Box and Fiddle
Year 13 No 01
September 1989
Price 40p
12 pages
8 month subscription £4.60
Joint Editors – Tom Clark, 55 Sutherland Crescent, Dundee, DD2 2HP or Douglas Adamson, 22 Westfield Drive, Forfar, DD8 1EQ
&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Time once again to start another Club season with the summer almost behind us. We have all enjoyed the break and sometimes it takes a fair effort to get back into harness, However, the B&F can be rewarding work when everything goes well – but then I suppose that’s to be expected. Our best wishes go to members for another for another enjoyable season.
New Box and FiddleTreasurer
I am please to welcome our new Treasurer into the team. Margaret Smith, of the Newtongrange Club, seems just the right person for the job and it is great to see the Newtongrange Club represented on the Executive Committee. Whilst welcoming Margaret, we all need to express our thanks to Cathy Andrew for her great work over the past few years.
Subscription List
In this issue, on Page 6, you will find a coupon which is returnable to the B&F Treasurer along with your subscription of £4.60.
Tom Clark
Perth A.G.M. Weekend
“The Band was that good, you could’nae hear it for Hoochin!”
by Norrie Williams
“Ach they all sound the same!” How often have we heard that said when the subject of Scottish broadcasting bands crops up. Mind you, there is a fair element of truth in the statement, more so now than in the late ‘40’s and the ‘50’s. The clone syndrome tends to be rife nowadays with Morinos and Golas dominating the front line. There are of course notable exceptions who have their unmistakable stamp, among them, Ian Holmes, Iain MacPhail, John Ellis, Fraser McGlynn and it goes without say, Jim Johnstone.
However, by and large one has to hear more than just ‘Kate Dalrymple’ to identify a band with any certainty. It is more often a case of ‘Well that could be so and so, or so and so…”.
But having said all that, the other side of the coin was demonstrated during the afternoon of Saturday, July 1st, during the Nationals Association’s A.G.M. Weekend.
In a committee room in Perth Station Hotel, a capacity audience including such personalities as Bobby Crowe, Angus Fitchet and Dr Sandy Tulloch, were treated to a most intriguing tape presentation of the Scottish dance music of the sixties which highlighted the variation in band sound produced by different types and make of lead accordion. It also illustrated how, given the same lead instrument with identical tuning, style of playing can produce a unique band ‘signature’. This is a somewhat obvious statement, but harping back to the aforementioned clone effect, it suggests that many of today’s players tend to have like styles. I suppose there is a limit to what one can do to achieve individuality.
It should come as no surprise to learn that the presenter of this fascinating 2½ house session – seemed more like ½ and hour – was the one and only, Farquhar Mathieson.
Farquhar, who was rebooked as a ‘must’ after his very successful performance last year has one of the most, if not the most comprehensive library of Scottish dance recordings in the country. He is an out and out enthusiast who really has done his homework to become one of the leading authorities on S.D.B. sounds, styles and line-ups, with particular reference to the broadcasting scene.
He had given this second presentation considerable thought and rather than just stringing a number of nostalgic band tracks together – had hit on the idea of spotlighting the difference in band sound produced by different makes and models of lead accordion, viz. Morino IV, Morino V, Shand Morino, Ranco, and 5-row Continental Chromatic.
Incidentally, ‘dimbo’ here hadn’t realised one could readily distinguish a Morino IV from a V by ear. I had always thought the V was just a wee bit more expensive because a fifth ‘spare’ set of reeds had been bunged in, to be used if more noise was required! “Some mothers do ‘ave ‘em” as they say.
After playing three examples of each type, Farquhar ran a quiz to check if we had been paying attention – he needn’t have worried, we were afraid to blink in case we missed anything. He played 5 tunes, each one by a different band, and each band using a different type of lead accordion, viz. one of those that had been featured. Identify the bands. Sounds easy, but no so.
Sandy Tulloch and I collaborated and got one right and that was because we recognised the drumming! The winner with two right was bandleader, Simon Howie from Dunning, his prize, a copy of the complete compilation tape used during the session – a unique trophy right enough and one to be treasured.
I omitted to mention that after the welcoming and introductory remarks by Association Chairman, Jimmy Blue, Farquhar opened with some interesting pre-1960 band recordings. With his help and blessing and the Editor’s indulgence, the full list of items played during the afternoon is included at the end of this spiel.
Following the quiz we were treated to solo fiddle spots from various broadcasts, selections by bands with unusual line-ups, e.g. 3 accordions and no fiddle, 2 accordions plus 2 fiddles, and 3 fiddles, accordion and piano, and so on. The final section highlighting four of our current young bands, ‘hammered’ home once again the abilities, both technically and musically, of the present generation – our music is certainly in good hands.
Jimmy Blue congratulated Farquhar on a first class afternoon’s entertainment. A hard act to follow. Farquhar also acknowledged the great assistance he had received in compiling the tape, from his cousin, Edmund MacKenzie of Plockton, from Bob Robinson of Glenboig, and from last year’s helpmate Jack Delaney, not forgetting the indulgence of his wife, Marie. Good to have her with us again.
And talking of compiling tapes, I learned an exciting wee bit of news from Ken Mutch during the weekend. If all goes well, ‘B.B.C. Enterprises’ intends to market a Scottish dance music tape/CD which will be of great interest to all enthusiasts. It should be out in time for Christmas, run for 1 hour, and comprise 18 tracks of selections from ‘Take the Floor’ programmes from the last 12 to 18 months.
It will feature almost as many different bands as there are tracks, with special emphasis on those which do not already have any major commercial releases.
Incidentally, the very first track is one of my all time favourites and I should get the tape for it alone. I am sure this tape will be a best seller and would hope that it is the fore-runner of a series. ‘Watch this space! as they say.
But back to Perth Station Hotel. After a first class evening meal, it was everyone to the dance, including Mr and Mrs Jimmy Shand, Mr and Mrs Angus Fitchet and Mr and Mrs Ian Powrie. It was great to see them looking so well and they lasted out the evening better than many less than half their age.
The officiating band was once again Jim Johnstone’s – as always, music, tempo and choice of dances absolutely right. There is little one can say that hasn’t already been said about this consistently first class group.
One new face in this year’s line-up was john Gibson on piano and as is always the case with the Johnstone Band, any talents among the band are utilized to the full. In addition to his pianistic capabilities, John is a good singer with a pleasant, relaxed style and his rendering of real golden oldies – none of your up-to-date nonsense – during the modern numbers, was greatly appreciated by all.
Adding to the great atmosphere of the scheduled events, the A.G.M. Weekends always have their quota of exclusive offerings not to be found elsewhere. How about this for an interval band for example :- Rhythm and harmony, Joan Blue (piano), Hamish Smith (second accordion), Stan Saunders (bass), Jack Cooper (drums). Front line :- Angus Fitchet and Ian Powrie (fiddle), Jimmy Blue, Bobby Crowe and Jimmy Shand Snr (lead accordions). Where else would one have the privilege of dancing to the Jim Johnstone Band and the above line-up.
Normally after the dance, wee informal musical sessions go on into the small hours, but because of a ‘TTF’ recording scheduled for the Sunday morning, everyone seemed to retire to bed at a respectable hour.
This B.B.C. recording almost had a marked effect on the A.G.M., in that although the attendance was good – how could it be otherwise with almost the entire population of an ex-mining village present :- the meeting was something of a non event, because the majority of the ears present were cocked to the strains of ‘Memories of Willie Snaith’, and ‘Dr Morrison’s Seven Thistles’ as the broadcast warm-up took place just through the wall. In fact, it was just a procession of motion, seconded, passed. I reckon if a proposal had been put forward to raise the price of the ‘B&F’ to £1, it would have sailed through no bother!
One delegate from a Northern Club raised the valid point of the possibility of changing the location of the A.G.M. on occasion. He was quickly silenced by a groundswell from the gathering, who were all itching to get through to the ‘jiggin’.
Towards the end of the agenda, Chairman Jimmy Blue, who was to participate in the recording, was summoned by a B.B.C. runner who indicated the number of minutes to ‘blast-off’ with his fingers. Luckily it was six! Secretary Andrew Nairn took over and when the meeting closed, the ‘body of the kirk’ just disappeared into thin air leaving a very lonely Committee at the table. However, any lack of bite to the meeting was more than off-set by the terrific atmosphere at the recording – ‘it was a cracker’.
The mainstay of the programme was the Angus Fitchet Band, with special guest spots by celebrity players. The Fitchet Band comprised, Angus leading on fiddle, Bobby Crowe and Hamish Smith on 1st and 2nd accordions respectively, Joan Blue, Stan Saunders, and Malcolm Ross (son of the late Lindsay Ross) on drums. After two or three sets Angus and Bobby left the stand in favour of Ian Powrie and Jimmy Blue, who opened with the 4/4/ marches ‘Edinburgh Castle’ and ‘Dr Morrison’s Seven Thistles’ - brought back memories of programmes of a few years back.
