Box and Fiddle
Year 24 No 03
November 2000
Price £1.20
36 Page Magazine
7 month subscription £10.00
Editor – Grant Crawford,
B&F Treasurer –
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
October always seems to be a busy month. We have The Shetland Festival, The National Mod and, of course, Bill Wilkie’s Perth Festival, reports of which will appear in the December issue. Equally November is going to be a busy month with Bill black’s popular Stanley Ceilidh, The Brian Laurie Academy of Music Accordion fun Festival and fiddle 2000. Incidentally there is no truth in the rumour circulating the Clubs that Nicol McLaren watches Box 2000 on TV every night eagerly awaiting someone playing an accordion! He assures me it’s only on Mondays and Thursdays!
I’ve managed to get around several Clubs during the last few weeks, some being my first visit and it is always interesting to note the different formats they take and the amount of work put into making sure the meeting go ahead. It is worth remembering that all the Committee members/ office bearers are volunteers and without their hard work and efforts there would be no Clubs. A big debt of gratitude is due to them all, especially the ladies, and I dare say occasional gent, who prepare the interval catering. It has been brought to my attention that there are one or two Clubs who do not bother with the half-time cuppa, not even for the guests who may have traveled over a hundred miles to perform. They claim not to have facilities to make tea or coffee. It has been suggested that these Clubs might care to invest in a Thermos flask and take the time to make a few sandwiches for the guests. Word get round very quickly and before too long you may find yourself in a position of being unable to attract guest artistes.
Finally, I am sure the whole nation was saddened by the death of the First Minister, Donald Dewar. Mr Dewar had a love of all things Scottish, particularly its musical culture, a fact borne out by the inclusion of the singing of a Burns’ ballad and the playing of Aly Bain and Phil Cunningham at his funeral service.
Personally, I will always remember him enthusiastically trying to teach some foreign politicians and dignitaries Strip the Willow at a civic function a few years ago.
The Scottish Parliament recently debated the current state of Traditional music and I’m sure Mr Dewar would have taken measures he could to secure its future. Let’s hope his successor takes a similar interest and champions our cause.
Grant Crawford
Aly Bain &Phil Cunningham
By Karin Ingram
The Dynamic Duo have been touring around the country over the past few months and Karin caught up with them during their trip to the Borders. Karin quizzed them on various topics and here is the first instalment of their interview.
Dancing Days
by Karin Ingram
One would find it virtually impossible to dance without music. Before the wide-spread acceptance of the accordion as the primary instrument for dance, fiddlers would be found playing in ballrooms and barns, with the dancers keeping time with the lively tunes. Elsewhere in this issue Stuart Anderson reviewed the new CD – Borders Fiddlers – and made mention of the informative notes in the accompanying booklet. The following extract is from the booklet and was written by Dr Fred Feeman. Fred is a Fellow in English at University of Edinburgh ; producer and musical director of the Linn Recordings series The Complete Songs of Robert Burns as well as several folk CDs by Gordeanna McCulloch, Ian Bruce and others.
The Borders Fiddling Tradition by Dr Fred Freeman
History/Lore
It is usually with the North-East or the Shetlands that we associate the fiddle in Scotland. Yet an Earlston poet and prophet, Thomas of Erceldoune, writing in the 13th century, gives us perhaps the earliest Scottish reference to the instrument.
“Harp and fedyl both he fande, the getern and the sawtry Lut and rybid ther gong an, Thair was al maner of mynstralsy.”
Not only the fiddle but the rebec, its near cousin, which shared something of the same traditional repertoire, had appeared even earlier (12th century), if more stoically, in the guise of a female figure on the outside of Melrose Abbey. The tradition, you might say, was quite literally carved in stone. Violers, or folk fiddlers, like ‘Burne the Violer’ (c16th or 17th century), the reputed composer of Leader Haughs and Yarrow, were in integral part of the Borders culture right across the ages. Moreover, the fiddler, like the toun piper, occupies a legendary status, “a high position”, as one of James Hogg’s editors has it, in Borders history ; not always of the most flattering description. No doubt the Earl of Ancrum was not surprised to receive a letter from the Earl of Lothian, in February 1641, complaining that not a ‘sober fiddler’ could be found amongst the Covenanting army though one, nonetheless, played very well despite his inebriated condition. (Years later, Bob Hobkirk would entertain the Earl of Lothian, but there are no accounts, oral or written, of what the venerable Earl had to say).
In borders lore the fiddler is something of a dashing figure ; a bit of a musical Zoro. In Hamilton of Bangour’s ‘The Maid of Gallowshiels’, he challenges a piper, his wonted opposition, to a musical duel, all for the love of the eponymous fair maid. Legend has it that in a contest between two fiddlers, ‘Pate’ Baillie of Liberton, one of the most popular characters on the Borders dancing circuit, smashed his fiddle to bits after losing the bitter challenge. We all know the archetypal brawling Border fiddler who has entered Scottish lore in the character of ‘Rattlin Roarin Willie’ ; a Jedburgh player who slays Robin Rool after a vicious fiddle competition and is himself slain by the Elliots for revenge.
Borders Tradition
Yet, for all the reputed prowess of the legendary fiddlers, the Borders is not the place of the towering giants of the instrument ; like William Marshall, Niel gow or Scott Skinner. Little is known of a distinct tradition. There are noteworthy 18th century collections by Kelso players, Alexander Givan and Thomas Calvert, whose compositions, M. A. Alburger (Scottish Fiddlers and their Music) rightly argues, should be revived; and an interesting early 19th century manuscript collection by William Trotter of Eyemouth. Several 19th century fiddle makers are highly regarded; chiefly, Alexander Beltram (Eddleston, Peeblesshire), Alexander Hardie (Galashiels) and W. L. Beloe (Coldstream).
But much of the substance of Border fiddling – and there has been a good deal of creative activity over the centuries – remains invisible. It is neither a tradition like that of the North-East – one thinks of Scott Skinner – which commands public performance on a larger scale, nor has it had a Tom Anderson figure, a major exponent and recreator, to present it to a wider audience.
The Border fiddle has never taken centre stage; it has rarely occupied any stage at all. One cannot think of a greater contrast than that of Hector McAndrew, for example, who once refused to play a ceilidh at The School of Scottish Studies because it was not his ‘custom to play unaccompanied in public’, and the Borders players performing, for the most part, as a pair of fiddlers at an informal house party, kirn, feeing fair or fireside get-together.
