Newsletter February 1987

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THE
BAGPIPE SOCIETY

EIGHTH NEWSLETTER

FEBRUARY 1987

MUSINGS
Looking back at the Fourth Newsletter editorial (Feb. ‘86), I saw I was the then part-timer over with the Society eighth advisor In its coming first full year. Well, 1986 has been and gone and we’re still around at least! Membership stands at 134 and is increasing - roughly have a week with members as far apart as Ireland and Latvia. We do such to be achieving our primary aim of putting pipers In touch with one another and there have been several collection of meetings practically every month, which with members have been able to get together to play, listen; exchange skills or just chat. Sadly, these events have not been too well supported by the membership. If transport is the problem, why not try to contact some of the other members on the Membership List (not forgetting Newsletter updates) for a petrol sharing arrangement? You never know your lucky sometimes: even overnight accomodation can be had for the asking too (certainly any members are welcome to bring their sleeping bags in a corner of my place (or any London/Southern England event). Or perhaps you’re all too shy? (Not??) Bagpipe? shy? Never!!!?

Sad to hear that Jonathan Sawens has left Blonesbella. Good luck to both Jon and the band as they go their separate ways - well I perhaps not entirely separate (with a little bit of luck) for Blonesbella seems to be becoming a bit of a Fairport Convention with old faces still regularly cropping up at events such as Medway.

Paul Roberts, Lowland piper with Red Shift has now left the band to be replaced by Dave Shaw.

Overheard at the Milton Keynes reed workshop in reply to a “how does one play the bagpipes” enquiry:
“Well, you shows this bit under this one, this bit under the other and tiddle your fingers on this bit and the music comes out here”. Oh, werp it that simple?

Some of you, it seems, are getting your chanters in a twist over various ethnic spellings - is it Santa Ballego (pronounced Gay-ay-go - part of) or Sailega (pronounced Sal-ay-go - part of)? Well, it depends on whether you want to use Castilian (that’s standard Spanish) or be like the Galicians who play the thing and call their

27th
AUGUST
1st (around)
22-29th

31st

. SEPT.
4-6th

Blow-obi II a

Mara
Whitby Festival

International
Bagpipe Festival

Blonesbella
Worshope Weekend

Rivalry Longsword Festival
Toll York — for details

Glastonbury Circle Dance Week
Alistair Anderson, Joe Hutton, Cock & Bull Band, Doonan Family Band, High Level Ranters, Kasper Family, Kathryn Tickell. Lots of bagpipe workshops

Stockton-on-Tees, Cleveland

West End Centre, Aldershot, Hants

Please notes
Irish pipers have places every weekend throughout the year at the
Irish Social Club, Romsey Road, Sheffield

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bappies after their language (Gaelgo lalthough Galicia is in Spain, the language is closer to Portuguese). As editorial policy, we’ve decided to use native spellings whenever known or reasonably likel} the constraints of the Roman alphabet. So Galego it is from now on. No have just had, by the way, a membership application from Spain and the spelling used is Galego as there, you only use x.

As a postscript, while researching all this nonsense, I find that there’s also a Galicia straddled by Welsh/Breton. You would think it quite likely that there could be bappies near that region and that they just might be called ‘Briede’ or something similar — could there be a connection? Over to you Anaelx (see Newborship article below for the solution to this enigmatic reference).

Seen on New Years Eve on BBC1is Mike Barquant and Dave Chatterley playing pipes and hurdy-gurdy in a way about Christmas times “Doy Alder the Fair". Nice to think that there might have been such instruments played at a Victoria English wedding even if rather unlikely — even more I think that TV producers care enough to get away from the usual boring historical stereotypes time and again.

Amazing, wonderful and very, very encouraging! I refer to the amount and quality of contributions for this newsletter. You have sent in so much, in fact, that I have had to hold some over for the next edition. But don’t slacken — keep it coming in. The copy date for the next issue is March 14th, so get scribbling.