As an encore, Ian and Jimmy were joined by Angus and bobby for Angus’s poignant ‘Lament for Lockerbie’. This was a very effective, well rehearsed performance, with first class solo single reed work from Jimmy Blue and excellent, very sensitive fiddle harmonies.
For the most part the programme was a happy mix of Scottish Country and old-tyme dances, the former being performed by members of the Perth Branch of the R.S.C.D.S. and the latter by the Association ‘punters’, who mobbed the floor at every opportunity – great stuff, and with a packed room, and a sunny day, it was p.p. – profuse perspiration. How the players coped with the combination of nerves and steamy atmosphere, I don’t know.
Towards the end of the session we had the second guest spot with Jimmy Shand Snr leading the fully augmented band through a ‘Hamilton House’ set – pure vintage this with the senior maestro as inscrutable and unruffled as always.
It goes without saying that the proceedings were effortlessly compered by Robbie Shepherd, whose infectious enthusiasm gets through to all. And in the background as always, but equally effective, producer Ken Mutch and his team. The recording is due for transmission in the late autumn.
The ‘hooley’ over, it was everyone off to freshen up for the Celebrity Luncheon and the ensuing Box and Fiddle Club. There had been a great response this year and the Methven suite was bursting at the seams with the waitresses having to go ‘sideways up the end rigs’. The top table guests were Messrs. Fitchet, Powrie and Shand, with their good ladies and regrettably missing were Andy Stewart, due to a previous engagement and Bobby MacLeod, because of illness – we hope things are well with him again.
Chairman / M.C., Jimmy Blue had a very heavy programme to cram in during the afternoon, so there was no ‘speechifying’ after the meal, it was a case of straight in. One of the main themes was to be a series of spots by the winning Musselburgh Festival bandleaders and no less than 8 out of a possible 12 entertained.
First on was John Renton from Glen Shira, near Inveraray, who opened with pipe march, strathspey and reel set, played in his characteristic laid back style. It was great to see him again after a long absence.
The other bandleaders who did turns were, in alphabetical order, Robert Black (with brother Duncan), James Coutts, Ian Hutson, Andrew Knight (West Telferton Caedonian), Craig McCallum, David Wilson (Oakbank Sound), and N.Y.W. As there was only one fiddle player, Andrew Knight, amongst the above, Jimmy Blue had his work cut out in presenting a balanced programme, but thanks to experience and a sense of humour, he ‘came up trumps’ and carried it off to perfection. He really has his introductions and links off to a tee, with little ‘off the cuff’ fill-ins to allow the next player to come up and get settled, e.g. “one of my uncles managed a farm at Balmaha for the Duke of Montrose. He loved our music and after an evening at a Jimmy Shand dance he reported ‘The band was that good you could’nae hear it for the hoochin!”
The monopoly of Musselburgh bandleaders was successfully punctuated with a good turn from Simon howie – who I understand is taking a band all the way to Japan – 3-row player Bruce Lindsay, with his usual impeccable performance, and a group of players from Wick. One of the latter, young fiddle player Gordon Gunn, who made such an impression at last year’s function, did a solo spot accompanied on piano by none other than Isobel Harper, wife of Addie, paying her first visit to the A.G.M. Weekend.
This whetted the appetite for a Wick quartet which followed some time later, led by Addie Harper, himself on fiddle, in company with Gordon, Isobel and Bobby Coghill on 5-row, this ensemble had all the shoulders going with a set of northern reels, characteristic of the Wick Band, including that favourite ‘Walking the Moon’. This combination really took a trick with the audience – hope they’ll be back next time.
Space, unfortunately, precludes any enlargement on the players who have been mentioned above, suffice to say there wasn’t a ‘dud’ among them, and all greatly appreciated by the company. The hardworking, supporting musicians were ;-
On piano – Joan Blue, John Gibson, Isobel Harper, Isobel Hutson, Tom Murray, Maureen Rutherford.
On 2nd accordion – Neil Barron, Duncan Black, Owen Fielding.
On bass – Billy Craib.
On drums – Bobby Colgan, Jack Cooper, Malcolm Ross – whose technique in using any parts of the sticks which happened to be handy, was most intriguing – and David Shand.
Although genuinely wishing to remain unseen and unheard, Robbie Shepherd was coerced into earning his keep, his offering being a wee story which linked local government with ornithology, and had Jimmy Shand nearly rolling about. He’s a one-off ‘our Robbie’.
Which reminds me, you will remember that last year Joan Blue ran a Scottish Music quiz, the winner Willie Wilson of Beith being presented with a tune bearing his name and composed by Bobby Crowe. The exercise was repeated this year, and I have it at first hand that the winner was over the moon with his prize and even more so to have it presented by one of his lifelong idols, Jimmy Shand. No names, no pack drill, but the name of the tune, a reel – ‘Oor Norrie’.
As in previous years, the function was brought to a close with a spot by the Jim Johnstone Band, which included solo performances by Marie Fielding on fiddle, she is something else, so cool, and Bobby Colgan, vocals, not forgetting, highly entertaining, animated crossfire between Jim and Bobby.
Such is the popularity of this band, that, despite the heat, which was made worse by the fact that the windows had to remain closed because of a competing Jazz Band outside, the company demanded encores. Eventually, a hald was called and after a vote of thanks to all relevant parties by the Chairman, it was ‘Auld Lang Syne’. This tends to be something I prattle through mechanically, but on this occasion I was very conscious of all those in the room, of the common interest which had brought us all together and of the great companionship of the Weekend. A privilege to be part of it.
In closing, warmest thanks once again to the staff of the Station Hotel, who made our stay so enjoyable. With alterations and refurbishment complete, the accommodation is first class.
The biggest thank you must, of course, go to the gentleman who single-handedly organized the whole event. We can only guess at the work that goes on behind the scenes, booking accommodation, inviting guests, engaging a band, negotiating terms, organising entertainment and displays – never ending. Words don’t adequately express it, but from one and all – Thank You, Jack Cooper, we do appreciate what you’ve done for us.
Tracks used by Farquhar Mathieson in Tape Presentation
Side A
Pre-1960 Tapes
a) Jimmy Shand - 6.20 Two Step
b) Ian Powrie – Lochiel’s Welcome to Glasgow
c) Alistair Downie – Benderloch Bay
d) Hawthorn – French Air
e) Ian Arnott – Old Highland Air
Sounds – Morino IV
1) Sandy MacArthur – Montgomeries Rant, Mrs McPherson, Left Handed fiddler
2) Alan Doig – David Ross, John McColl’s March
3) Jennifer Forrest – Turf Lodge, Cave Hill, The Curlew, Glasgow Police Pipers
Sounds – 3-rows
4) Jimmy Blue – Forth Bridge, Collie’s Reel
5) Bobby Jack – Lassie Come and Dance, Saftest o’ the Family, Geordie Hinny, Blaydon Races
6) Fraser McGlynn – 7th Cameronians in Palestine, Colonel McLean of Ardgour
Sounds- Rancos
7) George Stirrat – Hornpipe
8) John Ellis – 93rd Farewell to Gib, Barren Rocks
9) Dennis Morrison – Lady Hunter Blair, P/M John Lumsden, G.S. McLennan’s Reel, Fiona Dickson
Sounds – 5-rows
10) Jackie Dick – Lady Madeline Sinclair, Miss Ada Crawford, Marquis of Tullibardine, Shetland Fiddler
11) Robert McLeod – John McAlpine, Roes Amang the Heather, Lady Madeline Sinclair
12) Suzanne Gray – Apple Tree, Georgia’s Reel, Donny the Post, Drunken Piper
Sounds – Golas
13) Alistair Hunter – Burns Hornpipe, Glasgow Hornpipe, Cooley’s Reel, Jackie Coleman
14) Neil Barron – Dr J.G. Hunter of Aultbea, Marie Fielding
15) Bobby Crowe – Miss Nancy Taylor, Lochordie, Mrs G. Robertson, Ian Powrie’s Compliments to Angus Fitchet
Side B
Fiddle Solos
1) Judy Davidson – Mrs Helen M. Robertson, Sands of Murness, Shetland Reel.
2) Stella Wilkie – Caledonia’s Wail for Niel Gow, Forth Brig Reel
3) Alison Smith – Glories of the Star, Princess Beatrice
4) Marie Fielding – McIlmoyle’s Reel, Turkey in the Straw, Mittens Breakdown
5) Angus Fitchet – Melody for Jimmy McFarlane, Auchterarder V.I.P.