From numerous accounts a picture emerges of the Border fiddle, chiefly as an instrument for dance accompaniment; often where the confined setting – and the obvious preference for the instrument – would dictate one or two fiddlers providing all the music. Back in the 18th century Alison Cockburn (A short Account of a Long Life) describes, in some detail, not only her exceeding love for dancing – the ‘mirth and society’ of the country round Fairnalee – but the transplanting of the typical Borders house party festivities to her Edinburgh home. Despite the light-hearted assertion of ‘room’, there was barely space to swung a cat; let along room for a ‘band’ of more than one.
“On Wednesday I gave a ball. How do ye think I contrived to stretch out this house to hold 22 people, and none couples always dancing? Yet this is true; it is also true that we had a table covered with divers eatable all the time, and that everybody ate when they were hungry and drank when they were dry, but nobody ever sat down. I think my house, like my purse, is just the widow’s curse. Now for our dance. Our fiddler sat where the cupboard is, and they danced in both rooms; the table was stuffed into the window and we had plenty of room.”
Susan Sibbald (The Memoires – a 19th century Account) mentions ‘dancing in the dining room’ to Givan of Kelso, as she says “a pupil of Niel Gow”; and Dr Robert Gibb acknowledges that the house-party scene was still very much in evidence over 100 years after Alison Cockburn’s makeshift ‘ball’.
“Dances in one another’s houses were very common for many years, and a week seldom passed without a private dance somewhere to which my wife and I were invited”. (A Farmer’s Fifty Years in Lauderdale, 1927)
Lady John Scott, composer of Annie Laurie, was wont to run a house dance for the tenants and farm workers after the kirns at Spottiswood each year (an event which died out about 1896). Though the poorer classes did attend the house parties, and certainly made the music for them, it was the seasonal events to which they looked for the great social outings. The main harvest fest was the old kirn which was ushered in each year by fiddling and piping, and was followed by a large feats and wild dancing. James Thomson, the 18th century Roxburghshire poet, depicts it monumentally in The Seasons.
“The harvest treasures all Now gather’d in, beyond the rage of storms, Sure to the swain, the circling fence shut up, And instant Winter’s utmost rage defied. While, loose to festive joy, the country round Laughs with the sound sincerity of mirth, Shook to the wind their cares. The toil-strung youth, By the quick sense of magic taught along, Leaps wildly graceful in the lively dance”.
And Sir Walter Scott’s son-in-law, J. G. Lockhart (Peter’s Letters to his Kinfolk) recounts it in earthier terms, reminiscent of Burns’s orgiastic dancing flings in the Highlands.
“To say the truth, the ladies in Scotland dance in common pretty much like our lasses at the harvest home. They kick and pant as if the devil were in them….”
Borders Fiddlers
by Stuart Anderson
This first volume of ‘Borders Traditions’ concentrates on the life and works of that well-known and respected fiddlers from Hawick, Bob Hobkirk. Everyone who has heard Bob play will agree that he is the greatest exponent of the ‘light borders style’ that he has become known by. The CD also has contributions from other Borders fiddlers including Andrew Harvey, James Wilkie (who plays an impressive arrangement on the variations of the Bluebells of Scotland), Wattie Robson (whose dad was pianist with Sandy Anderson’s Broadcasting Band from Hawick), and Jimmy Nagle, member of the band ‘Fiddler’s Leap’ and composer of some interesting fiddle tunes. Incidentally, Jimmy is the grandson of the late Tommy Hughes, another great Borders fiddler whose CD was recorded some years back.
Impressive backing from players like Ian Anderson from Jedburgh (another member of ‘Fiddlers Leap’) playing banjo and guitar; Gordon Kelly (also with ‘Fiddlers Leap) playing guitar and bodhran and Ian Lowthian, professional accordionist, prolific composer and teacher from Swinton providing accompaniment in his unique style. All of bob’s tracks were recorded in 1973 in his own house and include tunes such as The Lea Rig, P/M George Ross’s Farewell to the Black Watch and Flowers of the Forest. My favourite track has to be Niel Gow’s Lament for his Second Wife which Bob plays beautifully.
Also contained on the CD are interviews recorded with Bob, Will Renwick, Andrew Harvey and James Wilkie which act as a nice break between the tunes. The accompanying booklet contains informative notes on the making of the CD as well as detailed insights into the lives of the musicians. This CD would be a valuable addition to any musician’s or enthusiast’s collection and I am sure anyone who hears it will agree.
Ceoloas 2000
by Mats Melin
Picture this – six sunny, hot days, blue skies, white sands, the sound of piping, fiddling, Gaelic song and the sound of dancing and merriment. This was South Uist in the first week of July 2000………
Bon Accords
by R&DW
The Bon Accords are husband and wife team, Robin and Deryn Waitt from Dumfries and Galloway in the South of Scotland. Robin plays the famous Shand Morino 3 row accordion, which has been fitted with M.I.D.I. to enable the accordion to produce a vast range of sounds to compliment the music. Deryn plays an Elkavox electronic piano accordion and is the main vocalist.
Robin started playing at ten years of age when the great Jimmy Shand, who also gave him tuition and advice, supplied his first accordion. Deryn started later in life, but thanks to her mother, had a thorough training in music and piano. Deryn is not only talented as a player, but is an avid learner of songs, Irish songs in particular are her favourite and she regularly learns new songs, sometimes even en route to a gig, which is a challenge for Robin, as often he hasn’t heard them before. Robin however, always copes brilliantly as he has a natural talent for producing great harmonies off the top of his head.
The Bon Accords started their music career playing in pubs and country dance halls building up a reputation in the Scottish Borders. Winning numerous trophies for accordion playing they soon developed a unique sound together and were soon one of the most sought after groups around, playing for instance on the same stage as the famous Jimmy Shand Band on many occasions. Their popularity is attributed in no small way to their presentation and approach. After meeting the legendary Dermot O’Brien on his first visit to Scotland, the pair were particularly impressed by his sheer professionalism and approach. They emulated his approach giving a smart enthusiastic performance.
The Bon Accords play a wide variety of music, but most important is the Scottish Traditional Ceilidg Music as ceilidh dancing seens to be undergoing a big revival at the moment. There are dancing classes in many areas introducing new dances being devised all the time.
Their diary includes visits to many of the Traditional Music Festivals including the Isle of Mull Festival, and indeed play regularly in the Mishnish Hotel, Tobermory, home of the late, great Bobby MacLeod. They have appeared on Border Television, and for many years have played the Wednesday cabaret show at Gretna Hall Hotel in Gretna Green, would famous as a marriage centre.