FIRST ANNUAL GENERAL MEETING
Good to see such a good turnout for our first AGM. Major decisions you ought to know about are:

COMMITTEE
Chairperson Simon Dunn, [redacted]
Secretary David VanDorn, [redacted]
Treasurer Chi Allen, [redacted]
Journal Editor Peter Stacey, [redacted]
Publicity Officer Judy Tarry, [redacted]
Committee Member Brendan Harringan, [redacted]

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Assistants to the Committee
Membership Records Don Heard
Secretary [redacted]
Publicity Assistant Enzo Purzevola, [redacted]
Secretarial Assistant Steve Mason, [redacted]
Regional Co-ordinator Bob Cross, [redacted]
General Help John Bodacerce, [redacted]

NOTE: Use of last importance, at forecast in the last Newsletter, has approval of an increase in your annual subscription. The following rates now apply:
Joined Free £2
Ordinary Membership £7
Family Membership £9
Honorary Membership £7
Institutional Membership £12

Send’t more you with other details of the AGM — a copy of the minutes is available to any member who meets to know more — just contact me.

MEMBERSHIP RENEWALS
In line with most other societies of this sort, we are attempting to rationalise our membership renewals. Most societies request membership renewal twice a year — the two dates usually January/Nu. We have indeed decided to implement a bi-annual policy. So, if you joined in the early part of last year you will find a renewal form with this Newsletter; if you joined later in the year, you will be asked to renew in about 6 months (else you’ll still only play once a year though! — We realise that this may seem a slightly unfair arrangement for ‘harder’ [text redacted] cases but we are trying to implement it in your favour (honest); not the Society’s. If you think you’re being unfairly treated, please don’t just ignore the reminders; instead, get in touch and we’ll see what we can do.

Please remember though, that we desperately need your subscriptions, backs and every one of you, if we are to continue as we have so far. Please, please don’t put the reminder behind the clock because we literally can’t afford the postage to send out further reminders. Send off a cheque made at least put the regular in your cheque book until next payday — not forgetting to note the new rates!

By the way, many thanks to all of you who have so promptly sent us your renewals. Without being asked, particularly those who have included donations over the top.

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MEMBERSHIP LIST
Even if you are not being asked to renew your membership yet, you will still find a renewal form enclosed but with the renewal part crossed out. The reason for this is that we wish to update the
Membership List, hopefully for issue 10, the May 1986 Newsletter (No 9). If you have no changes you’d like us to know about, keep the form safe anyway - you may want to let us know of a change sometime later.

If you have any changes, please try to get the completed form back to me by end-February. This will save us the work of going back to you to check details will be changed on the Membership List. Remember, at the moment, we only issue an update once a year.

FREE MAKING WORKSHOP & CONCERT,
14 - 15th NOVEMBER 1985 (John Goodacre)
John Ross is original publicity for his reed-
making course promised us
a relaxed weekend in the beautiful surrounds of a country Manor.
Donated setting Kings of a country Manor
House setting. In fact, the centre is Great Linford village, the church by the canal. Manor House is its parkland and the pub (for Sunday lunch) is a local “hostess brand”. The “city” of Milton Keynes Friday evening concert was the thatched Barn (for our Friday evening concert), a Community Workshops,
specifically equipped for jewellery and woodwork (for our reed-making lessons!).

The Barn (open to the roof beams and beams, with a pleasant setting of an informal recital each friendly enthusiastic, Dave Shaw starter of stuff is a steady performance on this newly-coloured Bathurst Hall, although he had just driven down the A1 from Count Dunbar, he has now relaxed as a solo performer than at the Newbury weekend in September. It is a pity he did not treat us to slow airs such as his own “jemes,” with the bent notes, to show off a stepwise descending pipes sing strongly on the upper notes where other Northumbrian pipes are apt to waver. His lugs included one by Wally Taylor and his morphed the trinity “Exhibition Nosepipe”.

The local talent was John Ross on Italian pipes, with Jeremy Taylor on fiddle and Peter Lewis on border. They regularly play Celtic Irish music together in Buckingham youth where it may be easier to distinguish John’s piping. They started off with “Shroeds Shoemaker” as a slow dance then played a couple of reels and English dances.

