Norrie Whitelaw
From David Phillips book ‘Jimmy Shand’
Page 69
Johnny Knight had followed Peggy Edwards as pianist with Jimmy Shand, but gave up when they went full time. And part-time had become rather full latterly –
“Many’s a time I’ve played from 7pm to 4am then off to start a day’s work at 7am”
Harry Forbes, a baker, took over for a spell, then Norrie Whitelaw joined the band in 1947.
Norrie Whitelaw hadn’t wanted to ‘go to the piano.’ He felt it was real injustice that his mother had to be offered a piano at a price within the price range of a working class family - £3 – when he was at the right age for learning.
But, there was the piano ; there was the excellent teacher of pianoforte Mrs Frank Young conveniently just around the top of the street ; and somehow they would manage the fees.
“It’s never HER has to learn music or anything!” schoolboy Norrie complained. But little sister Lizzie was not considered old enough.
“An’ how should HE get out playin’ while I have to stay in an’ practice an’ practice!”
But brother Tommy was considered a bit too old.
Poor in-between Norrie it seemed was just right.
Not often did his attempts to evade practice sessions succeed, Mum saw to that…..
“Norrie! NORRIE!” would seek him out in the back greens, in the closes, up the worn garret stairs of Lochee Road, St. Mary’s Street and round about, causing his reluctant withdrawal from boisterous chase or kickabout……And ah, the poignancy of having to leave the gaming for cigarette cards, nip out the illicit Woodbine in some seldom-frequented tenement passage for sissy doh-rae-me-ing!
Yet, as expertise gradually took over despite resistance, interest began to grow, and the practising he still never wanted to come in to became bearable, finally pleasurable.
He started work as a hammer boy in the foundry ; and soon he was hammering out foxtrots and waltzes in various small halls, often enough being with a drummer the entire band at sixpenny – sometimes even fourpenny – hops. There were very many small halls in Dundee in the ‘twenties and ‘thirties ; a few names for nostalgia’s sake ; the Western, the Weavers, the Shinners, Progie (Progressive), St. Salvador’s, St. David’s, St. Patrick’s, the Rechabites……
He graduated as a blacksmith, and to more ambitious musical combos like Dunc Clayton’s Band, and then John Patterson’s resident group at the Forfar Palais.
Actually, apart from the sometimes longish journeys, piano playing later on the teuchter circuit was often enough less than demanding. This was on account of a fair proportion of the instruments being, if not unplayable, at least better not played if the harmonious Shand sound was not to be flawed.
Nor did Norrie double on any other instrument. What did he do then after firmly lowering the piano lid on a tentative chord that had sounded like an armful of iron railings flung into a quarry?
Why, he joined the company on the floor in the dances!
And if it was to be a longish night he would seek out somewhere to have a snooze.
Norrie was to remain with Jimmy until 1960.
Johnny Knight had followed Peggy Edwards as pianist with Jimmy Shand, but gave up when they went full time. And part-time had become rather full latterly –
“Many’s a time I’ve played from 7pm to 4am then off to start a day’s work at 7am”
Harry Forbes, a baker, took over for a spell, then Norrie Whitelaw joined the band in 1947.
Norrie Whitelaw hadn’t wanted to ‘go to the piano.’ He felt it was real injustice that his mother had to be offered a piano at a price within the price range of a working class family - £3 – when he was at the right age for learning.
But, there was the piano ; there was the excellent teacher of pianoforte Mrs Frank Young conveniently just around the top of the street ; and somehow they would manage the fees.
“It’s never HER has to learn music or anything!” schoolboy Norrie complained. But little sister Lizzie was not considered old enough.
“An’ how should HE get out playin’ while I have to stay in an’ practice an’ practice!”
But brother Tommy was considered a bit too old.
Poor in-between Norrie it seemed was just right.
Not often did his attempts to evade practice sessions succeed, Mum saw to that…..
“Norrie! NORRIE!” would seek him out in the back greens, in the closes, up the worn garret stairs of Lochee Road, St. Mary’s Street and round about, causing his reluctant withdrawal from boisterous chase or kickabout……And ah, the poignancy of having to leave the gaming for cigarette cards, nip out the illicit Woodbine in some seldom-frequented tenement passage for sissy doh-rae-me-ing!
Yet, as expertise gradually took over despite resistance, interest began to grow, and the practising he still never wanted to come in to became bearable, finally pleasurable.
He started work as a hammer boy in the foundry ; and soon he was hammering out foxtrots and waltzes in various small halls, often enough being with a drummer the entire band at sixpenny – sometimes even fourpenny – hops. There were very many small halls in Dundee in the ‘twenties and ‘thirties ; a few names for nostalgia’s sake ; the Western, the Weavers, the Shinners, Progie (Progressive), St. Salvador’s, St. David’s, St. Patrick’s, the Rechabites……
He graduated as a blacksmith, and to more ambitious musical combos like Dunc Clayton’s Band, and then John Patterson’s resident group at the Forfar Palais.
Actually, apart from the sometimes longish journeys, piano playing later on the teuchter circuit was often enough less than demanding. This was on account of a fair proportion of the instruments being, if not unplayable, at least better not played if the harmonious Shand sound was not to be flawed.
Nor did Norrie double on any other instrument. What did he do then after firmly lowering the piano lid on a tentative chord that had sounded like an armful of iron railings flung into a quarry?
Why, he joined the company on the floor in the dances!
And if it was to be a longish night he would seek out somewhere to have a snooze.
Norrie was to remain with Jimmy until 1960.