The Bon Accords are also popular in the exiled Irish communities, and entertain in Tyneside Irish Centre on St. Patrick’s Day as well as regularly throughout the year. They are also proud to have appeared on shows with many of their favourite Irish artistes, including Philomena Begley, Bridie Gallagher, The Indians, Johnny McEvoy, Paddy Reilly and Brendan Shine.
They are also still much in demand nationwide for dances, concerts, cabarets etc., and have played in venues from Skye and The Highlands and venture regularly over the Border to various counties in England as well as having undertaken tours of Ireland. They are frequently booked as guests at Accordion and Fiddle Clubs in Scotland and are well known for giving an energetic, professional, performance full of enthusiasm arising from their love of entertaining.
They have recently released a CD called ‘Favourites from The Bon Accords’ featuring many of the songs and sets requested at their performances.
Hohner Morino Domino Coupler Day
by Jim Cook
Sunday, 17th September 2000 was the latest in the special events organised by the Button Key Accordion Club at the Windygates Institute. This was a special day with a difference. Always promoting the image of the button-key accordion, we thought that it was time we showed that we were not really prejudiced against other accordions. The Morino Domino Coupler accordion, having been designed by Herr Morino, the man who also designed the 3-row button-box and of course the superb Shand Morino, in conjunction with Sir Jimmy, was thought to be an ideal subject for an alternative day to remember.
These fine instruments were owned by players the length and breadth of the country, and beyond, and it was hoped as many as possible would attend. Unfortunately the fuel crisis intervened and prevented more owners attending but we had six owners/players managed to bring and exhibit their instruments, having found enough fuel to make the journey. So did our special guests for the day, Jack Emblow and Tony Compton, both of broadcasting fame, who were invited to perform for our audience and to demonstrate their skills.
Bruce Lindsay welcomed everyone who had come along then bob McIntosh made a short introduction to John Crawford. Famous for his interpretation of pipe music on the accordion and, of course, his craft of tuning and repairing accordions, John gave an excellent and authoritative talk on the history and workings of the Domino Morino, enlightening the audience on its capabilities and performance with the introduction of these domino-like couplers.
The proud owners who came along were Margaret Gray from Kirkliston with a beautiful red Morino IVM, Association Treasurer, Charlie Todd from Thankerton, who brought a white VM, as well as two examples of the Domino’s predecessor the ‘Two Plus One’, one dark blue and the other a black model in pristine condition. The Club’s own Bruce Lindsay also displayed his accordion, a black VM with a little bit of history. Bruce’s box is the original ‘Series No 1) and was previously ownws by Bobby MacLeod. It is quite unusual in that it has a chin-coupler and the domino couplers also have little marker bars. George Hood from Ormiston brought along his fine black VM while collector extraordinaire Ken Hopkins from Comber, Country Down, brought along one beautiful white model with mother-of-pearl keys. John Crawford informed the audience Ken’s accordion was one of the first domino coupler models as it had a squarer grill as previously used on the ‘2 + 1’.
The afternoon music started with the introduction of Jack and Tony who enthralled the audience with their performance. Throughout the afternoon, their repertoire, much of which was in the jazz idiom, demonstrated their excellent musicianship and knowledge of harmony. Among the favourites played were ‘Matchmaker, Matchmaker’ from Fiddler on the Roof, All the Things You Are, Summertime, Skylark and the enforced first public performance of Antonio Carlos Jobim’s Corcovado, as a result of a request by the B&F Editor, Grant Crawford. Jack, playing his trusty Excelsior ‘Van Damme’, played ‘I’m Old Fashioned’ one of his favourite melodies, and ‘Musette for a Magpie’ specially written for him by Martin Taylor, the celebrated jazz guitarist. Tony demonstrated his Farfisa Synthaccordion to perfection with Henry Mancini’s ‘Baby elephant Walk’ and a medley of gypsy tunes including Czardas. What an outstanding performance from this duo, these two guys really are ‘something else’. Even dyed-in-the-wool traditionalists, who had tuned up only interested in the Domino Morinos, were impressed and converts to their style of playing.
Intermingled with two sessions from Tony and Jack, the individual Domino Coupler players grouped together with various accompanists. John Crawford ably demonstrated Margaret Gray’s IVM as she was unable to play due to an injury. Charlie Todd gave us a few selections on his white VM, as did Grant Crawford. Having made the long journey up from Dumfries, Ian Holmes gave us some marches as well as sharing some memories of his associations with the Morino. During his talk, john Crawford had explained why the DCM had become the chosen instrument of so many 2nd box players and Bruce Lindsay Snr ably demonstrated this while accompanying various players. George Hood also gave some rousing selections. For a little variety Ray Elrick was persuaded to play a few solos on the piano, as only he can in his inimitable style. Ken Hopkins also gave us some fine tunes including some Irish Hornpipes and to add further variety, Ken’s good lady Heather, graced us with a few songs.
To finish off a most enjoyable afternoon Tony and Jack returned for another session. Already having surpassed themselves with their earlier performance, they then showed us all what consummate professionals they are by picking up and playing all but one of the Morinos. They fully demonstrated the accordions with a selection of jazz and French Musette numbers, demonstrating the wonderful array of sounds available from the instrument.
With such appetizing refreshments, before, during and after the performance provided by our ladies in the kitchen, together with our traditional raffle for fabulous prizes, all in addition to the afternoon’s entertainment, this certainly was a day to remember.