Unusual Band Line-Ups
6) Jimmy Shand Jnr – Braes of Croyhill, Bonnie Woods of Stirkoke, Bonnie Woods of Craigielea
7) Max Houliston – Braes of Castle Grant
8) Fiddlers 3 + 2 – Archie McKinlay, Isobel McLean, Lady in the Bottle
9) Jack Delaney – Dance of the Soothwest Wind, Firelight Waltz, Doreen’s Waltz
10) Bill Black – Mulloch Cairn, Violet & Alex Morrison of Melbost Borve
Young Bands
11) Craig McCallum – John NcNeil’s Reel, Revie’s No 9, Colonel McLeod, Da Grocer
12) Simon Howie – Sorrento Thoughts
13) Craigowl – Braes of Castle Grant, P/M Jim Christie of Wick
14) Colin Dewar – On the Fiddle, Man from Kettle, Da Grocer, Pat McNulty’s Fancy
Letters to the Editor
Sir – I write to you after reading the Club report which you printed in the April ‘B&F’. The report was from the Thurso Club and was written by someone named ‘Basil’. To refresh your memories here are the highlights
“A few days ago, I was leafing through a record catalogue, and found a long-winded title by John Kirkpatrick and Sue Harris – ‘Among the many attractions at the show will be a really high class band’. For me at any rate, such was not the case at our Club meeting on 6th March, in the Pentland Hotel.
Terry Wogan used to talk about a demented pianist in Abba’s ‘Chequita’. We, too, semed to have one that night. Why, I wonder, do these bands, in endeavouring to get the ‘tight’ sound, lump themselves together, with the second box player sat with his back to a piece of the audience (We sit in a hollow square). Etc, etc
The guest’s were Simon Howie’s Band, comprised of himself on box, Duncan Black on 2nd box, Angus Howie on piano, and Bill Jarvis on drums. I have already said enough about them, except that I like a bit of bass, but I do not like it ‘through the soles of my feet’”.
Having read the report many times, I feel there are one or two things wrong with what ‘Basil’ has written.
If you have an audience sitting facing a band from three sides i.e. front, left and right, then it is inevitable that the second box player is going to have his back to some of the crowd.
His statement about the bass coming through the soles of his feet is one which surprises me, because after coming off, after our first spot, I went to the Committee members and asked them if the band balance was all right or if we were too loud etc., and they all said everything was just fine.
We were also speaking to many of the players etc and there did not seem to be many complaints. In my experience, if there had been a problem, balance wise, one of the players would point it out to the bandleader.
When the band were off in between spots the Club asked if they could use our electric piano, to save moving back their own piano, and obviously I said yes. While they were playing the piano I checked to see that the bass etc., was not too loud – it wasn’t and wasn’t altered when we went back of, so I would suggest that in future, our friend ‘Basil’ goes to the Committee members and tells them if he has a complaint, and then it could be sorted out on the night instead of hinting it in the ‘B&F’.
It angers me a little when I read things like this, written by someone who has got his ‘Pen Power’, because with his pen, he has the power to write down the opinion of the whole Club, when really it is only his own opinion, which he was not actually asked for, not does anyone want to hear.
At Thurso that night, they had a band which had travelled four hours to the Club, and took 4 hours to get home and it is people like ‘Basil’ who say “They do it for the money, so they must take all the criticism that is given our”. Not the case!! Go and ask any other tradesman to travel from Perth to Thurso, and back again, getting to bed at 4.30 a.m. and see what he charges you, so it is definitely NOT the money we do Clubs for, it is for the enjoyment of ourselves and others, the mixing of other people with a common interest in furthering Scottish dance music.
I hope you do not think I am writing this letter because someone has writing something uncomplimentary about me ; because that is not the reason, it is because it is unfair for people to just be given the chance to write what they please in a manner which is just plain cheeky. After all, we did not get the pleasure of hearing ‘Basil’ get up on the stage and letting us hear what he could do.
It amused me to read the Kintore report (about our visit in March), which was the one above the Thurso report, that they had everyone ‘shouting for more’ so there is hope for us yet!!
Many bands would be wary of travelling all that distance after taking time to arrange music and practice together, just to read that they are a below average band. I would say that reports like these should be edited by the ‘B&F’, because they can only bring ill-feeling to situations which are supposed to be about having a good time, especially as I was told that some of ‘Basil’s’ reports have had to be left out in the past, as they were insulting and liable.
I will close my wee ‘spiel’ now by saying that we had a very enjoyable night at Thurso and were very well received and treated by the Club, and would be only too happyn to go back, especially as I have one or two things to say to ‘Basil’ face to face.
Simon Howie
Sir – This, as I have said in my report, is the end of me as a correspondent. I believe you got some flak as a result of my March report. I apologise for that as it was unintended and unnecessary.
There seems to be a confusion in some peoples minds as to where editorships ends and censorship starts.
I would like to have met you, but do not suppose that I now ever will. Thank you for putting up with me, and I hope your health continues to improve.
Basil
Sir – As a piper and keen follower of the accordion competition circuit, I feel that there is a ‘grey area’ in the ‘Pipe Style’ competitions which is not receiving any positive action to improve the situation.
The problem is the constant misinterpretation of the pipe music by the majority of players and adjudicators alike. This is a mutual feeling with many members of the piping fraternity with whom I have discussed this issue.
My main points of concern are as follows :-
a) Marches are often played too slow with no attention being paid to the note values. The ‘cutting and pointing’ of these notes will in turn bring out the phrasing and proper expression of the melody.
b) Strathspey tempos are painfully slow. The accordionist should try and visualize a Highland dancer, dancing to the tune as it is being played and NOT a traditional Scottish Country dancer, as this appear to be the case. I feel that the only way a Highland dancer could keep in time with the present method of playing would be to wear a pair of deep sea divers lead boots and to dance in a bath of treacle.
c) The compositions being played for Strathspeys cover octaves which could not possibly be played on the pipes. These are not pipe tunes and are being played in a traditional rather than pipe style.
d) Reels are being played in a very ‘rounded’ button box style. These tunes again are not being expressed as in the proper pipe idiom, lacking expression. The majority of players are not making a worthwhile effort of including the embellishments in the tunes. Although not as important as the proper phrasing when trying to emulate us on the accordion, they are however there to be included.
I feel very strongly about some of the ‘imposters’ who are winning prizes in this class, who believe that they are doing to with a proper pipe style. Could it be that the adjudicators are being left the unfortunate task to pick ‘the best out of a bad lot?’
Although the majority of players are very accomplished in the traditional, classical and Continental styles, I’m afraid that their attempts at our style leaves a great deal to be desired.
I know that many adjudicators do claim to know pipers and, on occasion, have had a dram with one, but does this then make them expert or qualified on our music and playing? Is there any assistance that could be given to educate the adjudicators a bit better to help with the job? Yes…..!
I would like your publication and the accordion fraternity to take my suggestion very seriously. Why doesn’t the Adjudicating Panel and Competition Organisers invite accomplished pipers along to the competitions to sit alongside the accordion judge and give advice and constructive criticism to assist in the selection of the prize winners.
This is surely a method by which the judges and competitors alike will benefit from, and will go a long way, in getting the players back on the right lines with regard to pipe music style.
I am very interested to hear the readers and accordionists views on my proposal.
Mr H. King
Sir – I read the article by Norrie Williams about his interview with P/M Donald Shaw Ramsay with much interest, and whilst it is evident that no-one knows more about piping than he does, I feel that some of his comments on fiddle playing should not go unchallenged.
For example “He is a stickler for interpretation and is absolutely insistent that it should be mandatory to give notes their correct value, as written”. Then he went on to point out that the shortest musical note in a strathspey or reel is a semi quaver (1/16) and it should get its full value and not be played as a demi-semi-quaver (1/32) or sometimes shorter!!
To take the last point first, if you can look at the ‘Scottish Violinist’ Page 8, and have a look at that excellent strathspey ‘The Glenlivet’, you will find 14 demi-semi-quavers. On the next page, the reel ‘Scott Skinner’ has 13 demi-semi-quavers.
Going back to the first point about playing notes as written. William C. Honeyman in his ‘Strathspey, Reel and Hornpipe Tutor’ of 1898 writes, “The tutor turns to the music, and plaintively says, ‘But you are not playing it as it is there’, to which the teacher learnedly replies, “Ah, but strathspeys are never played as they are written”.
Turning to ‘A guide to Bowing” by Scott Skinner, written about 1900, there is an example of a few bars of ‘The Brig o’ Perth’, as usual written with dotted quavers, followed by semi quavers. Then he says, “The passage is in reality played thus”. Then follows the same passage written with double dotted quavers, followed by demi-semi quavers.