Jean-Pierre Rasle, on French and Half-long pipes, performed with Paul Martin on dulcimer and Terry Lockwood on alto saxophone and synthesiser in fact they are three quarters of the present Cock and Bull Band. This showed the emergence of Jean-Pierre as a soloist of stature since his first solo recital at the Oxford Conference in 1984. In the old Cock and Bull, Peck band, he was an under-used fast-finger specialist, pouring out notes with little of overruble rhythm or pulse. Now the band is really relying on the good work he has done in nurturing (down to eighteenth century English tunes) and theory and putting them to good use, starting from Jean-Pierre’s own pattern technique. Paul Martin has a delightful stage presence, enjoying himself whether playing the melody or strumming the rhythm, and even when not playing. Pete Lockwood knows the strength of using a flicking system of tactility, as a rhythm instrument, and can imitate the tune of the binion or the hurdy-gurdy (regardless). A performer like this should treat pipes and the dance and play them to steady a start. There is a group playing them hard as if they are brand new tunes quite capable of taking on such original treatment. Jean-Pierre makes old tunes tight for their presentation. In the present band band he is well for his additional career as a “serious” musician studying the eighteenth century French Musette. He will be able to bring to life this exquisitely documented early music because he is already a player with a definite style of his own.

John Goodacre played a couple of tunes on the Llewscarritt-e reeds and pipes and by his brother Julian. This is another “certified” style of small pipes, for which he is building up his own repertory of simple tunes.

Jon Sayney, on his own set of Northumbrian half long pipes started appropriately with the First of “Pearson”. The 573 non-pipers dedicated them to the Society as its President. The revival of Northern reed pipes has so far been largely under the influence of the Highland Scottish tradition, both in music and in fear of overwhelming into the upper octave. Jon has approached the design from a completely different tradition, no doubt seeing the reason with which French pipes sing across the break. I hope to see the reaction when he enters the Lolland and Border Pipes Society Annual competition. His pipes sounded at home in the French tunes he played, such as “Buffarde Maltz and the couple of tunes by the group Pluxa.” Still “recall the shiver down my spine on hearing his very own “Masty jig” with which he won the 1985 Nabury dance competition. He played it this time as “The Newbury Jig”. Does it lose some of the excitement now that he uses plastic instead of cane for the chanter reed? It is difficult to recall. His sure playing is a delight to listen to, even when dealing with the difficulties of the pipes such as keeping the drones stable when increasing pressure for over-blowing. He has obviously worked on the balance of the drones so that they produce a fine drone sound rather than individual notes.

Peter Stacey has finally consented to deliver him from Wales so that he could join Jean-Pierre Rasle in showing off the work they have put into performing on a varied duo. Pete is a very positive solo performer on various flutes, pipes, percussion and saxophones, as his career in jazz barber proves. It is surprising how well the two, so different in style, have combined. This showed in unusual passages and parametric especially in octaves (Pete above the flute) but was there a slight disagreement or tuning of the leading notes?? Particularly successful duets were a Belgian incantations and march and “meaningless” March (from an early edition of Playford’s Dancing Master and related to “The King of Louisi”). Towards the end of the programme the only time the.

either two Cock and Bull players were back on stage. They had never before played Jean-Pierre’s tunes in the arrangements he had worked out with Pete, who in turn looked surprised at being suddenly absorbed into the band. What veracity!

Don Seadme led the Saturday morning workshop. Starting from Spanish cane in the ground, he demonstrated a shift in finger his cautious methods in making the channels read for his “brungish” P pipes. He went far to describe his tools, such as the scrubbing gouge, toothings sharpened initially for the silversmiths) mandrel for the metallic and the thick-bladed knife for final scraping. This has a thirty degree cutting angle and is used with a rocking action, scraping towards the tip of the read. Chopping off the top edge of the reed is best done into an end-grained hardwood block. He warned about deceptive appearances during the final scraping; turn the read over often when comparing the thickness of the two blades.

Mick Nelson’s pipe-making started from the approach of an engineer, showed his book “The Northumbrian Small Pipes Descriptive Details, Workshop Plans”, published by Border Keep in 1984, started as an exercise in machine drawing. On Saturday afternoon he shaped his face he makes all the different reeds for his pipes. He uses a hard vice bolt to secure the chanter staple between the blades of the reed. Time and again his advice contradicted with Jean Swayne’s, on binding, shaping the staple and final EEG pipe. He warned not to expect only an good reel out of every dozen made and that experimenting should only be done using good reeds. It is wasted on reeds that have already been rejected.

