Memories of the late Stan Saunders
by Jack Delaney
B&F September 2011
I
remember before I played with Andrew Rankine in the early fifties I was aware
that the band’s rhythm section was special and this was due in no small way to
the combined efforts of Stan Saunders on bass and Jim Scott on piano. They had
a great rapport which was very obvious from the start and I loved becoming part
of it. Stan played like a musical metronome and the band locked on to the beat
and swung along with ease. He produced a lovely note in perfect pitch and just
the right length for every musical mood. His timing was impeccable and he
created a great drive and lift which inspired us all on every occasion.
When I was invited to write a tribute to Stan I realised that I had to include the views of some of my fellow bandsman friends as Stan was such a popular and revered musician. I started by inviting Jim Scott, who played with Stan for around 12 years, to have a chat to reminisce about old times and memories of our old friend. We talked about his early days in The Andrew Rankine Band when he and Andrew worked at DCL in the laboratories in Menstrie. Stan was involved in micro-biology and this meant traveling all over Scotland taking samples from the distilleries for analysis which meant we had our own ‘sat nav’ for traveling the same roads with the bands. Stan had little formal education in music and was mostly self-taught. Although right-handed he felt the need to pluck the bass with his left hand and originally strung the instrument the wrong way round. However, this meant he couldn’t use other people’s basses when the opportunity arose so he reverted to the standard stringing, but still played left-handed!
We remembered too that at this time he was courting a lovely nurse from Perth who was to become his wife Louie and, because he was a motor cyclist, he had to come to band practices on a double-decker bus with the bass standing upright in the back luggage compartment. In the early days with Andrew’s band we traveled to engagements in a six seated car and Stan’s precious bass was carried on the roof rack along with two accordions and a snare drum in a case, all carefully enclosed in a custom made cover.
Stan was a huge fan of Dave Barclay’s technique and style and never tired of watching him play. I remember at Froickheim The Rankine Band sharing the stage with Lindsay Ross’s Band because of a promoter’s mistake. Stan was engrossed watching Dave Barclay while Dave enthused over Stan’s big sound. They had great respect for each other. In addition, Jim recollects that he and Stan frequently, and in all weathers, traveled on his scooter to Perth to watch Dave Barclay playing bass with The Ian Powrie Band.
At the point when Andrew decided to make music his full-time career, Stan, Jim and I joined The Hamish Menzies Band where we had great fun and many happy memories, often playing at dances from 8pm until 2am and then driving home to be at work next day. Stan and Jim then joined the one and only Jimmy shand Band with whom they both played for many years. Jim reckons they recorded around 75 programmes for ‘Heather Mixture’ alone and did the whole od the ‘On Tour’ series together which was a weekly feature. This involved traveling to towns all over Scotland. They also did some of the ‘White Heather Club’ programmes and toured extensively with Jimmy including trips to New Zealand and Australia with Kenneth McKellar, Moira Anderson and Duncan McRae. Jim remembers that there was little or no music provided for these recordings and they just busked it all, which was easy for them since they understood each other’s playing so well. Some of the best records were made without written arrangements, such was their ability.
On the occasion when Jimmy received ‘The Carl Allen Award’, both Stan and Jim traveled with the band to The Strand Theatre in London where they met Cliff Richard. After doing the live television show they both had to travel back overnight by sleeper to be at their jobs the next day. So much for stardom! After the Shand days, Stan played and recorded with many other Scottish bands as diverse as Jimmy Shand Jnr, Angus Fitchet, Ian Holmes, Colin Finlayson, Iain MacPhail, Alex MacArthur, Robin Brock, Sandy Nixon and Jim MacLeod. The list goes on and on.
As well as having a chat with Jim I also contacted Sandy Nixon who e-mailed me his thoughts :
Sandy Nixon
“I first heard Stan playing with The Ian Holmes’ Band on BBC Scotland in the early 1970s. When I upgraded my hi-fi system and could really hear what the bass was doing, I was ‘knocked out’ by Stan’s playing!