Anyway, ‘as written’ really depends whose book you have in your hand at the time. Find a tune in six books and you will find it written in six different ways.
I do, however, agree that in band playing, those playing the melody should be doing the same thing.
In view of the foregoing, I think you will agree that there is in fact a very sound, traditional basis for carrying on the practice of which Donald complains.
Ian Robertson
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Golden Fleece) – members only
Armadale (Masonic Arms Hotel) –
Ayr (Gartferry Hotel) –
Balloch (Bell Centre, Dumbarton) –
Banchory (Burnett Arms Hotel) –
Banff & District (Royal Oak Hotel) –
Beith & District (Hotel de Croft, Dalry) – 18th Sept 89 John Strachan & Friends
Belford (Community Club) –
Biggar (Municipal Hall) – 10th Sept 89 Michael Philip SDB
Blairgowrie (Moorfield Hotel) -
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) –
Crieff & District (Drummond Arms Hotel)
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Westlands Hotel) –
Dundee (The Marquee) –
Dunfermline (Northern Roadhouse) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (King’s Park Hotel, Rutherglen) –
Ellon (Ladbroke Hotel) –
Fintry (Fintry Sports Centre) – 25th Sept 89 Bill Black SDB
23rd Oct 89 Ian Muir Trio
Forfar (Plough Inn) -
Forres (Brig Motel) – 6th Sept 89 John Ellis & his H.C.B.
11th Oct 89 Currie Brothers
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) –
Highland (Drumossie Hotel) – 18th Sept 89 Calum McLean & Deirdre Adamson
Islesteps (Driveway Inn) –
Kelso (Ednam House Hotel) – 27th Sept 89 Calum McLean & Deirdre Adamson
Kintore (Crown Hotel) – 6th Sept 89 Neil MacEachern SDB
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 14th Sept 89 Deirdre Adamson
12th Oct 89 Bruce Lindsay Trio
Livingston (Golden Circle Hotel, Bathgate)
Lockerbie (Bluebell Hotel) -
Mauchline (The Jean Armour Restaurant) 19th Sept 89 The Ballochmyle Ceilidh Band
17th Oct 89 Scott Leslie SDB
M.A.F.I.A. (Masonic Hall, Milngavie) – 4th Oct 89 John Duncan
Montrose (Park Hotel) – 13th Sept 89 John Ellis & his H.C.B.
Newtongrange (Dean Tavern) –
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Seafield Hotel, Keith) –
Oban (Highlander Restaurant) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Countryside Inn) –
Perth (Station Hotel) – 19th Sept 89 Ian Holmes
Premier NI (Camlin function Rooms) -
Renfrew (Masonic Hall, Broadloom) – 12th Sept 89 Club Night
Rothbury (Jubilee Hall
Shetland (venue?) -
Thornhill (?)
Thurso (McKay’s Hotel) – 4th Sept 89 Duncan Black SDB
2nd Oct 89 Bill Brian
Turriff (Royal Oak Hotel) – 7th Sept 89 Dierdre Adamson & Helen Bedborough
Tynedale (Hexham Ex Service Club) – 26th Sept 89 Calum McLean & Deirdre Adamson
10th Oct 89 Paddy Neary
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1 Banchory
2 Banff
3. Balloch
4. Biggar
5. Button Key
6. Castle Douglas
7. Coalburn
8. Derwentside
9. Dingwall
10. Dunoon & Cowal
11. East Kilbride
12. Forfar
13. Forres
14. Fort William
15. Highland
16. Kintore
17. Lesmahagow
18. Lockerbie
19. M.A.F.I.A.
20. Mauchline
21. Montrose
22. North Cumbria
23. Ormiston
24. Peebles
25. Shetland
26. Thurso
CLUB DIRECTORY AS AT SEPT 1988 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Acharacle & District A&F Club (cMay 1988)
3. Alnwick A&F Club (Sept 1976)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Blairgowrie A&F Club (
12. Button Key A&F Club (
13. Castle Douglas A&F Club (c Sept 1980)
14. Coalburn A&F Club
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District A&F Club (May 1979 – per first report)
19. Dunblane & District A&F Club (1971)
20. Dundee & District A&F Club
21. Dunfermline & District A&F Club (1974 – per first edition)
22. Dunoon & Cowal A&F Club (
23. East Kilbride A&F Club (Sept 1980)
24. Ellon A&F Club (
25. Fintry A&F Club
26. Forfar A&F Club
27. Forres A&F Club (Jan 1978)
28. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
29. Galashiels A&F Club (joined Sept 1982)
30. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
31. Glendale Accordion Club (Jan 1973)
32. Highland A&F Club (Inverness)
33. Islesteps A&F Club (Jan 1981)
34. Isle of Skye A&F Club (
35. Kelso A&F Club (May 1976)
36. Kintore A&F Club
37. Langholm A&F Club (Oct 1967)
38. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
39. Livingston A&F Club (Sept 1973 – per first edition)
40. Lockerbie A&F Club (Nov 1973)
41. M.A.F.I.A. (early)
42. Mauchline A&F Club (first mention 1986?)
43. Montrose A&F Club (joined Sept 1982)
44. Mull A&F Club
45. Newtongrange A&F Club (joined Sept 1979)
46. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
47. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
48. North East A&F Club aka Keith A&FC (Sept 1971)
49. Oban A&F Club (Nov 1975)
50. Orkney A&F Club (Mar 1978)
51. Ormiston Miners’ Welfare Society A&F Club
52. Peebles A&F Club (26 Nov 1981)
53. Perth & District A&F Club (Aug 1970)
54. Premier A&F Club NI (cNov 1980)
55. Rothbury Accordion Club (1987??)
56. Shetland A&F Club (Sept 1978)
57. Sutherland A&F Club (
58. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
59. Thurso A&F Club (cSept 1981)
60. Turriff A&F Club (March 1982)
61. Tynedale A&F Club (Nov 1980)
63. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
64. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
65. Bonchester Accordion Club (Closed?)
66. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
67. Buchan A&F Club
68. Callander A&F Club (
69. Campbeltown & District A&F Club (c Dec 1980)
70. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
71. Club Accord
72. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
73. Coupar Angus A&F Club (cSept 1978 - ?)
74. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
75. Denny & Dunipace A&F Club (Feb 1981)
76. Dornoch A&F Club (first mention in directory 1986)
77. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
78. Dunbar Cement Works A&F Club (Closed?)
79. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
80. Falkirk A&F Club (Sept 1978 - )
81. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
82. Gretna A&F Club (June 1966)
83. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
84. Kinlochsheil A&F Club (
85. Kirriemuir A&F Club (cSept 1981)
86. Monklands A&F Club (Nov 1978 – closed cApril 1983)
87. Morecambe A&F Club (joined Sept 1982)
88. Newcastleton Accordion Club
89. New Cumnock A&F Club (cMarch 1979)
90. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
91. Straiton Accordion Club (c1968 – closed March 1979)
92. Stranraer & District Accordion Club (1974 – per first edition)
93. Torthorwald A&F Club (near Dumfries)
94. Walmer (Bridge of Allan) A&F Club
95. Wellbank A&F Club
Advertising rates
Full Page - £92
Half Page - £46
Quarter Page - £23
&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian.
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
Time once again to start another Club season with the summer almost behind us. We have all enjoyed the break and sometimes it takes a fair effort to get back into harness, However, the B&F can be rewarding work when everything goes well – but then I suppose that’s to be expected. Our best wishes go to members for another for another enjoyable season.
New Box and FiddleTreasurer
I am please to welcome our new Treasurer into the team. Margaret Smith, of the Newtongrange Club, seems just the right person for the job and it is great to see the Newtongrange Club represented on the Executive Committee. Whilst welcoming Margaret, we all need to express our thanks to Cathy Andrew for her great work over the past few years.
Subscription List
In this issue, on Page 6, you will find a coupon which is returnable to the B&F Treasurer along with your subscription of £4.60.
Tom Clark
Perth A.G.M. Weekend
“The Band was that good, you could’nae hear it for Hoochin!”
by Norrie Williams
“Ach they all sound the same!” How often have we heard that said when the subject of Scottish broadcasting bands crops up. Mind you, there is a fair element of truth in the statement, more so now than in the late ‘40’s and the ‘50’s. The clone syndrome tends to be rife nowadays with Morinos and Golas dominating the front line. There are of course notable exceptions who have their unmistakable stamp, among them, Ian Holmes, Iain MacPhail, John Ellis, Fraser McGlynn and it goes without say, Jim Johnstone.
However, by and large one has to hear more than just ‘Kate Dalrymple’ to identify a band with any certainty. It is more often a case of ‘Well that could be so and so, or so and so…”.