Dave Swayne’s Sunday evening workshop started off with a strophic in the drezzle to harvest local reed-marking material, from an older bush. He showed us how to split di y elder! sterape out the pith and 1/4 stem the shadows with a spittle horn. He rolled this own staple from brass while and opened out the way for it between the blades by binding them temporarily and forcing a heated mandrel between the. He tolds the staple to seal with shells; kept moist in a jar with alcohol. He then opening 1 leaf wide, kept it closed overnight with a clothesppeg The lining of the end of the drone reed tongue 1 first scored with a ridge of filn and then cut in the usual way. but with wider the sides are best cut rather than split.

We all test a chanter reed by life “crot”. Dave thinks that the pitch of the crow produced by a heavily used reed depends on the amount of wetness and moisture. Another thing happier present [scratched out] side band of noise, out of which we can just distinguish a central pitch. This, he advises, will be even more after fourth or fifth tunning top hole note of the chanter.

It would be understandable for pipers to be wary of sharing their tuning methods and sticks. Most of us, however, are unlikely to set up in rivalry to produce the reeds we need. My own weekend attempt at a reed I found swept into the bin with other rubbish overnight but at least I came away wiser and more confident that, if necessary, I could now make the odd reed. Most remarkable was the variety of approaches to the craft. Jean Swayne said the shape of the staple mandrel he uses on his workshop was too complicated to describe briefly but he could supply a chart, giving details. Mike Nelson favours the traditional six inch oval hand nail filed down at the ends, while Dave Evans even opens out the lower end of the staple to be in line with the bore of the Union pipe chanter. Didn’t Dave Ewan just give his more-or-less staple a runner in rid air until it was the “right shape" after all, the gap down the side will be completely sealed by the binding.

John Ross is to be congratulated on his courage in initiating and organizing the whole event single-handed, down to the water-borne am helped elming accusations and the Barnett" fond The fact that he allowed it to become the venue for the Society AGM guaranteed its success and enthusiastic support; a couple of dozen of us all the more credit to him for coping with it all. What with the excitement of learning and sharing during the workshops, the pub and music at each sitting, and any around the prize and various midnight escapades, including the threat of a dip in the canal. I defy anyone there to have had the praised “relaxed weekend". My memories include coming across Eastern Harrington directly holding barmaid Maud to cry with ) Ann Swayne charier in his own pipes, little realizing that he was serenading the congregation singing from Sunday morning service at the parish church.

SHORT TALK #1

One of our members, Dave Ledsoe, owns a small shop in Nottingham. Dave has offered to hold stocks of bagpipe and bagpipe related manuals and to give a good discount to bagpipe Society members on all his items. Anyone who would like to take his up — terms — this can contact him at [scratched out] or at his from home.

Dave says he will also consider stocking bagpipes, if any makers are interested, on a sale or return basis. Dave also has connections in the music publishing world so if you have plans to publish a tune hook or something similar and don’t know how to go about it, why not contact him first?

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SHOP TALK #2 (BARGAIN BASEMENT BAGPIPES)
by Simon Owen

I’m sure that many people will have seen Scottish bagpipes in certain music shops which sell for as little as £40 per set. One’s first instinct is to find such a price incredible for a working instrument and so avoid them, assuming that they must be bought solely by American tourists to hang over their fireplaces.

Not so! These pipes are made in Pakistan using what must be tremendously unjuried labour and can actually be made to work. The wooden sections are covered in a nasty black lacquer with a sanded wood removed on a lathe, revealing reasonably quality wood of the prewood family beneath. The bores are quite well centered and smoothly reamed, although the chanters feel rather thin-walled.

For some time I had seen these on sale in various music shops but never more rarely of late, until it now seems that Russell Scott’s Music Shop of Oxford IS the only shop I know of that has any left in stock – (try Bill Lewington, Shaftsbury Av, London, E15). I have bought a few of them sets and have not been disappointed so far (although I doubt if these hands would recognise their creations any longer!).

Threed sizes are available viz. miniature with a practice chanter for £19.95, half size, about the size of Reef Pipes for £29.95 and large for £35-£45. There are also practice chanters in shawmate for £4 and in PVC with or £10, and bombardes in shawmate or cocum for £16 (which work well).