I met Stan around 1980 when playing second box with David Cunningham Snr on a broadcast for Radio Forth’s ‘Folks Around Robin’ programme. I did a few broadcasts in the next couple of years with DC for that programme and got to know Stan.
I approached Stan about the possibility of playing with me on a BBC broadcast with my own band in 1983. To my delight he agreed. He did my first broadcast – recorded in late ’83 but not on the air until January ’84. He continued to play with me when he could at gigs as well as doing recordings until he ‘retired’ in 1996. Any time Stan joined us it just added another dimension to the sound. He produced such a wonderful, big, rich note that lifted everyone. He seemed to do this with the minimum of effort. At times he would hit the open (low) E-string and let it ring on a little longer than usual – you could feel the note coming up through the stage! At times he would give a little kick (like Will Starr!) in the middle of a set! We knew then that he was really enjoying the tune! He was a pleasure to play with and always seemed to enjoy playing with us. He was good company and a pleasure to be with. When rehearsing for recordings, we used to meet at Stan and Louie’s house. We were always made extremely welcome. The music and the social aspect were both equally important – band practices were never a chore!
I caught up with Stan last year, having not seen him for quite a few years. I was playing in Perth and had left early to avoid the rush hour traffic. I knew his address and simply arrived and rang his doorbell. He was in great form and, although he had not played for many years, he was interested to know what was going on in the Scottish dance band scene and how everyone was. I spent a most enjoyable hour with him.
I’ll remember him for his pawky humour, his good company but most of all for the unique, wonderful bass playing. As John (Delaney) said in an interview with Robbie, when it comes to bass players in Scottish dance bands, there is Stan Saunders, then there is everyone else!
That sums Stan up perfectly, and I count myself privileged to have known him and to have played with him.”
Gordon young was also a great friend of Stan’s and this is his contribution :
Gordon Young
“I first played with Stan over 40 years ago on a Scottish dance music broadcast with Ian Holmes. I did of course know of his standing having been involved in Scottish Country Dancing and seen him with such greats as Jimmy Shand and Andrew Rankine. So there I was, my first venture into the BBC, playing in a band I considered one of the best, part of a rhythm section with two absolute legends, namely Bill Hendry from Falkirk on piano and Stan Saunders from Dollar on bass. I was terrified! However that did not last long. The boys in the band, and Stan in particular, could obviously feel my apprehension and very quickly made me feel relaxed, making sure I could hear everybody; that I was comfortable and keeping me informed of what to expect as we went along. One of his words of advice always stayed with me. We had just finished having a run-through a set of great reels and Stan said, ‘Forget you are in a studio and just enjoy the tune as if you are playing at a dance.’ Sound advice from a man I have always considered the best bass player in the business – which in no way suggests we are not blessed with many first class musicians who play bass – Stan really was in a class of his own. I played with The Ian Holmes Band for a number of years and shared many great musical moments with Stan on stage, recording sessions and radio.
I played for 20 years or so with sandy Nixon and Sandy used Stan when he needed a double bass. On occasion I used to play with Jim MacLeod at Dunblane Hydro and Stan was on bass, however the band used to split up at the interval and Stan sat in on drums and he was no mean performer on the skins.
I consider myself very fortunate to have played drums so often in the same band as Stan Saunders and I am sure everyone who has shared a stage with Stan would be of the same opinion. He gave you this wonderful big sound to lean on and played with a swing, lift and drive that was truly unique.
I have great memories of a God-given talent, supremely handled by one of the good guys.”
Stan’s influence has extended into the next generation of bass players and I asked Suzanne Croy to share her memories:
Suzanne Croy
“When I reflect on what Stan meant to me, I now realise he has influenced me throughout my life. I was brought up to the strains of Andrew Rankine and Jimmy Shand at home and I was immediately drawn to the warm, round sound which Stan produced. This led me to taking up the bass.
My warmest memory of Stan is when I was learning bass at school; Jim Dawson asked me to play at a dance in The Cochrane Hall in Alva but when I arrived there was already a bass on stage – I thought he had doubled booked. However, it transpired that Stan, Jim and my mother had arranged for me to play alongside Stan in the hope that I might pick up some tips! I learned more in those few hours than I could have possibly imagined; the main thing being the famous ‘Stan note’ – the high D or E grace note played at just the right place to lift the whole band – fantastic!