But having said all that, the other side of the coin was demonstrated during the afternoon of Saturday, July 1st, during the Nationals Association’s A.G.M. Weekend.
In a committee room in Perth Station Hotel, a capacity audience including such personalities as Bobby Crowe, Angus Fitchet and Dr Sandy Tulloch, were treated to a most intriguing tape presentation of the Scottish dance music of the sixties which highlighted the variation in band sound produced by different types and make of lead accordion. It also illustrated how, given the same lead instrument with identical tuning, style of playing can produce a unique band ‘signature’. This is a somewhat obvious statement, but harping back to the aforementioned clone effect, it suggests that many of today’s players tend to have like styles. I suppose there is a limit to what one can do to achieve individuality.
It should come as no surprise to learn that the presenter of this fascinating 2½ house session – seemed more like ½ and hour – was the one and only, Farquhar Mathieson.
Farquhar, who was rebooked as a ‘must’ after his very successful performance last year has one of the most, if not the most comprehensive library of Scottish dance recordings in the country. He is an out and out enthusiast who really has done his homework to become one of the leading authorities on S.D.B. sounds, styles and line-ups, with particular reference to the broadcasting scene.
He had given this second presentation considerable thought and rather than just stringing a number of nostalgic band tracks together – had hit on the idea of spotlighting the difference in band sound produced by different makes and models of lead accordion, viz. Morino IV, Morino V, Shand Morino, Ranco, and 5-row Continental Chromatic.
Incidentally, ‘dimbo’ here hadn’t realised one could readily distinguish a Morino IV from a V by ear. I had always thought the V was just a wee bit more expensive because a fifth ‘spare’ set of reeds had been bunged in, to be used if more noise was required! “Some mothers do ‘ave ‘em” as they say.
After playing three examples of each type, Farquhar ran a quiz to check if we had been paying attention – he needn’t have worried, we were afraid to blink in case we missed anything. He played 5 tunes, each one by a different band, and each band using a different type of lead accordion, viz. one of those that had been featured. Identify the bands. Sounds easy, but no so.
Sandy Tulloch and I collaborated and got one right and that was because we recognised the drumming! The winner with two right was bandleader, Simon Howie from Dunning, his prize, a copy of the complete compilation tape used during the session – a unique trophy right enough and one to be treasured.
I omitted to mention that after the welcoming and introductory remarks by Association Chairman, Jimmy Blue, Farquhar opened with some interesting pre-1960 band recordings. With his help and blessing and the Editor’s indulgence, the full list of items played during the afternoon is included at the end of this spiel.
Following the quiz we were treated to solo fiddle spots from various broadcasts, selections by bands with unusual line-ups, e.g. 3 accordions and no fiddle, 2 accordions plus 2 fiddles, and 3 fiddles, accordion and piano, and so on. The final section highlighting four of our current young bands, ‘hammered’ home once again the abilities, both technically and musically, of the present generation – our music is certainly in good hands.
Jimmy Blue congratulated Farquhar on a first class afternoon’s entertainment. A hard act to follow. Farquhar also acknowledged the great assistance he had received in compiling the tape, from his cousin, Edmund MacKenzie of Plockton, from Bob Robinson of Glenboig, and from last year’s helpmate Jack Delaney, not forgetting the indulgence of his wife, Marie. Good to have her with us again.
And talking of compiling tapes, I learned an exciting wee bit of news from Ken Mutch during the weekend. If all goes well, ‘B.B.C. Enterprises’ intends to market a Scottish dance music tape/CD which will be of great interest to all enthusiasts. It should be out in time for Christmas, run for 1 hour, and comprise 18 tracks of selections from ‘Take the Floor’ programmes from the last 12 to 18 months.
It will feature almost as many different bands as there are tracks, with special emphasis on those which do not already have any major commercial releases.
Incidentally, the very first track is one of my all time favourites and I should get the tape for it alone. I am sure this tape will be a best seller and would hope that it is the fore-runner of a series. ‘Watch this space! as they say.
But back to Perth Station Hotel. After a first class evening meal, it was everyone to the dance, including Mr and Mrs Jimmy Shand, Mr and Mrs Angus Fitchet and Mr and Mrs Ian Powrie. It was great to see them looking so well and they lasted out the evening better than many less than half their age.
The officiating band was once again Jim Johnstone’s – as always, music, tempo and choice of dances absolutely right. There is little one can say that hasn’t already been said about this consistently first class group.
One new face in this year’s line-up was john Gibson on piano and as is always the case with the Johnstone Band, any talents among the band are utilized to the full. In addition to his pianistic capabilities, John is a good singer with a pleasant, relaxed style and his rendering of real golden oldies – none of your up-to-date nonsense – during the modern numbers, was greatly appreciated by all.
Adding to the great atmosphere of the scheduled events, the A.G.M. Weekends always have their quota of exclusive offerings not to be found elsewhere. How about this for an interval band for example :- Rhythm and harmony, Joan Blue (piano), Hamish Smith (second accordion), Stan Saunders (bass), Jack Cooper (drums). Front line :- Angus Fitchet and Ian Powrie (fiddle), Jimmy Blue, Bobby Crowe and Jimmy Shand Snr (lead accordions). Where else would one have the privilege of dancing to the Jim Johnstone Band and the above line-up.
Normally after the dance, wee informal musical sessions go on into the small hours, but because of a ‘TTF’ recording scheduled for the Sunday morning, everyone seemed to retire to bed at a respectable hour.
This B.B.C. recording almost had a marked effect on the A.G.M., in that although the attendance was good – how could it be otherwise with almost the entire population of an ex-mining village present :- the meeting was something of a non event, because the majority of the ears present were cocked to the strains of ‘Memories of Willie Snaith’, and ‘Dr Morrison’s Seven Thistles’ as the broadcast warm-up took place just through the wall. In fact, it was just a procession of motion, seconded, passed. I reckon if a proposal had been put forward to raise the price of the ‘B&F’ to £1, it would have sailed through no bother!
One delegate from a Northern Club raised the valid point of the possibility of changing the location of the A.G.M. on occasion. He was quickly silenced by a groundswell from the gathering, who were all itching to get through to the ‘jiggin’.
Towards the end of the agenda, Chairman Jimmy Blue, who was to participate in the recording, was summoned by a B.B.C. runner who indicated the number of minutes to ‘blast-off’ with his fingers. Luckily it was six! Secretary Andrew Nairn took over and when the meeting closed, the ‘body of the kirk’ just disappeared into thin air leaving a very lonely Committee at the table. However, any lack of bite to the meeting was more than off-set by the terrific atmosphere at the recording – ‘it was a cracker’.
The mainstay of the programme was the Angus Fitchet Band, with special guest spots by celebrity players. The Fitchet Band comprised, Angus leading on fiddle, Bobby Crowe and Hamish Smith on 1st and 2nd accordions respectively, Joan Blue, Stan Saunders, and Malcolm Ross (son of the late Lindsay Ross) on drums. After two or three sets Angus and Bobby left the stand in favour of Ian Powrie and Jimmy Blue, who opened with the 4/4/ marches ‘Edinburgh Castle’ and ‘Dr Morrison’s Seven Thistles’ - brought back memories of programmes of a few years back.
As an encore, Ian and Jimmy were joined by Angus and bobby for Angus’s poignant ‘Lament for Lockerbie’. This was a very effective, well rehearsed performance, with first class solo single reed work from Jimmy Blue and excellent, very sensitive fiddle harmonies.
For the most part the programme was a happy mix of Scottish Country and old-tyme dances, the former being performed by members of the Perth Branch of the R.S.C.D.S. and the latter by the Association ‘punters’, who mobbed the floor at every opportunity – great stuff, and with a packed room, and a sunny day, it was p.p. – profuse perspiration. How the players coped with the combination of nerves and steamy atmosphere, I don’t know.
Towards the end of the session we had the second guest spot with Jimmy Shand Snr leading the fully augmented band through a ‘Hamilton House’ set – pure vintage this with the senior maestro as inscrutable and unruffled as always.
It goes without saying that the proceedings were effortlessly compered by Robbie Shepherd, whose infectious enthusiasm gets through to all. And in the background as always, but equally effective, producer Ken Mutch and his team. The recording is due for transmission in the late autumn.
The ‘hooley’ over, it was everyone off to freshen up for the Celebrity Luncheon and the ensuing Box and Fiddle Club. There had been a great response this year and the Methven suite was bursting at the seams with the waitresses having to go ‘sideways up the end rigs’. The top table guests were Messrs. Fitchet, Powrie and Shand, with their good ladies and regrettably missing were Andy Stewart, due to a previous engagement and Bobby MacLeod, because of illness – we hope things are well with him again.
