hotel) – 28th Mar 01 – The Big Squeeze
Kintore (Torryburn Hotel) – 7th Mar 01 - tbc
Lanark (Ravenstruther Hall) - 26th Mar 01 – Keith Dickson’s Top 10
Langholm (Crown Hotel) – 14th Mar 01 – Ian Muir
Lesmahagow (Masonic Hall) – 8th Mar 01 – Jimmy Cassidy
Lewis & Harris (Stornoway Legion) - 1st Mar 01 - tbc
Livingston (Hilcroft Hotel, Whitburn) 20th Mar 01 – Judith Linton Trio
Lockerbie (Queen’s Hotel) - 27th Mar 01 – Scott Leslie SDB
Mauchline (Harry Lyle Suite) - 20th Mar 01 – Dick Black SDB
Montrose (Park Hotel) – 7th Mar 01 – Andy Greig SDB
Muirhead (Belmont Arms, Meigle) -
Newmill-on-Teviot (Newmill Country Inn) - 7th Mar 01 – Jean McConnachie Trio
Newtongrange (Dean Tavern) – 26th Mar 01 - tbc
North East (Royal British Legion, Keith) – 6th Mar 01 – Davie Stewart Trio
Oban (McTavish’s Kitchen) – 1st Mar 01 – Jennifer Forrest SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Green Tree Hotel) – 29th Mar 01 – Sandy Legget Trio
Perth (Salutation Hotel) – 20th Mar 01 – Hector McFadyen SDB
Premier NI (Camlin Function Rooms) - 6th Mar 01 - tbc
Renfrew (Masonic Hall, Broadloan) – 13th Mar 01 - Brian Laurie Orchestra
Rothbury (Queen’s Head) - 1st Mar 01 – Alastair Wood SDB
Selkirk (Cricket Club) - 8th Mar 01 – Bill Black SDB
Shetland (Shetland Hotel, Lerwick) -
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) - 17th Mar 01 - tbc
Thornhill (Masonic Hall) - 14th Mar 01 – Tom Porteous
Thurso (Pentland Hotel) – 5th Mar 01 – Marian Anderson SDB
Turriff (Royal British Legion) – 1st Mar 01 – Crathes A&F Club
Tynedale (Hexham Ex Service Club) – 15th Mar 01 - tbc
Wick (MacKay’s Hotel) – 20th Mar 01 – Jimmy Lindsay
Yarrow (Gordon Arms) - 21st Mar 01 - tbc
THERE WERE CLUB REPORTS FROM :-
1. Alnwick & District
2. Armadale
3. Balloch
4. Beith & District
5. Biggar
6. Blairgowrie
7. Bromley
8. Button Key
9. Campsie
10. Carlisle
11. Castle Douglas
12. Coalburn
13. Crathes
14. Crieff & District
15. Dalriada
16. Dunfermline & District
17. Dunoon & Cowal
18. East Kilbride
19. Ellon
20. Forres
21. Galashiels
22. Galston
23. Glendale
24. Glenrothes & District
27. Gretna
28. Islesteps
29. Kintore
30. Lanark
31. Langholm
32. Lesmahagow
33. Lewis & Harris
34. Livingston
35. Lockerbie
36. Montrose
37. Newmill-on-Teviot
38. Newtongrange
39. Oban
40. Orkney
41. Peebles
42. Premier
43. Renfrew
44. Rothbury
45. Thornhill
46. Turriff & district
47. Wick
48. Yarrow
CLUB DIRECTORY AS AT OCT 1999
(Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports or in the Club Diary above were definitely open.)