CD Reviews
West is Best – Charlie Kirkpatrick SDB – Bryan’s Room Recordings BRCD021
Band Boy’s choice – John Renton SDB – Thane TRCD9903
The Judique Flyer – Buddy MacMaster – Greentrax CDTRAX203
Soldier’s of Peace – Beggers Row
Book Review
The Dumfries Collection Vol 2 – Ian Holmes
The Brampton Collection – Donald Ridley
Letters to the Editor
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 28th Nov 00 – Jennifer Forrest SDB
Alnwick (The Farrier’s Arms, Shilbottle) – members only 8th Nov 00 – Gordon Pattullo
Annan (Newington house Hotel) - 19th Nov 00 – The Big Squeeze (Crawfordjohn)
Arbroath (Viewfield Hotel) - 5th Nov 00 – Fintan Stanley
Armadale (Masonic Hall) – 2nd Nov 00 – Fintan Stanley
Balloch (St. Kessog’s Hall) – 19th Nov 00 – Ian Hutson SDB
Banchory (Burnett Arms Hotel) – 27th Nov 00 – Alan Roy
Banff & District (Banff Springs Hotel) – 22nd Nov 00 – Bruce Lindsay SDB
Beith & District (Anderson Hotel) – 20th Nov 00 – Jim Johnstone SDB
Belford (Community Centre) – 23rd Nov 00 – Walter Perrie
Biggar (Municipal Hall) – 12th Nov 00 – Walter Perrie
Blairgowrie (Moorfield Hotel) - 14th Nov 00 – Jennifer Forrest SDB
Bromley (Trinity United Reform Church) - 5th Nov 00 – Luncheon 14th Nov 00 – Green Ginger
Button Key (Windygates Institute) – 9th Nov 00 – Bruce Lindsay SDB
Campsie (Glazert House Hotel) - 7th Nov 00 – Fintan Stanley
Carlisle (Pine Grove Hotel) - 9th Nov 00 – Walter Perrie
Castle Douglas (Urr Valley Hotel) – 21st Nov 00 – McRobert Brothers
Coalburn (Miners’ Welfare) - 16th Nov 00 – Angie McEachern SDB
Crathes (Crathes Hall, Banchory) - 12th Nov 00 – All Players Welcome
Crieff & District (Arduthie Hotel) 2nd Nov 00 – Jim MacLeod SDB
Cults (Cults Sports & Social Club) 8th Nov 00 – Bobby Abbot Duo
Dalriada (Argyll Hotel, Lochgilphead) 21st Nov 00 – Deirdre Adamson
Dingwall (National Hotel) – 1st Nov 00 – David Cunningham Jnr SDB
Dunblane (Victoria Hall) – 15th Nov 00 – Gordon Pattullo
Dunfermline (Headwell Bowling Club) – 14th Nov 00 – Walter Perrie
Dunoon & Cowal (McColl’s Hotel) 10th Nov 00 – Jimmy Cassidy
East Kilbride (Torrance Hotel) – 30th Nov 00 – Lindsay Weir Trio
Ellon (Station Hotel) – 21st Nov 00 – Jock Fraser SDB
Fintry (Fintry Sports Centre) – 27th Nov 00 – The Lothian SDB
Forfar (Plough Inn) - 26th Nov 00 – West Telferton Cale SDB
Forres (Victoria Hotel) – 8th Nov 00 – Marian Anderson SDB
Galashiels (Abbotsford Arms Hotel) – 2nd Nov 00 – Ian Thomson SDB
Galston (Barr Castle Social Club) – 13th Nov 00 – Walter Perrie SDB
Glendale (Black Bull Hotel – Wooler) – 16th Nov 00 – Walter Perrie SDB
Glenfarg (Lomond Hotel) - 1st Nov 00 – Gary Donaldson Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) - TBC
Gretna (Halcrow Stadium) - 5th Nov 00 – Deirdre Adamson
Highland (Drumossie Hotel) – 20th Nov 00 – Ross MacPherson SDB
Inveraray (Argyll Hotel) - 8th Nov 00 – Archie McAllister Trio
Isle of Skye – (The Royal Hotel, Portree) - 2nd Nov 00 – Sandy Legget SDB
Islesteps (The Embassy Hotel) – 7th Nov 00 – Ian Holmes Trio
Kelso (Ednam House Hotel) – 29th Ian Thomson SDB
Kintore (Torryburn Hotel) – 1st Nov 00 – Tommy Newcomen Duo
Lanark (Ravenstruther Hall) - 27th Nov 00 – Seamus O’Sullivan
Langholm (Crown Hotel) – 8th Nov 00 – Lindsay Weir
Lesmahagow (Masonic Hall) – 9th Nov 00 – Johnny Duncan Duo
Lewis & Harris (Sea Angling Club) - 2nd Nov 00 – Ian Crichton Tribute Evening with John Renton SDB
Livingston (Hillcroft Hotel) - 21st Nov 00 – Richard Smith
Lockerbie (Queen’s Hotel) - 28th Nov 00 – Ray Carse
Mauchline (Harry Lyle Suite) 21st Nov 00 – Lindsay Weir Trio
Montrose (Park Hotel) – 1st Nov 00 – James Coutts SDB
Muirhead (Belmont Arms, Meigle) -
Newmill-on-Teviot (Newmill Country Inn) - 1st Nov 00 – Robert Whitehead
Newtongrange (Dean Tavern) – 27th Nov 00 – George Hood SDB
North East (Royal British Legion, Keith) – 7th Nov 00 – Walter Perrie Duo
Oban (McTavish’s Kitchen) – 2nd Nov 00 – Alasdair MacCuish SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Peebles Rugby Club) – 30th Nov 00 – Calum Wilson SDB
Perth (Salutation Hotel) – 21st Nov 00 – Keith Dickson Accordion Orchestra
Premier NI (Crewe United FC, Glenavy) - 7th Nov 00 – Tom Alexander
Renfrew (Masonic Hall, Broadloan) – 14th Nov 00 – Gordon Pattullo
Rothbury (Queen’s Head) - 2nd Nov 00 – Deirdre Adamson
Selkirk (Cricket Club) - 9th Nov 00 – Nicol McLaren SDB
Shetland (Shetland Hotel, Lerwick) - 30th Nov 00 – Burns Brothers
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) - 8th Nov 00 – Walter Perrie Duo
Thurso (Pentland Hotel) – Walter Perrie
Turriff (Royal British Legion) – 2nd Nov 00 – James Coutts SDB
Tynedale (Hexham Ex Service Club) – David Sturgeon SDB
Wick (McKay’s Hotel) – 21st Nov 00 – Scott Gordon Duo
Yarrow (Gordon Arms) -
THERE WERE CLUB REPORTS FROM :-
1. Alnwick & District
2. Annan
3. Arbroath
4. Banff
5. Beith
6. Biggar
7. Blairgowrie
8. Buttonkey
9. Castle Douglas
10. Crathes
11. Crieff
12. Cults
13. Dingwall & District
14. Dunblane
15. Dunfermline & District
16. Dunoon & Cowal
17. Ellon
18. Fintry
19. Forfar
20. Forres
21. Galston
22. Glendale
23. Glenrothes
24. Gretna
25. Inveraray
26. Isle of Skye
27. Islesteps
28. Kelso
29. Kintore
30. Lanark
31. Langholm
32. Lesmahagow
33. Lewis & Harris
34. Livingston
35. Lockerbie
36. Montrose
37. Newtongrange
38. North East
39. Premier
40. Rothbury
41. Thornhill
42. Thurso
43. Turriff
44. Tynedale
45. Wick
46. 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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B&F Treasurer –
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
October always seems to be a busy month. We have The Shetland Festival, The National Mod and, of course, Bill Wilkie’s Perth Festival, reports of which will appear in the December issue. Equally November is going to be a busy month with Bill black’s popular Stanley Ceilidh, The Brian Laurie Academy of Music Accordion fun Festival and fiddle 2000. Incidentally there is no truth in the rumour circulating the Clubs that Nicol McLaren watches Box 2000 on TV every night eagerly awaiting someone playing an accordion! He assures me it’s only on Mondays and Thursdays!