Chairman / M.C., Jimmy Blue had a very heavy programme to cram in during the afternoon, so there was no ‘speechifying’ after the meal, it was a case of straight in. One of the main themes was to be a series of spots by the winning Musselburgh Festival bandleaders and no less than 8 out of a possible 12 entertained.
First on was John Renton from Glen Shira, near Inveraray, who opened with pipe march, strathspey and reel set, played in his characteristic laid back style. It was great to see him again after a long absence.
The other bandleaders who did turns were, in alphabetical order, Robert Black (with brother Duncan), James Coutts, Ian Hutson, Andrew Knight (West Telferton Caedonian), Craig McCallum, David Wilson (Oakbank Sound), and N.Y.W. As there was only one fiddle player, Andrew Knight, amongst the above, Jimmy Blue had his work cut out in presenting a balanced programme, but thanks to experience and a sense of humour, he ‘came up trumps’ and carried it off to perfection. He really has his introductions and links off to a tee, with little ‘off the cuff’ fill-ins to allow the next player to come up and get settled, e.g. “one of my uncles managed a farm at Balmaha for the Duke of Montrose. He loved our music and after an evening at a Jimmy Shand dance he reported ‘The band was that good you could’nae hear it for the hoochin!”
The monopoly of Musselburgh bandleaders was successfully punctuated with a good turn from Simon howie – who I understand is taking a band all the way to Japan – 3-row player Bruce Lindsay, with his usual impeccable performance, and a group of players from Wick. One of the latter, young fiddle player Gordon Gunn, who made such an impression at last year’s function, did a solo spot accompanied on piano by none other than Isobel Harper, wife of Addie, paying her first visit to the A.G.M. Weekend.
This whetted the appetite for a Wick quartet which followed some time later, led by Addie Harper, himself on fiddle, in company with Gordon, Isobel and Bobby Coghill on 5-row, this ensemble had all the shoulders going with a set of northern reels, characteristic of the Wick Band, including that favourite ‘Walking the Moon’. This combination really took a trick with the audience – hope they’ll be back next time.
Space, unfortunately, precludes any enlargement on the players who have been mentioned above, suffice to say there wasn’t a ‘dud’ among them, and all greatly appreciated by the company. The hardworking, supporting musicians were ;-
On piano – Joan Blue, John Gibson, Isobel Harper, Isobel Hutson, Tom Murray, Maureen Rutherford.
On 2nd accordion – Neil Barron, Duncan Black, Owen Fielding.
On bass – Billy Craib.
On drums – Bobby Colgan, Jack Cooper, Malcolm Ross – whose technique in using any parts of the sticks which happened to be handy, was most intriguing – and David Shand.
Although genuinely wishing to remain unseen and unheard, Robbie Shepherd was coerced into earning his keep, his offering being a wee story which linked local government with ornithology, and had Jimmy Shand nearly rolling about. He’s a one-off ‘our Robbie’.
Which reminds me, you will remember that last year Joan Blue ran a Scottish Music quiz, the winner Willie Wilson of Beith being presented with a tune bearing his name and composed by Bobby Crowe. The exercise was repeated this year, and I have it at first hand that the winner was over the moon with his prize and even more so to have it presented by one of his lifelong idols, Jimmy Shand. No names, no pack drill, but the name of the tune, a reel – ‘Oor Norrie’.
As in previous years, the function was brought to a close with a spot by the Jim Johnstone Band, which included solo performances by Marie Fielding on fiddle, she is something else, so cool, and Bobby Colgan, vocals, not forgetting, highly entertaining, animated crossfire between Jim and Bobby.
Such is the popularity of this band, that, despite the heat, which was made worse by the fact that the windows had to remain closed because of a competing Jazz Band outside, the company demanded encores. Eventually, a hald was called and after a vote of thanks to all relevant parties by the Chairman, it was ‘Auld Lang Syne’. This tends to be something I prattle through mechanically, but on this occasion I was very conscious of all those in the room, of the common interest which had brought us all together and of the great companionship of the Weekend. A privilege to be part of it.
In closing, warmest thanks once again to the staff of the Station Hotel, who made our stay so enjoyable. With alterations and refurbishment complete, the accommodation is first class.
The biggest thank you must, of course, go to the gentleman who single-handedly organized the whole event. We can only guess at the work that goes on behind the scenes, booking accommodation, inviting guests, engaging a band, negotiating terms, organising entertainment and displays – never ending. Words don’t adequately express it, but from one and all – Thank You, Jack Cooper, we do appreciate what you’ve done for us.
Tracks used by Farquhar Mathieson in Tape Presentation
Side A
Pre-1960 Tapes
a) Jimmy Shand - 6.20 Two Step
b) Ian Powrie – Lochiel’s Welcome to Glasgow
c) Alistair Downie – Benderloch Bay
d) Hawthorn – French Air
e) Ian Arnott – Old Highland Air
Sounds – Morino IV
1) Sandy MacArthur – Montgomeries Rant, Mrs McPherson, Left Handed fiddler
2) Alan Doig – David Ross, John McColl’s March
3) Jennifer Forrest – Turf Lodge, Cave Hill, The Curlew, Glasgow Police Pipers
Sounds – 3-rows
4) Jimmy Blue – Forth Bridge, Collie’s Reel
5) Bobby Jack – Lassie Come and Dance, Saftest o’ the Family, Geordie Hinny, Blaydon Races
6) Fraser McGlynn – 7th Cameronians in Palestine, Colonel McLean of Ardgour
Sounds- Rancos
7) George Stirrat – Hornpipe
8) John Ellis – 93rd Farewell to Gib, Barren Rocks
9) Dennis Morrison – Lady Hunter Blair, P/M John Lumsden, G.S. McLennan’s Reel, Fiona Dickson
Sounds – 5-rows
10) Jackie Dick – Lady Madeline Sinclair, Miss Ada Crawford, Marquis of Tullibardine, Shetland Fiddler
11) Robert McLeod – John McAlpine, Roes Amang the Heather, Lady Madeline Sinclair
12) Suzanne Gray – Apple Tree, Georgia’s Reel, Donny the Post, Drunken Piper
Sounds – Golas
13) Alistair Hunter – Burns Hornpipe, Glasgow Hornpipe, Cooley’s Reel, Jackie Coleman
14) Neil Barron – Dr J.G. Hunter of Aultbea, Marie Fielding
15) Bobby Crowe – Miss Nancy Taylor, Lochordie, Mrs G. Robertson, Ian Powrie’s Compliments to Angus Fitchet
Side B
Fiddle Solos
1) Judy Davidson – Mrs Helen M. Robertson, Sands of Murness, Shetland Reel.
2) Stella Wilkie – Caledonia’s Wail for Niel Gow, Forth Brig Reel
3) Alison Smith – Glories of the Star, Princess Beatrice
4) Marie Fielding – McIlmoyle’s Reel, Turkey in the Straw, Mittens Breakdown
5) Angus Fitchet – Melody for Jimmy McFarlane, Auchterarder V.I.P.
Unusual Band Line-Ups
6) Jimmy Shand Jnr – Braes of Croyhill, Bonnie Woods of Stirkoke, Bonnie Woods of Craigielea
7) Max Houliston – Braes of Castle Grant
8) Fiddlers 3 + 2 – Archie McKinlay, Isobel McLean, Lady in the Bottle
9) Jack Delaney – Dance of the Soothwest Wind, Firelight Waltz, Doreen’s Waltz
10) Bill Black – Mulloch Cairn, Violet & Alex Morrison of Melbost Borve
Young Bands
11) Craig McCallum – John NcNeil’s Reel, Revie’s No 9, Colonel McLeod, Da Grocer
12) Simon Howie – Sorrento Thoughts
13) Craigowl – Braes of Castle Grant, P/M Jim Christie of Wick
14) Colin Dewar – On the Fiddle, Man from Kettle, Da Grocer, Pat McNulty’s Fancy
Letters to the Editor
Sir – I write to you after reading the Club report which you printed in the April ‘B&F’. The report was from the Thurso Club and was written by someone named ‘Basil’. To refresh your memories here are the highlights
“A few days ago, I was leafing through a record catalogue, and found a long-winded title by John Kirkpatrick and Sue Harris – ‘Among the many attractions at the show will be a really high class band’. For me at any rate, such was not the case at our Club meeting on 6th March, in the Pentland Hotel.
Terry Wogan used to talk about a demented pianist in Abba’s ‘Chequita’. We, too, semed to have one that night. Why, I wonder, do these bands, in endeavouring to get the ‘tight’ sound, lump themselves together, with the second box player sat with his back to a piece of the audience (We sit in a hollow square). Etc, etc
The guest’s were Simon Howie’s Band, comprised of himself on box, Duncan Black on 2nd box, Angus Howie on piano, and Bill Jarvis on drums. I have already said enough about them, except that I like a bit of bass, but I do not like it ‘through the soles of my feet’”.