I became an avid fan, following Stan around the countryside and taking over whenever the bans played Mhairi’s Wedding (Stan’s least favourite original). He was kind, patient and encouraging and my only regret is that the younger generation have become so accustomed to playing without a bass that they might miss out on the Stan Saunders sound.
Last year I sold my blonde bass (affectionately known as Stan) to a young musician from Mull called Ross Wilson, on the condition that he looked after it and continued to call it Stan. I note Stan is regularly referred to on Facebook! I explained to Ross about the ‘Magic of Stan Saunders’ and he is now taking lessons from Alasdair MacLeod. Hopefully through this, the younger musicians will continue to learn and be influenced by Stan’s unique sound.”
My final contributor is my son, John, who was also hugely influenced by Stan. His thoughts express his friendship and admiration for this great man;
John Delaney
“Stan was, and remains, unarguably Scottish dance music’s finest bass player. His sound was absolutely distinctive; perfectly balancing precision and feeling with the famous Saunders ’dunt’, enhancing any rhythm section and – consequently – band that he was a part of.
Stan has always been a tremendous inspiration to me as a bass player and, although I spent a long time watching and listening to him, I could never work out how he produced that sound; but then I don’t think he could analyse it either. He did however spend as lot of time when I started out playing helping and encouraging me.
When he worked with Distillers he would sometimes pop in to see me at lunch time and talk about playing in position and string instruments and damping and other ‘nuts and bolts’ bass stuff, always happy to illustrate the point and encourage someone else to enjoy playing as much as he did. This at a time when he was recognised to be at the top of his game, he was self effacing and without ego that I could detect – a thoroughly decent man.
When I started to have the opportunity to do some ‘Take the Floor’ work, Stan would always phone up the next day and tell me of some part of my playing that he had particularly enjoyed – a gesture that meant more to me and encouraged me more than I could ever describe.
When he retired from playing, the quality of his musicianship was undiminished and – while I can appreciate and respect his desire to retire while at the height of his playing – I genuinely feel he could have played on for a long time.
As a musician and an inspiration, Stan will be sorely missed but his legacy will remain with us both in his recorded work and in the memories and hearts of those of us lucky enough to have known him.”
Having read all of these contributions, I am sure you will agree that the admiration and respect we all feel for our old friend and the ‘Stan Saunders Sound’ is obvious. I think my dislike for accordion MIDI bass stems from my listening to Stan for such a long time and appreciating how a bass should really sound. You can’t copy that Stan Saunders sound electronically!
Stan’s bass is now owned by Robert (Andy) Anderson of The Dollarfield Band, who was also a great friend of his. Stan gave Andy a comprehensive list of all the bands this instrument has played with – too numerous to include – and it makes very interesting reading!
I was privileged to have played with him over many years – at dances, recordings and broadcasts – with many bands. It was always a great pleasure to be his friend and in his company. I am grateful to my friends for taking time to share with me their thoughts on Stan as a musician, an influence and a friend.
We also received this tribute from Ian Holmes:
Ian Holmes
I first met Stan in the late 1950s, when Andrew Rankine’s Band played a number of gigs in Dumfriesshire. He and pianist Jimmy Scott joined me on stage when I was asked to play at half time.
When I became a member of Andrew’s new band in 1960, Stan joined Hamish Menzies’ Band. By the time I formed my own band in 1962 Stan was playing with Jimmy Shand. Jimmy kindly allowed Stan time off for my broadcasts. He and ex-Bobby MacLeod pianist Davie Whitehead were a very good solid team and that partnership continued for around six years. When Davie was unable to continue, Stan was re-united with his old friend Jimmy Scott. In the late 1960s I brought in jazz pianist Bill Hendry from Falkirk, and that partnership lasted until 1995 when Bill decided to retire and I brought in Jim Clark from Annan.