These are the prices if Russell Scott’s at present. I don’t know if they do mail order, but it might be worth a try. I own two bagpipe booklets, I have been lucky in that the ones I have had from them have worked, but I’m sure it would be advisable to check them out personally if possible first. If only I was an ethnomusic…

WELSH HARPER AND ENGLISH BAGPIPER

As well as the above article, Simon has sent in a delightful little piece culled from ‘A Celtic Miscellany’, Editor, K. Jackson (Penguin Modern Classics). Simon has actually sent us several such pieces he has raored out which we will be reproducing in coming Newsletters. All I we know of this piece is that it is Welsh, authorship uncertain, and that it’s 15th Century.

‘Last Sunday I came – a man whom the Lord God made – to the town of Flint, with its great double walls and rounded bastions; nay I see it all alive! An obscure English wedding was there; with but little good – an English feast; and I meant to earn a shining solid reward for my Harper’s art. So I began, with ready speed, to sing an ode to the kindness but all I got was mockery, spurning of my song and grief. It was easy for lucksters of barley and corn to dismiss all my skill, and they laughed at my artistry, my well-prepared panegyric of straw. They did not value John at the Long Planner beyond pebber of orange and another abutezing for his land. They all called for William “the Piper to come to the table,” a low fellow he must be. He came forward as (though claiming the usual rights), though he did not look like a privileged man, with a growling bag; a panther of heavy guts. At the end of a stick between chest and arm. He swiped away, making startling grimaces, a horrid noise from the woisten belly, bulging his eyes; he twined his body here with there, and puffed his two cheeks out, playing with his fingers on a bell of hide, a necessary contact, “fit for the unworthy” drummers. He touched his mouth bars and, other fret, wider his black like worthless halldermonger the armed away, and bobbed his head until it was on his breast, the very image of a kite with yellow wings and long feathers. The piper puffed making an outlandish crew, blowing out the bag with a loud hell – the hollow mouth and harsh spaunch with ancestral cry, throat aware and lips pulled. When I had half a reception in my sharp, little a shaded goose screeching aloud. There are voices in that hollow bag like the ravings of a thousand cats – the sorrow. I thought a living instrument – no pay for its hire. After it bended its wheezing note, that cold songstress whom I love would whom, will not like fee – namely been-soup and enemies if they said – well, honest meat! Help-pipers, not the larger part of, princely hand, while I was sent away in high vexation from the silly feast all empty-handed. I constantly vow I do consume wretched filth and all its children, and its wide, hellish furnace, and its English people and its riper! That they should be slaughtered is all my prayer, my curse in their midst, and on elder children; sure, if to where again may I never return alive!’
(Blimey; bit strong . . . Ed)

HAPPY EVENT

To Buddy and Peter, a girls’ brown baby; 6lb 5oz. Love and congrats from us all.

What is it about bagpipes and babies? There seem to have been an awful lot lately among members; could it be something in the bag seasoning, or is it some strange side effect of Goodacre’s teaching? And I seem to recall at Newbury last year that there were quite a few very small clars pipes playing with their mums’ and dads’ bagpipes for exhibition. Young up the good work at this art, in which I had have well a healthy membership in a few years’ time.

LOWLAND & BORDER PIPERS’ SOCIETY (LONDON) NEWS

John Telfer is the the LBPS(London) intend to start regularly at the National Army Museum, Royal Hospital Road, Chelsea throughout 1987. The calender stands as follows:

 Jan    16th      - Social Piping
 Mar    20th      - workshop
 May    15th      - Guest speaker/player (Col Ross Sydr Gordon Mooney)
 Sept  18th      - Members' recitals (all instruments welcome)  
 Nov    20th      - Competition (Hamish Moore has agreed to Judge)

The November competition is for bellows-blein, repemuked chanter pipers with drones in a metal stock and will be judged by Hamish, with prizes for musical and stylistic merit plus special prizes for attended at least one of the 1987 London sessions is eligible provided they have not taken part in any competition in Scotland.

All are welcome at the London meetings, whether or not they are members of the LBPS. John does ask, though, that you consider signing if you intend to attend regularly.

Please note John’s new address as he has moved since the last Bagpipe Society Newsletter. List now is omitted. John Alison.

RECORD REVIEW by Simon Owen

As provided, here’s a review of another record you might like to seek out. The record reviewed in this column are not necessarily new releases and may take some digging out. This review is of Kan-Arzh – Musique de Bretagne, by Phillipe Guillier & Jacques Micheland, LUG 1 PRESS, LIM Productions.