Having read the report many times, I feel there are one or two things wrong with what ‘Basil’ has written.
If you have an audience sitting facing a band from three sides i.e. front, left and right, then it is inevitable that the second box player is going to have his back to some of the crowd.
His statement about the bass coming through the soles of his feet is one which surprises me, because after coming off, after our first spot, I went to the Committee members and asked them if the band balance was all right or if we were too loud etc., and they all said everything was just fine.
We were also speaking to many of the players etc and there did not seem to be many complaints. In my experience, if there had been a problem, balance wise, one of the players would point it out to the bandleader.
When the band were off in between spots the Club asked if they could use our electric piano, to save moving back their own piano, and obviously I said yes. While they were playing the piano I checked to see that the bass etc., was not too loud – it wasn’t and wasn’t altered when we went back of, so I would suggest that in future, our friend ‘Basil’ goes to the Committee members and tells them if he has a complaint, and then it could be sorted out on the night instead of hinting it in the ‘B&F’.
It angers me a little when I read things like this, written by someone who has got his ‘Pen Power’, because with his pen, he has the power to write down the opinion of the whole Club, when really it is only his own opinion, which he was not actually asked for, not does anyone want to hear.
At Thurso that night, they had a band which had travelled four hours to the Club, and took 4 hours to get home and it is people like ‘Basil’ who say “They do it for the money, so they must take all the criticism that is given our”. Not the case!! Go and ask any other tradesman to travel from Perth to Thurso, and back again, getting to bed at 4.30 a.m. and see what he charges you, so it is definitely NOT the money we do Clubs for, it is for the enjoyment of ourselves and others, the mixing of other people with a common interest in furthering Scottish dance music.
I hope you do not think I am writing this letter because someone has writing something uncomplimentary about me ; because that is not the reason, it is because it is unfair for people to just be given the chance to write what they please in a manner which is just plain cheeky. After all, we did not get the pleasure of hearing ‘Basil’ get up on the stage and letting us hear what he could do.
It amused me to read the Kintore report (about our visit in March), which was the one above the Thurso report, that they had everyone ‘shouting for more’ so there is hope for us yet!!
Many bands would be wary of travelling all that distance after taking time to arrange music and practice together, just to read that they are a below average band. I would say that reports like these should be edited by the ‘B&F’, because they can only bring ill-feeling to situations which are supposed to be about having a good time, especially as I was told that some of ‘Basil’s’ reports have had to be left out in the past, as they were insulting and liable.
I will close my wee ‘spiel’ now by saying that we had a very enjoyable night at Thurso and were very well received and treated by the Club, and would be only too happyn to go back, especially as I have one or two things to say to ‘Basil’ face to face.
Simon Howie
Sir – This, as I have said in my report, is the end of me as a correspondent. I believe you got some flak as a result of my March report. I apologise for that as it was unintended and unnecessary.
There seems to be a confusion in some peoples minds as to where editorships ends and censorship starts.
I would like to have met you, but do not suppose that I now ever will. Thank you for putting up with me, and I hope your health continues to improve.
Basil
Sir – As a piper and keen follower of the accordion competition circuit, I feel that there is a ‘grey area’ in the ‘Pipe Style’ competitions which is not receiving any positive action to improve the situation.
The problem is the constant misinterpretation of the pipe music by the majority of players and adjudicators alike. This is a mutual feeling with many members of the piping fraternity with whom I have discussed this issue.
My main points of concern are as follows :-
a) Marches are often played too slow with no attention being paid to the note values. The ‘cutting and pointing’ of these notes will in turn bring out the phrasing and proper expression of the melody.
b) Strathspey tempos are painfully slow. The accordionist should try and visualize a Highland dancer, dancing to the tune as it is being played and NOT a traditional Scottish Country dancer, as this appear to be the case. I feel that the only way a Highland dancer could keep in time with the present method of playing would be to wear a pair of deep sea divers lead boots and to dance in a bath of treacle.
c) The compositions being played for Strathspeys cover octaves which could not possibly be played on the pipes. These are not pipe tunes and are being played in a traditional rather than pipe style.
d) Reels are being played in a very ‘rounded’ button box style. These tunes again are not being expressed as in the proper pipe idiom, lacking expression. The majority of players are not making a worthwhile effort of including the embellishments in the tunes. Although not as important as the proper phrasing when trying to emulate us on the accordion, they are however there to be included.
I feel very strongly about some of the ‘imposters’ who are winning prizes in this class, who believe that they are doing to with a proper pipe style. Could it be that the adjudicators are being left the unfortunate task to pick ‘the best out of a bad lot?’
Although the majority of players are very accomplished in the traditional, classical and Continental styles, I’m afraid that their attempts at our style leaves a great deal to be desired.
I know that many adjudicators do claim to know pipers and, on occasion, have had a dram with one, but does this then make them expert or qualified on our music and playing? Is there any assistance that could be given to educate the adjudicators a bit better to help with the job? Yes…..!
I would like your publication and the accordion fraternity to take my suggestion very seriously. Why doesn’t the Adjudicating Panel and Competition Organisers invite accomplished pipers along to the competitions to sit alongside the accordion judge and give advice and constructive criticism to assist in the selection of the prize winners.
This is surely a method by which the judges and competitors alike will benefit from, and will go a long way, in getting the players back on the right lines with regard to pipe music style.
I am very interested to hear the readers and accordionists views on my proposal.
Mr H. King
Sir – I read the article by Norrie Williams about his interview with P/M Donald Shaw Ramsay with much interest, and whilst it is evident that no-one knows more about piping than he does, I feel that some of his comments on fiddle playing should not go unchallenged.
For example “He is a stickler for interpretation and is absolutely insistent that it should be mandatory to give notes their correct value, as written”. Then he went on to point out that the shortest musical note in a strathspey or reel is a semi quaver (1/16) and it should get its full value and not be played as a demi-semi-quaver (1/32) or sometimes shorter!!
To take the last point first, if you can look at the ‘Scottish Violinist’ Page 8, and have a look at that excellent strathspey ‘The Glenlivet’, you will find 14 demi-semi-quavers. On the next page, the reel ‘Scott Skinner’ has 13 demi-semi-quavers.
Going back to the first point about playing notes as written. William C. Honeyman in his ‘Strathspey, Reel and Hornpipe Tutor’ of 1898 writes, “The tutor turns to the music, and plaintively says, ‘But you are not playing it as it is there’, to which the teacher learnedly replies, “Ah, but strathspeys are never played as they are written”.
Turning to ‘A guide to Bowing” by Scott Skinner, written about 1900, there is an example of a few bars of ‘The Brig o’ Perth’, as usual written with dotted quavers, followed by semi quavers. Then he says, “The passage is in reality played thus”. Then follows the same passage written with double dotted quavers, followed by demi-semi quavers.
Anyway, ‘as written’ really depends whose book you have in your hand at the time. Find a tune in six books and you will find it written in six different ways.
I do, however, agree that in band playing, those playing the melody should be doing the same thing.
In view of the foregoing, I think you will agree that there is in fact a very sound, traditional basis for carrying on the practice of which Donald complains.
Ian Robertson
CLUB DIARY
Aberdeen (Dee Motel) –
Alnwick (Golden Fleece) – members only
Armadale (Masonic Arms Hotel) –
Ayr (Gartferry Hotel) –
Balloch (Bell Centre, Dumbarton) –
Banchory (Burnett Arms Hotel) –
Banff & District (Royal Oak Hotel) –
Beith & District (Hotel de Croft, Dalry) – 18th Sept 89 John Strachan & Friends
Belford (Community Club) –
Biggar (Municipal Hall) – 10th Sept 89 Michael Philip SDB
Blairgowrie (Moorfield Hotel) -
Bridge of Allan (Walmer Hotel) -
Buchan (Buchaness Hotel) –
Button Key (Windygates Institute) –
Callander (Glengarry Hotel) –
Campbeltown (Royal Hotel) –
Castle Douglas (Ernespie Hotel) –
Crieff & District (Drummond Arms Hotel)
Dalriada (Royal Hotel, Lochgilphead) –
Derwentside (Working Men’s Club, Consett) –
Dingwall (venue? ) –
Dunblane (Westlands Hotel) –
Dundee (The Marquee) –
Dunfermline (Northern Roadhouse) –
Dunoon & Cowal (McColl’s Hotel)
East Kilbride (King’s Park Hotel, Rutherglen) –
Ellon (Ladbroke Hotel) –
Fintry (Fintry Sports Centre) – 25th Sept 89 Bill Black SDB
23rd Oct 89 Ian Muir Trio
Forfar (Plough Inn) -
Forres (Brig Motel) – 6th Sept 89 John Ellis & his H.C.B.