I’ve managed to get around several Clubs during the last few weeks, some being my first visit and it is always interesting to note the different formats they take and the amount of work put into making sure the meeting go ahead. It is worth remembering that all the Committee members/ office bearers are volunteers and without their hard work and efforts there would be no Clubs. A big debt of gratitude is due to them all, especially the ladies, and I dare say occasional gent, who prepare the interval catering. It has been brought to my attention that there are one or two Clubs who do not bother with the half-time cuppa, not even for the guests who may have traveled over a hundred miles to perform. They claim not to have facilities to make tea or coffee. It has been suggested that these Clubs might care to invest in a Thermos flask and take the time to make a few sandwiches for the guests. Word get round very quickly and before too long you may find yourself in a position of being unable to attract guest artistes.
Finally, I am sure the whole nation was saddened by the death of the First Minister, Donald Dewar. Mr Dewar had a love of all things Scottish, particularly its musical culture, a fact borne out by the inclusion of the singing of a Burns’ ballad and the playing of Aly Bain and Phil Cunningham at his funeral service.
Personally, I will always remember him enthusiastically trying to teach some foreign politicians and dignitaries Strip the Willow at a civic function a few years ago.
The Scottish Parliament recently debated the current state of Traditional music and I’m sure Mr Dewar would have taken measures he could to secure its future. Let’s hope his successor takes a similar interest and champions our cause.
Grant Crawford
Aly Bain &Phil Cunningham
By Karin Ingram
The Dynamic Duo have been touring around the country over the past few months and Karin caught up with them during their trip to the Borders. Karin quizzed them on various topics and here is the first instalment of their interview.
Dancing Days
by Karin Ingram
One would find it virtually impossible to dance without music. Before the wide-spread acceptance of the accordion as the primary instrument for dance, fiddlers would be found playing in ballrooms and barns, with the dancers keeping time with the lively tunes. Elsewhere in this issue Stuart Anderson reviewed the new CD – Borders Fiddlers – and made mention of the informative notes in the accompanying booklet. The following extract is from the booklet and was written by Dr Fred Feeman. Fred is a Fellow in English at University of Edinburgh ; producer and musical director of the Linn Recordings series The Complete Songs of Robert Burns as well as several folk CDs by Gordeanna McCulloch, Ian Bruce and others.
The Borders Fiddling Tradition by Dr Fred Freeman
History/Lore
It is usually with the North-East or the Shetlands that we associate the fiddle in Scotland. Yet an Earlston poet and prophet, Thomas of Erceldoune, writing in the 13th century, gives us perhaps the earliest Scottish reference to the instrument.
“Harp and fedyl both he fande, the getern and the sawtry Lut and rybid ther gong an, Thair was al maner of mynstralsy.”
Not only the fiddle but the rebec, its near cousin, which shared something of the same traditional repertoire, had appeared even earlier (12th century), if more stoically, in the guise of a female figure on the outside of Melrose Abbey. The tradition, you might say, was quite literally carved in stone. Violers, or folk fiddlers, like ‘Burne the Violer’ (c16th or 17th century), the reputed composer of Leader Haughs and Yarrow, were in integral part of the Borders culture right across the ages. Moreover, the fiddler, like the toun piper, occupies a legendary status, “a high position”, as one of James Hogg’s editors has it, in Borders history ; not always of the most flattering description. No doubt the Earl of Ancrum was not surprised to receive a letter from the Earl of Lothian, in February 1641, complaining that not a ‘sober fiddler’ could be found amongst the Covenanting army though one, nonetheless, played very well despite his inebriated condition. (Years later, Bob Hobkirk would entertain the Earl of Lothian, but there are no accounts, oral or written, of what the venerable Earl had to say).
In borders lore the fiddler is something of a dashing figure ; a bit of a musical Zoro. In Hamilton of Bangour’s ‘The Maid of Gallowshiels’, he challenges a piper, his wonted opposition, to a musical duel, all for the love of the eponymous fair maid. Legend has it that in a contest between two fiddlers, ‘Pate’ Baillie of Liberton, one of the most popular characters on the Borders dancing circuit, smashed his fiddle to bits after losing the bitter challenge. We all know the archetypal brawling Border fiddler who has entered Scottish lore in the character of ‘Rattlin Roarin Willie’ ; a Jedburgh player who slays Robin Rool after a vicious fiddle competition and is himself slain by the Elliots for revenge.
Borders Tradition
Yet, for all the reputed prowess of the legendary fiddlers, the Borders is not the place of the towering giants of the instrument ; like William Marshall, Niel gow or Scott Skinner. Little is known of a distinct tradition. There are noteworthy 18th century collections by Kelso players, Alexander Givan and Thomas Calvert, whose compositions, M. A. Alburger (Scottish Fiddlers and their Music) rightly argues, should be revived; and an interesting early 19th century manuscript collection by William Trotter of Eyemouth. Several 19th century fiddle makers are highly regarded; chiefly, Alexander Beltram (Eddleston, Peeblesshire), Alexander Hardie (Galashiels) and W. L. Beloe (Coldstream).
But much of the substance of Border fiddling – and there has been a good deal of creative activity over the centuries – remains invisible. It is neither a tradition like that of the North-East – one thinks of Scott Skinner – which commands public performance on a larger scale, nor has it had a Tom Anderson figure, a major exponent and recreator, to present it to a wider audience.
The Border fiddle has never taken centre stage; it has rarely occupied any stage at all. One cannot think of a greater contrast than that of Hector McAndrew, for example, who once refused to play a ceilidh at The School of Scottish Studies because it was not his ‘custom to play unaccompanied in public’, and the Borders players performing, for the most part, as a pair of fiddlers at an informal house party, kirn, feeing fair or fireside get-together.
From numerous accounts a picture emerges of the Border fiddle, chiefly as an instrument for dance accompaniment; often where the confined setting – and the obvious preference for the instrument – would dictate one or two fiddlers providing all the music. Back in the 18th century Alison Cockburn (A short Account of a Long Life) describes, in some detail, not only her exceeding love for dancing – the ‘mirth and society’ of the country round Fairnalee – but the transplanting of the typical Borders house party festivities to her Edinburgh home. Despite the light-hearted assertion of ‘room’, there was barely space to swung a cat; let along room for a ‘band’ of more than one.