Stan also decided to retire and his last appearance with my band was a broadcast for ‘Take the Floor’ when all the tunes were composed by Jimmy Shand. In a way he’d become a victim of his own success, for by that time he was much in demand by other bandleaders. He felt he was becoming too busy and that to be fair to everyone, he should retire. I fully understood, though his decision was a blow, for Stan had gigged, broadcast and recorded with my band for 35 years.
He has a great sense of humour and, when writing to me, his letters always began “Dear Sir Ian….”
Since his passing I have thought of the many laughs we had together. He related some funny things which happened whilst he was in Jimmy Shand’s Band, like the time Jimmy was named “Old Tyme Bandleader of the Year” in the Carl Allen Awards. These awards were to be presented in a London Theatre. The venue had a revolving stage and while Joe Loss and his Orchestra were out front entertaining the crowd, Jimmy and his band were assembling at the rear, ready to be whisked round.
Jimmy, feeling his hands were too dry, and seeing Stan’s neatly oiled hair, ran his fingers through it, exclaiming, “That’s better noo Son.” With the ‘Magic Roundaboput’ starting to move and imagining himself with spiked hair looking like ‘Oor Wullie’, Stan said he just managed to get it re-combed and start playing ‘Bonnie Dundee’.
I recall when my band was playing a live broadcast from the BBC Edinburgh studio. Included in the programme was a set of wild Irish jigs, which I had given an innocent sounding title. Whether by accident or deliberately, the continuity announcer in the Glasgow studio rearranged the letters and as a result the title sounded rather rude. Only Stan and I noticed this error and we really had a problem playing the remainder of the session. I could hear Stan’s stifled chortles, but dared not look at him until after we had played the final chord of the signature tune, when we both fell about laughing. The other members of the gang must have thought we’d gone mad!
On another occasion in the BBC Aberdeen studio, during rehearsals for a live mid-day broadcast, the announcer, who was also present, had somehow great problems pronouncing Stan’s surname, uttering “Sanders, Sinders, Sunders” etc. He finally got it right, but kept practicing until the programme began. Obviously the nerves took over, because when it came to naming the band, he got it wrong again, and again we struggled to finish the programme. With the poor man present and apologizing, we did manage to control our mirth until we left the building when we literally exploded. Oh the happy memories! Purely self-taught, Stan Saunders was a much admired musician and his contribution to the Scottish music scene over so many years was enormous. No doubt my life was greatly enriched by having him as a friend and musical colleague.
When I was invited to write a tribute to Stan I realised that I had to include the views of some of my fellow bandsman friends as Stan was such a popular and revered musician. I started by inviting Jim Scott, who played with Stan for around 12 years, to have a chat to reminisce about old times and memories of our old friend. We talked about his early days in The Andrew Rankine Band when he and Andrew worked at DCL in the laboratories in Menstrie. Stan was involved in micro-biology and this meant traveling all over Scotland taking samples from the distilleries for analysis which meant we had our own ‘sat nav’ for traveling the same roads with the bands. Stan had little formal education in music and was mostly self-taught. Although right-handed he felt the need to pluck the bass with his left hand and originally strung the instrument the wrong way round. However, this meant he couldn’t use other people’s basses when the opportunity arose so he reverted to the standard stringing, but still played left-handed!
We remembered too that at this time he was courting a lovely nurse from Perth who was to become his wife Louie and, because he was a motor cyclist, he had to come to band practices on a double-decker bus with the bass standing upright in the back luggage compartment. In the early days with Andrew’s band we traveled to engagements in a six seated car and Stan’s precious bass was carried on the roof rack along with two accordions and a snare drum in a case, all carefully enclosed in a custom made cover.
Stan was a huge fan of Dave Barclay’s technique and style and never tired of watching him play. I remember at Froickheim The Rankine Band sharing the stage with Lindsay Ross’s Band because of a promoter’s mistake. Stan was engrossed watching Dave Barclay while Dave enthused over Stan’s big sound. They had great respect for each other. In addition, Jim recollects that he and Stan frequently, and in all weathers, traveled on his scooter to Perth to watch Dave Barclay playing bass with The Ian Powrie Band.