11th Oct 89 Currie Brothers
Fort William (Alexandra Hotel) –
Galashiels (Maxwell Hotel) –
Galston (Theo’s Restaurant, Galston) –
Glendale (Black Bull Hotel – Wooler) –
Highland (Drumossie Hotel) – 18th Sept 89 Calum McLean & Deirdre Adamson
Islesteps (Driveway Inn) –
Kelso (Ednam House Hotel) – 27th Sept 89 Calum McLean & Deirdre Adamson
Kintore (Crown Hotel) – 6th Sept 89 Neil MacEachern SDB
Langholm (Crown Hotel) –
Lesmahagow (Masonic Hall) – 14th Sept 89 Deirdre Adamson
12th Oct 89 Bruce Lindsay Trio
Livingston (Golden Circle Hotel, Bathgate)
Lockerbie (Bluebell Hotel) -
Mauchline (The Jean Armour Restaurant) 19th Sept 89 The Ballochmyle Ceilidh Band
17th Oct 89 Scott Leslie SDB
M.A.F.I.A. (Masonic Hall, Milngavie) – 4th Oct 89 John Duncan
Montrose (Park Hotel) – 13th Sept 89 John Ellis & his H.C.B.
Newtongrange (Dean Tavern) –
North Cumbria (Golden Fleece, Ruleholme) (prev called Gretna Club) –
North East (Seafield Hotel, Keith) –
Oban (Highlander Restaurant) –
Orkney ( venue?) –
Ormiston (Miners’ Welfare Social Club) –
Peebles (Countryside Inn) –
Perth (Station Hotel) – 19th Sept 89 Ian Holmes
Premier NI (Camlin function Rooms) -
Renfrew (Masonic Hall, Broadloom) – 12th Sept 89 Club Night
Rothbury (Jubilee Hall
Shetland (venue?) -
Thornhill (?)
Thurso (McKay’s Hotel) – 4th Sept 89 Duncan Black SDB
2nd Oct 89 Bill Brian
Turriff (Royal Oak Hotel) – 7th Sept 89 Dierdre Adamson & Helen Bedborough
Tynedale (Hexham Ex Service Club) – 26th Sept 89 Calum McLean & Deirdre Adamson
10th Oct 89 Paddy Neary
Wick (McKay’s Hotel) –
THERE WERE CLUB REPORTS FROM :-
1 Banchory
2 Banff
3. Balloch
4. Biggar
5. Button Key
6. Castle Douglas
7. Coalburn
8. Derwentside
9. Dingwall
10. Dunoon & Cowal
11. East Kilbride
12. Forfar
13. Forres
14. Fort William
15. Highland
16. Kintore
17. Lesmahagow
18. Lockerbie
19. M.A.F.I.A.
20. Mauchline
21. Montrose
22. North Cumbria
23. Ormiston
24. Peebles
25. Shetland
26. Thurso
CLUB DIRECTORY AS AT SEPT 1988 (Clubs didn’t necessarily notify the Assoc when they closed so the following may not be entirely correct. Only the clubs submitting the reports above were definitely open.)
1. Aberdeen A&F Club (1975)
2. Acharacle & District A&F Club (cMay 1988)
3. Alnwick A&F Club (Sept 1976)
4. Armadale A&F Club (Oct 1978? or 80) originally called Bathgate Club (for 2 months)
5. Balloch A&F Club (Sept 1972 – per January 1978 issue)
6. Banchory A&F Club (1978)
7. Banff & District A&F Club (Oct 1973)
8. Beith & District A&F Club (Sept 1972 – per first edition)
9. Belford A&F Club (joined Sept 1982)
10. Biggar A&F Club (Oct 1974)
11. Blairgowrie A&F Club (
12. Button Key A&F Club (
13. Castle Douglas A&F Club (c Sept 1980)
14. Coalburn A&F Club
15. Crieff A&F Club (cSept 1981)
16. Dalriada A&F Club (Feb 1981)
17. Derwentside A&F Club
18. Dingwall & District A&F Club (May 1979 – per first report)
19. Dunblane & District A&F Club (1971)
20. Dundee & District A&F Club
21. Dunfermline & District A&F Club (1974 – per first edition)
22. Dunoon & Cowal A&F Club (
23. East Kilbride A&F Club (Sept 1980)
24. Ellon A&F Club (
25. Fintry A&F Club
26. Forfar A&F Club
27. Forres A&F Club (Jan 1978)
28. Fort William A&F Club (21st Oct 1980 – per Dec 1980 B&F)
29. Galashiels A&F Club (joined Sept 1982)
30. Galston A&F Club (Oct 1969 – per first edition – closed March 2006)
31. Glendale Accordion Club (Jan 1973)
32. Highland A&F Club (Inverness)
33. Islesteps A&F Club (Jan 1981)
34. Isle of Skye A&F Club (
35. Kelso A&F Club (May 1976)
36. Kintore A&F Club
37. Langholm A&F Club (Oct 1967)
38. Lesmahagow A&F Club (Nov 1979 – closed May 2005)
39. Livingston A&F Club (Sept 1973 – per first edition)
40. Lockerbie A&F Club (Nov 1973)
41. M.A.F.I.A. (early)
42. Mauchline A&F Club (first mention 1986?)
43. Montrose A&F Club (joined Sept 1982)
44. Mull A&F Club
45. Newtongrange A&F Club (joined Sept 1979)
46. Newton St Boswells Accordion Club (17th Oct 1972 see Apr 1984 obituary for Angus Park)
47. North Cumbria A&F Club (originally Gretna started June 1966 – had to move to a venue in the North of England and changed name – eventually changed back when they returned to the Halcrow Stadium. No breaks in the continuity of the Club)
48. North East A&F Club aka Keith A&FC (Sept 1971)
49. Oban A&F Club (Nov 1975)
50. Orkney A&F Club (Mar 1978)
51. Ormiston Miners’ Welfare Society A&F Club
52. Peebles A&F Club (26 Nov 1981)
53. Perth & District A&F Club (Aug 1970)
54. Premier A&F Club NI (cNov 1980)
55. Rothbury Accordion Club (1987??)
56. Shetland A&F Club (Sept 1978)
57. Sutherland A&F Club (
58. Thornhill A&F Club (joined Oct 1983 – see Nov 83 edition)
59. Thurso A&F Club (cSept 1981)
60. Turriff A&F Club (March 1982)
61. Tynedale A&F Club (Nov 1980)
63. Wick A&F Club (Oct 1975)
Not on official list at the start of the season (closed, did not renew membership or omitted in error?)
64. Ayr A&F Club (Nov 1983 – per Nov 83 edition)
65. Bonchester Accordion Club (Closed?)
66. Bridge of Allan (Walmer) A&F Club (Walmer Hotel, Bridge of Allan) (c March 1982)
67. Buchan A&F Club
68. Callander A&F Club (
69. Campbeltown & District A&F Club (c Dec 1980)
70. Cleland (cNov 1981 – March 1985) originally called Drumpellier A&F Club (for 2 months)
71. Club Accord
72. Coquetdale A&F Club (Feb 1974 or c1976/77 – 1981/2?)
73. Coupar Angus A&F Club (cSept 1978 - ?)
74. Cumnock A&F Club (October 1976 - forced to close cDec 1982 - see Jan 83 Editorial)
75. Denny & Dunipace A&F Club (Feb 1981)
76. Dornoch A&F Club (first mention in directory 1986)
77. Dumfries Accordion Club (Oughtons) (April 1965 at the Hole in the Wa’)
78. Dunbar Cement Works A&F Club (Closed?)
79. Edinburgh A&F Club (Apr 1981) prev called Chrissie Leatham A&F Club (Oct 1980)
80. Falkirk A&F Club (Sept 1978 - )
81. Gorebridge (cNov 1981) originally called Arniston A&F Club (for 2 months)
82. Gretna A&F Club (June 1966)
83. Greenhead Accordion Club (on the A69 between Brampton and Haltwistle)
84. Kinlochsheil A&F Club (
85. Kirriemuir A&F Club (cSept 1981)
86. Monklands A&F Club (Nov 1978 – closed cApril 1983)
87. Morecambe A&F Club (joined Sept 1982)
88. Newcastleton Accordion Club
89. New Cumnock A&F Club (cMarch 1979)
90. Renfrew A&F Club (original club 1974/5 lapsed after a few years then again in 1984)
91. Straiton Accordion Club (c1968 – closed March 1979)
92. Stranraer & District Accordion Club (1974 – per first edition)
93. Torthorwald A&F Club (near Dumfries)
94. Walmer (Bridge of Allan) A&F Club
95. Wellbank A&F Club
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