“On Wednesday I gave a ball. How do ye think I contrived to stretch out this house to hold 22 people, and none couples always dancing? Yet this is true; it is also true that we had a table covered with divers eatable all the time, and that everybody ate when they were hungry and drank when they were dry, but nobody ever sat down. I think my house, like my purse, is just the widow’s curse. Now for our dance. Our fiddler sat where the cupboard is, and they danced in both rooms; the table was stuffed into the window and we had plenty of room.”
Susan Sibbald (The Memoires – a 19th century Account) mentions ‘dancing in the dining room’ to Givan of Kelso, as she says “a pupil of Niel Gow”; and Dr Robert Gibb acknowledges that the house-party scene was still very much in evidence over 100 years after Alison Cockburn’s makeshift ‘ball’.
“Dances in one another’s houses were very common for many years, and a week seldom passed without a private dance somewhere to which my wife and I were invited”. (A Farmer’s Fifty Years in Lauderdale, 1927)
Lady John Scott, composer of Annie Laurie, was wont to run a house dance for the tenants and farm workers after the kirns at Spottiswood each year (an event which died out about 1896). Though the poorer classes did attend the house parties, and certainly made the music for them, it was the seasonal events to which they looked for the great social outings. The main harvest fest was the old kirn which was ushered in each year by fiddling and piping, and was followed by a large feats and wild dancing. James Thomson, the 18th century Roxburghshire poet, depicts it monumentally in The Seasons.
“The harvest treasures all Now gather’d in, beyond the rage of storms, Sure to the swain, the circling fence shut up, And instant Winter’s utmost rage defied. While, loose to festive joy, the country round Laughs with the sound sincerity of mirth, Shook to the wind their cares. The toil-strung youth, By the quick sense of magic taught along, Leaps wildly graceful in the lively dance”.
And Sir Walter Scott’s son-in-law, J. G. Lockhart (Peter’s Letters to his Kinfolk) recounts it in earthier terms, reminiscent of Burns’s orgiastic dancing flings in the Highlands.
“To say the truth, the ladies in Scotland dance in common pretty much like our lasses at the harvest home. They kick and pant as if the devil were in them….”
Borders Fiddlers
by Stuart Anderson
This first volume of ‘Borders Traditions’ concentrates on the life and works of that well-known and respected fiddlers from Hawick, Bob Hobkirk. Everyone who has heard Bob play will agree that he is the greatest exponent of the ‘light borders style’ that he has become known by. The CD also has contributions from other Borders fiddlers including Andrew Harvey, James Wilkie (who plays an impressive arrangement on the variations of the Bluebells of Scotland), Wattie Robson (whose dad was pianist with Sandy Anderson’s Broadcasting Band from Hawick), and Jimmy Nagle, member of the band ‘Fiddler’s Leap’ and composer of some interesting fiddle tunes. Incidentally, Jimmy is the grandson of the late Tommy Hughes, another great Borders fiddler whose CD was recorded some years back.
Impressive backing from players like Ian Anderson from Jedburgh (another member of ‘Fiddlers Leap’) playing banjo and guitar; Gordon Kelly (also with ‘Fiddlers Leap) playing guitar and bodhran and Ian Lowthian, professional accordionist, prolific composer and teacher from Swinton providing accompaniment in his unique style. All of bob’s tracks were recorded in 1973 in his own house and include tunes such as The Lea Rig, P/M George Ross’s Farewell to the Black Watch and Flowers of the Forest. My favourite track has to be Niel Gow’s Lament for his Second Wife which Bob plays beautifully.
Also contained on the CD are interviews recorded with Bob, Will Renwick, Andrew Harvey and James Wilkie which act as a nice break between the tunes. The accompanying booklet contains informative notes on the making of the CD as well as detailed insights into the lives of the musicians. This CD would be a valuable addition to any musician’s or enthusiast’s collection and I am sure anyone who hears it will agree.
Ceoloas 2000
by Mats Melin
Picture this – six sunny, hot days, blue skies, white sands, the sound of piping, fiddling, Gaelic song and the sound of dancing and merriment. This was South Uist in the first week of July 2000………
Bon Accords
by R&DW
The Bon Accords are husband and wife team, Robin and Deryn Waitt from Dumfries and Galloway in the South of Scotland. Robin plays the famous Shand Morino 3 row accordion, which has been fitted with M.I.D.I. to enable the accordion to produce a vast range of sounds to compliment the music. Deryn plays an Elkavox electronic piano accordion and is the main vocalist.
Robin started playing at ten years of age when the great Jimmy Shand, who also gave him tuition and advice, supplied his first accordion. Deryn started later in life, but thanks to her mother, had a thorough training in music and piano. Deryn is not only talented as a player, but is an avid learner of songs, Irish songs in particular are her favourite and she regularly learns new songs, sometimes even en route to a gig, which is a challenge for Robin, as often he hasn’t heard them before. Robin however, always copes brilliantly as he has a natural talent for producing great harmonies off the top of his head.
The Bon Accords started their music career playing in pubs and country dance halls building up a reputation in the Scottish Borders. Winning numerous trophies for accordion playing they soon developed a unique sound together and were soon one of the most sought after groups around, playing for instance on the same stage as the famous Jimmy Shand Band on many occasions. Their popularity is attributed in no small way to their presentation and approach. After meeting the legendary Dermot O’Brien on his first visit to Scotland, the pair were particularly impressed by his sheer professionalism and approach. They emulated his approach giving a smart enthusiastic performance.
The Bon Accords play a wide variety of music, but most important is the Scottish Traditional Ceilidg Music as ceilidh dancing seens to be undergoing a big revival at the moment. There are dancing classes in many areas introducing new dances being devised all the time.
Their diary includes visits to many of the Traditional Music Festivals including the Isle of Mull Festival, and indeed play regularly in the Mishnish Hotel, Tobermory, home of the late, great Bobby MacLeod. They have appeared on Border Television, and for many years have played the Wednesday cabaret show at Gretna Hall Hotel in Gretna Green, would famous as a marriage centre.
The Bon Accords are also popular in the exiled Irish communities, and entertain in Tyneside Irish Centre on St. Patrick’s Day as well as regularly throughout the year. They are also proud to have appeared on shows with many of their favourite Irish artistes, including Philomena Begley, Bridie Gallagher, The Indians, Johnny McEvoy, Paddy Reilly and Brendan Shine.