At the point when Andrew decided to make music his full-time career, Stan, Jim and I joined The Hamish Menzies Band where we had great fun and many happy memories, often playing at dances from 8pm until 2am and then driving home to be at work next day. Stan and Jim then joined the one and only Jimmy shand Band with whom they both played for many years. Jim reckons they recorded around 75 programmes for ‘Heather Mixture’ alone and did the whole od the ‘On Tour’ series together which was a weekly feature. This involved traveling to towns all over Scotland. They also did some of the ‘White Heather Club’ programmes and toured extensively with Jimmy including trips to New Zealand and Australia with Kenneth McKellar, Moira Anderson and Duncan McRae. Jim remembers that there was little or no music provided for these recordings and they just busked it all, which was easy for them since they understood each other’s playing so well. Some of the best records were made without written arrangements, such was their ability.
On the occasion when Jimmy received ‘The Carl Allen Award’, both Stan and Jim traveled with the band to The Strand Theatre in London where they met Cliff Richard. After doing the live television show they both had to travel back overnight by sleeper to be at their jobs the next day. So much for stardom! After the Shand days, Stan played and recorded with many other Scottish bands as diverse as Jimmy Shand Jnr, Angus Fitchet, Ian Holmes, Colin Finlayson, Iain MacPhail, Alex MacArthur, Robin Brock, Sandy Nixon and Jim MacLeod. The list goes on and on.
As well as having a chat with Jim I also contacted Sandy Nixon who e-mailed me his thoughts :
Sandy Nixon
“I first heard Stan playing with The Ian Holmes’ Band on BBC Scotland in the early 1970s. When I upgraded my hi-fi system and could really hear what the bass was doing, I was ‘knocked out’ by Stan’s playing!
I met Stan around 1980 when playing second box with David Cunningham Snr on a broadcast for Radio Forth’s ‘Folks Around Robin’ programme. I did a few broadcasts in the next couple of years with DC for that programme and got to know Stan.
I approached Stan about the possibility of playing with me on a BBC broadcast with my own band in 1983. To my delight he agreed. He did my first broadcast – recorded in late ’83 but not on the air until January ’84. He continued to play with me when he could at gigs as well as doing recordings until he ‘retired’ in 1996. Any time Stan joined us it just added another dimension to the sound. He produced such a wonderful, big, rich note that lifted everyone. He seemed to do this with the minimum of effort. At times he would hit the open (low) E-string and let it ring on a little longer than usual – you could feel the note coming up through the stage! At times he would give a little kick (like Will Starr!) in the middle of a set! We knew then that he was really enjoying the tune! He was a pleasure to play with and always seemed to enjoy playing with us. He was good company and a pleasure to be with. When rehearsing for recordings, we used to meet at Stan and Louie’s house. We were always made extremely welcome. The music and the social aspect were both equally important – band practices were never a chore!
I caught up with Stan last year, having not seen him for quite a few years. I was playing in Perth and had left early to avoid the rush hour traffic. I knew his address and simply arrived and rang his doorbell. He was in great form and, although he had not played for many years, he was interested to know what was going on in the Scottish dance band scene and how everyone was. I spent a most enjoyable hour with him.
I’ll remember him for his pawky humour, his good company but most of all for the unique, wonderful bass playing. As John (Delaney) said in an interview with Robbie, when it comes to bass players in Scottish dance bands, there is Stan Saunders, then there is everyone else!
That sums Stan up perfectly, and I count myself privileged to have known him and to have played with him.”
Gordon young was also a great friend of Stan’s and this is his contribution :
Gordon Young
“I first played with Stan over 40 years ago on a Scottish dance music broadcast with Ian Holmes. I did of course know of his standing having been involved in Scottish Country Dancing and seen him with such greats as Jimmy Shand and Andrew Rankine. So there I was, my first venture into the BBC, playing in a band I considered one of the best, part of a rhythm section with two absolute legends, namely Bill Hendry from Falkirk on piano and Stan Saunders from Dollar on bass. I was terrified! However that did not last long. The boys in the band, and Stan in particular, could obviously feel my apprehension and very quickly made me feel relaxed, making sure I could hear everybody; that I was comfortable and keeping me informed of what to expect as we went along. One of his words of advice always stayed with me. We had just finished having a run-through a set of great reels and Stan said, ‘Forget you are in a studio and just enjoy the tune as if you are playing at a dance.’ Sound advice from a man I have always considered the best bass player in the business – which in no way suggests we are not blessed with many first class musicians who play bass – Stan really was in a class of his own. I played with The Ian Holmes Band for a number of years and shared many great musical moments with Stan on stage, recording sessions and radio.