1. Aberdeen A&F Club (1975 – present)
2. Alnwick A&F Club (Aug 1975 – present)
3. Annan A&F Club (joined Assoc in 1996 but started 1985 – present)
4. Arbroath A&F Club (1991? – present)
5. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months) Closed
6. Balloch A&F Club (Sept 1972 – per January 1978 issue – present)
7. Banchory A&F Club (1978 – present)
8. Banff & District A&F Club (Oct 1973 – present)
9. Beith & District A&F Club (Sept 1972 – per first edition – present)
10. Belford A&F Club (joined Sept 1982)
11. Biggar A&F Club (Oct 1974 – present)
12. Blairgowrie A&F Club (
13. Bromley A&F Club
14. Button Key A&F Club (
15. Campbeltown A&F Club (
16. Campsie A&F Club (Nov 95 – present)
17. Carlisle A&F Club (joined Sept 1993 -
18. Castle Douglas A&F Club (c Sept 1980 – present)
19. Coalburn A&F Club (
20. Crathes (aka Scottish Accordion Music – Crathes) (Nov 1997 -
21. Crieff A&F Club (cSept 1981)
22. Cults A & F Club (
23. Dalriada A&F Club (Feb 1981)
24. Dingwall & District A&F Club (May 1979 – per first report)
25. Dunblane & District A&F Club (1971 – present)
26. Dunfermline & District A&F Club (1974 – per first edition)
27. Dunoon & Cowal A&F Club (
28. East Kilbride A&F Club (Sept 1980)
29. Ellon A&F Club (
30. Fintry A&F Club (Dec 1972 – reformed Jan 1980 – present)
31. Forfar A&F Club (
32. Forres A&F Club (Jan 1978)
33. Galashiels A&F Club (joined Sept 1982 - present)
34. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
35. Glendale Accordion Club (Jan 1973)
36. Glenfarg A&F Club (formed 1988 joined Assoc Mar 95 -
37. Glenrothes A&F Club (Mar 93?
38. Gretna A&F Club (1991) Known as North Cumbria A&F Club previously (originally called Gretna when started in June 1966 but later had to move to venues in the North of England and changed name. No breaks in the continuity of the Club)
39. Highland A&F Club (Inverness) (Nov 1973 – present)
40. Inveraray A&F Club (Feb 1991 - present)
41. Islay A&F Club (23 Apr 93 -
42. Islesteps A&F Club (Jan 1981 – present – n.b. evolved from the original Dumfries Club)
43. Isle of Skye A&F Club (June 1983 – present)
44. Kelso A&F Club (May 1976 – present)
45. Kintore A&F Club (
46. Ladybank A&F Club (joined Apr 98 but formed
47. Lanark A&F Club (joined Sept 96 – present)
48. Langholm A&F Club (Oct 1967 - present)
49. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
50. Lewis & Harris A&F Club (Aug 1994 -
51. Livingston A&F Club (Sept 1973 – present)
52. Lockerbie A&F Club (Nov 1973 - present)
53. Mauchline A&F Club (Sept 1983 - present)
54. Montrose A&F Club (joined Sept 1982 - present)
55. Muirhead A&F Club (Dec 1994 -
56. Newmill-on-Teviot (Hawick) (Formed late 1988 joined Assoc 1999
57. Newtongrange A&F Club (joined Sept 1977 - present)
58. North East A&F Club aka Keith A&FC (Sept 1971 - present)
59. Oban A&F Club (Nov 1975 - present)
60. Orkney A&F Club (Mar 1978 - present)
61. Peebles A&F Club (26 Nov 1981 - present)
62. Perth & District A&F Club (Aug 1970 - present)
63. Premier A&F Club NI (April 1980)
64. Renfrew A&F Club (1984 -
65. Rothbury Accordion Club (7th Feb 1974) orig called Coquetdale
66. Selkirk A&F Club (
67. Shetland A&F Club (Sept 1978 - present)
68. Stirling A&F Club (Oct 1991 - )
69. Sutherland A&F Club (
70. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition – closed April 2014)
71. Thurso A&F Club (Oct 1981 - present)
72. Turriff A&F Club (March 1982 - present)
73. Tynedale A&F Club (Nov 1980 - present)
74. Vancouver
75. Wick A&F Club (Oct 1975 - present)
76. Yarrow (prev known as Etterick & Yarrow) (Jan 1989 -
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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