They are also still much in demand nationwide for dances, concerts, cabarets etc., and have played in venues from Skye and The Highlands and venture regularly over the Border to various counties in England as well as having undertaken tours of Ireland. They are frequently booked as guests at Accordion and Fiddle Clubs in Scotland and are well known for giving an energetic, professional, performance full of enthusiasm arising from their love of entertaining.
They have recently released a CD called ‘Favourites from The Bon Accords’ featuring many of the songs and sets requested at their performances.
Hohner Morino Domino Coupler Day
by Jim Cook
Sunday, 17th September 2000 was the latest in the special events organised by the Button Key Accordion Club at the Windygates Institute. This was a special day with a difference. Always promoting the image of the button-key accordion, we thought that it was time we showed that we were not really prejudiced against other accordions. The Morino Domino Coupler accordion, having been designed by Herr Morino, the man who also designed the 3-row button-box and of course the superb Shand Morino, in conjunction with Sir Jimmy, was thought to be an ideal subject for an alternative day to remember.
These fine instruments were owned by players the length and breadth of the country, and beyond, and it was hoped as many as possible would attend. Unfortunately the fuel crisis intervened and prevented more owners attending but we had six owners/players managed to bring and exhibit their instruments, having found enough fuel to make the journey. So did our special guests for the day, Jack Emblow and Tony Compton, both of broadcasting fame, who were invited to perform for our audience and to demonstrate their skills.
Bruce Lindsay welcomed everyone who had come along then bob McIntosh made a short introduction to John Crawford. Famous for his interpretation of pipe music on the accordion and, of course, his craft of tuning and repairing accordions, John gave an excellent and authoritative talk on the history and workings of the Domino Morino, enlightening the audience on its capabilities and performance with the introduction of these domino-like couplers.
The proud owners who came along were Margaret Gray from Kirkliston with a beautiful red Morino IVM, Association Treasurer, Charlie Todd from Thankerton, who brought a white VM, as well as two examples of the Domino’s predecessor the ‘Two Plus One’, one dark blue and the other a black model in pristine condition. The Club’s own Bruce Lindsay also displayed his accordion, a black VM with a little bit of history. Bruce’s box is the original ‘Series No 1) and was previously ownws by Bobby MacLeod. It is quite unusual in that it has a chin-coupler and the domino couplers also have little marker bars. George Hood from Ormiston brought along his fine black VM while collector extraordinaire Ken Hopkins from Comber, Country Down, brought along one beautiful white model with mother-of-pearl keys. John Crawford informed the audience Ken’s accordion was one of the first domino coupler models as it had a squarer grill as previously used on the ‘2 + 1’.
The afternoon music started with the introduction of Jack and Tony who enthralled the audience with their performance. Throughout the afternoon, their repertoire, much of which was in the jazz idiom, demonstrated their excellent musicianship and knowledge of harmony. Among the favourites played were ‘Matchmaker, Matchmaker’ from Fiddler on the Roof, All the Things You Are, Summertime, Skylark and the enforced first public performance of Antonio Carlos Jobim’s Corcovado, as a result of a request by the B&F Editor, Grant Crawford. Jack, playing his trusty Excelsior ‘Van Damme’, played ‘I’m Old Fashioned’ one of his favourite melodies, and ‘Musette for a Magpie’ specially written for him by Martin Taylor, the celebrated jazz guitarist. Tony demonstrated his Farfisa Synthaccordion to perfection with Henry Mancini’s ‘Baby elephant Walk’ and a medley of gypsy tunes including Czardas. What an outstanding performance from this duo, these two guys really are ‘something else’. Even dyed-in-the-wool traditionalists, who had tuned up only interested in the Domino Morinos, were impressed and converts to their style of playing.
Intermingled with two sessions from Tony and Jack, the individual Domino Coupler players grouped together with various accompanists. John Crawford ably demonstrated Margaret Gray’s IVM as she was unable to play due to an injury. Charlie Todd gave us a few selections on his white VM, as did Grant Crawford. Having made the long journey up from Dumfries, Ian Holmes gave us some marches as well as sharing some memories of his associations with the Morino. During his talk, john Crawford had explained why the DCM had become the chosen instrument of so many 2nd box players and Bruce Lindsay Snr ably demonstrated this while accompanying various players. George Hood also gave some rousing selections. For a little variety Ray Elrick was persuaded to play a few solos on the piano, as only he can in his inimitable style. Ken Hopkins also gave us some fine tunes including some Irish Hornpipes and to add further variety, Ken’s good lady Heather, graced us with a few songs.
To finish off a most enjoyable afternoon Tony and Jack returned for another session. Already having surpassed themselves with their earlier performance, they then showed us all what consummate professionals they are by picking up and playing all but one of the Morinos. They fully demonstrated the accordions with a selection of jazz and French Musette numbers, demonstrating the wonderful array of sounds available from the instrument.
With such appetizing refreshments, before, during and after the performance provided by our ladies in the kitchen, together with our traditional raffle for fabulous prizes, all in addition to the afternoon’s entertainment, this certainly was a day to remember.