I played for 20 years or so with sandy Nixon and Sandy used Stan when he needed a double bass. On occasion I used to play with Jim MacLeod at Dunblane Hydro and Stan was on bass, however the band used to split up at the interval and Stan sat in on drums and he was no mean performer on the skins.
I consider myself very fortunate to have played drums so often in the same band as Stan Saunders and I am sure everyone who has shared a stage with Stan would be of the same opinion. He gave you this wonderful big sound to lean on and played with a swing, lift and drive that was truly unique.
I have great memories of a God-given talent, supremely handled by one of the good guys.”
Stan’s influence has extended into the next generation of bass players and I asked Suzanne Croy to share her memories:
Suzanne Croy
“When I reflect on what Stan meant to me, I now realise he has influenced me throughout my life. I was brought up to the strains of Andrew Rankine and Jimmy Shand at home and I was immediately drawn to the warm, round sound which Stan produced. This led me to taking up the bass.
My warmest memory of Stan is when I was learning bass at school; Jim Dawson asked me to play at a dance in The Cochrane Hall in Alva but when I arrived there was already a bass on stage – I thought he had doubled booked. However, it transpired that Stan, Jim and my mother had arranged for me to play alongside Stan in the hope that I might pick up some tips! I learned more in those few hours than I could have possibly imagined; the main thing being the famous ‘Stan note’ – the high D or E grace note played at just the right place to lift the whole band – fantastic!
I became an avid fan, following Stan around the countryside and taking over whenever the bans played Mhairi’s Wedding (Stan’s least favourite original). He was kind, patient and encouraging and my only regret is that the younger generation have become so accustomed to playing without a bass that they might miss out on the Stan Saunders sound.
Last year I sold my blonde bass (affectionately known as Stan) to a young musician from Mull called Ross Wilson, on the condition that he looked after it and continued to call it Stan. I note Stan is regularly referred to on Facebook! I explained to Ross about the ‘Magic of Stan Saunders’ and he is now taking lessons from Alasdair MacLeod. Hopefully through this, the younger musicians will continue to learn and be influenced by Stan’s unique sound.”
My final contributor is my son, John, who was also hugely influenced by Stan. His thoughts express his friendship and admiration for this great man;
John Delaney
“Stan was, and remains, unarguably Scottish dance music’s finest bass player. His sound was absolutely distinctive; perfectly balancing precision and feeling with the famous Saunders ’dunt’, enhancing any rhythm section and – consequently – band that he was a part of.
Stan has always been a tremendous inspiration to me as a bass player and, although I spent a long time watching and listening to him, I could never work out how he produced that sound; but then I don’t think he could analyse it either. He did however spend as lot of time when I started out playing helping and encouraging me.
When he worked with Distillers he would sometimes pop in to see me at lunch time and talk about playing in position and string instruments and damping and other ‘nuts and bolts’ bass stuff, always happy to illustrate the point and encourage someone else to enjoy playing as much as he did. This at a time when he was recognised to be at the top of his game, he was self effacing and without ego that I could detect – a thoroughly decent man.
When I started to have the opportunity to do some ‘Take the Floor’ work, Stan would always phone up the next day and tell me of some part of my playing that he had particularly enjoyed – a gesture that meant more to me and encouraged me more than I could ever describe.
When he retired from playing, the quality of his musicianship was undiminished and – while I can appreciate and respect his desire to retire while at the height of his playing – I genuinely feel he could have played on for a long time.
As a musician and an inspiration, Stan will be sorely missed but his legacy will remain with us both in his recorded work and in the memories and hearts of those of us lucky enough to have known him.”
Having read all of these contributions, I am sure you will agree that the admiration and respect we all feel for our old friend and the ‘Stan Saunders Sound’ is obvious. I think my dislike for accordion MIDI bass stems from my listening to Stan for such a long time and appreciating how a bass should really sound. You can’t copy that Stan Saunders sound electronically!
Stan’s bass is now owned by Robert (Andy) Anderson of The Dollarfield Band, who was also a great friend of his. Stan gave Andy a comprehensive list of all the bands this instrument has played with – too numerous to include – and it makes very interesting reading!
I was privileged to have played with him over many years – at dances, recordings and broadcasts – with many bands. It was always a great pleasure to be his friend and in his company. I am grateful to my friends for taking time to share with me their thoughts on Stan as a musician, an influence and a friend.
We also received this tribute from Ian Holmes:
Ian Holmes
I first met Stan in the late 1950s, when Andrew Rankine’s Band played a number of gigs in Dumfriesshire. He and pianist Jimmy Scott joined me on stage when I was asked to play at half time.
When I became a member of Andrew’s new band in 1960, Stan joined Hamish Menzies’ Band. By the time I formed my own band in 1962 Stan was playing with Jimmy Shand. Jimmy kindly allowed Stan time off for my broadcasts. He and ex-Bobby MacLeod pianist Davie Whitehead were a very good solid team and that partnership continued for around six years. When Davie was unable to continue, Stan was re-united with his old friend Jimmy Scott. In the late 1960s I brought in jazz pianist Bill Hendry from Falkirk, and that partnership lasted until 1995 when Bill decided to retire and I brought in Jim Clark from Annan.
Stan also decided to retire and his last appearance with my band was a broadcast for ‘Take the Floor’ when all the tunes were composed by Jimmy Shand. In a way he’d become a victim of his own success, for by that time he was much in demand by other bandleaders. He felt he was becoming too busy and that to be fair to everyone, he should retire. I fully understood, though his decision was a blow, for Stan had gigged, broadcast and recorded with my band for 35 years.
He has a great sense of humour and, when writing to me, his letters always began “Dear Sir Ian….”
Since his passing I have thought of the many laughs we had together. He related some funny things which happened whilst he was in Jimmy Shand’s Band, like the time Jimmy was named “Old Tyme Bandleader of the Year” in the Carl Allen Awards. These awards were to be presented in a London Theatre. The venue had a revolving stage and while Joe Loss and his Orchestra were out front entertaining the crowd, Jimmy and his band were assembling at the rear, ready to be whisked round.
Jimmy, feeling his hands were too dry, and seeing Stan’s neatly oiled hair, ran his fingers through it, exclaiming, “That’s better noo Son.” With the ‘Magic Roundaboput’ starting to move and imagining himself with spiked hair looking like ‘Oor Wullie’, Stan said he just managed to get it re-combed and start playing ‘Bonnie Dundee’.
I recall when my band was playing a live broadcast from the BBC Edinburgh studio. Included in the programme was a set of wild Irish jigs, which I had given an innocent sounding title. Whether by accident or deliberately, the continuity announcer in the Glasgow studio rearranged the letters and as a result the title sounded rather rude. Only Stan and I noticed this error and we really had a problem playing the remainder of the session. I could hear Stan’s stifled chortles, but dared not look at him until after we had played the final chord of the signature tune, when we both fell about laughing. The other members of the gang must have thought we’d gone mad!
On another occasion in the BBC Aberdeen studio, during rehearsals for a live mid-day broadcast, the announcer, who was also present, had somehow great problems pronouncing Stan’s surname, uttering “Sanders, Sinders, Sunders” etc. He finally got it right, but kept practicing until the programme began. Obviously the nerves took over, because when it came to naming the band, he got it wrong again, and again we struggled to finish the programme. With the poor man present and apologizing, we did manage to control our mirth until we left the building when we literally exploded. Oh the happy memories! Purely self-taught, Stan Saunders was a much admired musician and his contribution to the Scottish music scene over so many years was enormous. No doubt my life was greatly enriched by having him as a friend and musical colleague.