CD Reviews
West is Best – Charlie Kirkpatrick SDB – Bryan’s Room Recordings BRCD021
Band Boy’s choice – John Renton SDB – Thane TRCD9903
The Judique Flyer – Buddy MacMaster – Greentrax CDTRAX203
Soldier’s of Peace – Beggers Row
Book Review
The Dumfries Collection Vol 2 – Ian Holmes
The Brampton Collection – Donald Ridley
Letters to the Editor
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
CLUB DIARY
Aberdeen (Westburn Park Lounge) – 28th Nov 00 – Jennifer Forrest SDB
Alnwick (The Farrier’s Arms, Shilbottle) – members only 8th Nov 00 – Gordon Pattullo
Annan (Newington house Hotel) - 19th Nov 00 – The Big Squeeze (Crawfordjohn)
Arbroath (Viewfield Hotel) - 5th Nov 00 – Fintan Stanley
Armadale (Masonic Hall) – 2nd Nov 00 – Fintan Stanley
Balloch (St. Kessog’s Hall) – 19th Nov 00 – Ian Hutson SDB
Banchory (Burnett Arms Hotel) – 27th Nov 00 – Alan Roy
Banff & District (Banff Springs Hotel) – 22nd Nov 00 – Bruce Lindsay SDB
Beith & District (Anderson Hotel) – 20th Nov 00 – Jim Johnstone SDB
Belford (Community Centre) – 23rd Nov 00 – Walter Perrie
Biggar (Municipal Hall) – 12th Nov 00 – Walter Perrie
Blairgowrie (Moorfield Hotel) - 14th Nov 00 – Jennifer Forrest SDB
Bromley (Trinity United Reform Church) - 5th Nov 00 – Luncheon 14th Nov 00 – Green Ginger
Button Key (Windygates Institute) – 9th Nov 00 – Bruce Lindsay SDB
Campsie (Glazert House Hotel) - 7th Nov 00 – Fintan Stanley
Carlisle (Pine Grove Hotel) - 9th Nov 00 – Walter Perrie
Castle Douglas (Urr Valley Hotel) – 21st Nov 00 – McRobert Brothers
Coalburn (Miners’ Welfare) - 16th Nov 00 – Angie McEachern SDB
Crathes (Crathes Hall, Banchory) - 12th Nov 00 – All Players Welcome
Crieff & District (Arduthie Hotel) 2nd Nov 00 – Jim MacLeod SDB
Cults (Cults Sports & Social Club) 8th Nov 00 – Bobby Abbot Duo
Dalriada (Argyll Hotel, Lochgilphead) 21st Nov 00 – Deirdre Adamson
Dingwall (National Hotel) – 1st Nov 00 – David Cunningham Jnr SDB
Dunblane (Victoria Hall) – 15th Nov 00 – Gordon Pattullo
Dunfermline (Headwell Bowling Club) – 14th Nov 00 – Walter Perrie
Dunoon & Cowal (McColl’s Hotel) 10th Nov 00 – Jimmy Cassidy
East Kilbride (Torrance Hotel) – 30th Nov 00 – Lindsay Weir Trio
Ellon (Station Hotel) – 21st Nov 00 – Jock Fraser SDB
Fintry (Fintry Sports Centre) – 27th Nov 00 – The Lothian SDB
Forfar (Plough Inn) - 26th Nov 00 – West Telferton Cale SDB
Forres (Victoria Hotel) – 8th Nov 00 – Marian Anderson SDB
Galashiels (Abbotsford Arms Hotel) – 2nd Nov 00 – Ian Thomson SDB
Galston (Barr Castle Social Club) – 13th Nov 00 – Walter Perrie SDB
Glendale (Black Bull Hotel – Wooler) – 16th Nov 00 – Walter Perrie SDB
Glenfarg (Lomond Hotel) - 1st Nov 00 – Gary Donaldson Trio
Glenrothes (Victoria Hall, Coaltown of Balgownie) - TBC
Gretna (Halcrow Stadium) - 5th Nov 00 – Deirdre Adamson
Highland (Drumossie Hotel) – 20th Nov 00 – Ross MacPherson SDB
Inveraray (Argyll Hotel) - 8th Nov 00 – Archie McAllister Trio
Isle of Skye – (The Royal Hotel, Portree) - 2nd Nov 00 – Sandy Legget SDB
Islesteps (The Embassy Hotel) – 7th Nov 00 – Ian Holmes Trio
Kelso (Ednam House Hotel) – 29th Ian Thomson SDB
Kintore (Torryburn Hotel) – 1st Nov 00 – Tommy Newcomen Duo
Lanark (Ravenstruther Hall) - 27th Nov 00 – Seamus O’Sullivan
Langholm (Crown Hotel) – 8th Nov 00 – Lindsay Weir
Lesmahagow (Masonic Hall) – 9th Nov 00 – Johnny Duncan Duo
Lewis & Harris (Sea Angling Club) - 2nd Nov 00 – Ian Crichton Tribute Evening with John Renton SDB
Livingston (Hillcroft Hotel) - 21st Nov 00 – Richard Smith
Lockerbie (Queen’s Hotel) - 28th Nov 00 – Ray Carse
Mauchline (Harry Lyle Suite) 21st Nov 00 – Lindsay Weir Trio
Montrose (Park Hotel) – 1st Nov 00 – James Coutts SDB
Muirhead (Belmont Arms, Meigle) -
Newmill-on-Teviot (Newmill Country Inn) - 1st Nov 00 – Robert Whitehead
Newtongrange (Dean Tavern) – 27th Nov 00 – George Hood SDB
North East (Royal British Legion, Keith) – 7th Nov 00 – Walter Perrie Duo
Oban (McTavish’s Kitchen) – 2nd Nov 00 – Alasdair MacCuish SDB
Orkney (Ayre Hotel, Kirkwall) –
Peebles (Peebles Rugby Club) – 30th Nov 00 – Calum Wilson SDB
Perth (Salutation Hotel) – 21st Nov 00 – Keith Dickson Accordion Orchestra
Premier NI (Crewe United FC, Glenavy) - 7th Nov 00 – Tom Alexander
Renfrew (Masonic Hall, Broadloan) – 14th Nov 00 – Gordon Pattullo
Rothbury (Queen’s Head) - 2nd Nov 00 – Deirdre Adamson
Selkirk (Cricket Club) - 9th Nov 00 – Nicol McLaren SDB
Shetland (Shetland Hotel, Lerwick) - 30th Nov 00 – Burns Brothers
Stirling (Terraces Hotel) -
Sutherland (Rogart Hall) -
Thornhill (Masonic Hall) - 8th Nov 00 – Walter Perrie Duo
Thurso (Pentland Hotel) – Walter Perrie
Turriff (Royal British Legion) – 2nd Nov 00 – James Coutts SDB
Tynedale (Hexham Ex Service Club) – David Sturgeon SDB
Wick (McKay’s Hotel) – 21st Nov 00 – Scott Gordon Duo
Yarrow (Gordon Arms) -
THERE WERE CLUB REPORTS FROM :-
1. Alnwick & District
2. Annan
3. Arbroath
4. Banff
5. Beith
6. Biggar
7. Blairgowrie
8. Buttonkey
9. Castle Douglas
10. Crathes
11. Crieff
12. Cults
13. Dingwall & District
14. Dunblane
15. Dunfermline & District
16. Dunoon & Cowal
17. Ellon
18. Fintry
19. Forfar
20. Forres
21. Galston
22. Glendale
23. Glenrothes
24. Gretna
25. Inveraray
26. Isle of Skye
27. Islesteps
28. Kelso
29. Kintore
30. Lanark
31. Langholm
32. Lesmahagow
33. Lewis & Harris
34. Livingston
35. Lockerbie
36. Montrose
37. Newtongrange
38. North East
39. Premier
40. Rothbury
41. Thornhill
42. Thurso
43. Turriff
44. Tynedale
45. Wick
46. 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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