This record Moulin allisms very interesting addition to anyone interested in Breton music and especially those with a fondness for Breton bagpipes. To some, the sound of the Binious Kozh with its tiny chanter has an effect akin to fingernails scraped over a blackboard while to others it’s simply quite comfortable, the true voice of Traditional Breton music when played with the bombarde, the advent of the Biniciou Braz, the returned Highland bagpipe, in the 1930s and the formation of the Bagadou or Pipers and bombarde bands is something to these people.

Fortunately, this record can please advocates of both schools of thought. It features the Biniciou Kozh and bombarde in the classic somewhere else format to which the Biniciou player echoes the bombarde player while the bombarde or takes a (south-north) breath. Other instruments such as guitar and piano and even sitar and tablas are added to this combination on some tracks, but also give prominence

in the Basoins of the Nantes region, the Pave de Retz, known as the Veuze, larger chan the Biniciou Kozh, it has a sweet nasal tone similar to a Talian Guither reminiscent of the Biniciou. although a bit smaller, it plays both as a solo instrument and in conjunction with the bombarde. The instrument seems to be making some headway towards reestablishing itself as presently and on the basis of this record, one of the road feature it, the revival is in safe hands.

The Veuze features in the break tracks to be found on this record. One of them, “L’Hirondelle” written by Seaux Micheland, seemed to have become part of the repertoire of nearly every Breton bell lost time it was over there a pretty tune (and an utter rendeclement and a striking quartette, before two Veuze playing. The latter take us to another, it was no stranger to any particular tradition, but is a very elegant atmospheric for the Veuze. The control and phrasing of the Veuze where it plays solo on “Pitié oui a Pris Mon Treeur/A Fard de la Servante” is exeedingly well executed and it is given an ungual and unvaried backing by a Basoins section which works very effectively.

The piper (Jacques Micheland) takes the Biniciou Kozh sound much more harmonious than is often the case, and has obviously made great selection of tuning, an excellent example being found on the track “palodis et Dance du Pave Lean” where the Biniciou is recorded very much to the front.

The Biniciou is in aggressive form for the other highlights, the art “Rondu de Daoutroi”, Schrit/chen a Jaout/Schottishe du Pave de Retz, in which it is played with the bonbardes. The combination is augmented with sitar and mandocello with a bit of electronic bass thrown in. Scot on Harmin’ is a less bonique and bombarde like the tune but the odd nail are wish for some more tracks like this on the album.

One or two other tracks feature quite a lot of abstract impressionism which tend to distract one’s attention and me track has the unusual linking of Biniciou and bombarde with sitar and tablas. Unfortunately both artists seem to follow their own pattern of oblivious for the other with the result that neither gets the attention it deserves.

These minor objections ruin the gaiety of airs and bombarde a sort plays the piper much the greater and their experiment with Bass drums and their are will moves soon in new direction, especially if tradition is not to become a museum piece.

This record came out in 1983 so it should still be available. I would recommend it both to existing Bretonophiles and to much be prejudice of Binombours.

NEW RECORD RELEASES We understand that previews of our members either have new records in

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the shops or mills have soon. Kathryn Tiscoll has one out now, her second album, entitled “Borderlands”. I haven’t been able to get hold of it yet but Paul Davenport, who co-wrote the sleeve notes, tells me to copy and would like to submit a review for the next Newsletter; the early date is March 14th. The crepvine also tells me that there will soon be new albums by Hamleigh Moore and Jean Blanchet of the Eric’s nightclub. Keep your ears to the ground.

1987 BLOWZABELLA WORKSHOP

This year, the annual Blowzabella thrash will be moving from Newbury to the West End Centre, Aldershot, and will be over the weekend 4-6th September. Paul & James says it will be a bigger better venue with lots of separate spaces for workshops. There will be a bar, food facilities, free parking, pool (swimming or snooker Paul?), and a fully equipped theatre/hall. There is also a small stage in the bar so events can take place at the same time as in the main theatre. Punters can even sleep on the premises. The “fabulous” guest list will be announced soon along with further details but we’d like to know that Brixton groups FT Jaff have been booked. Paul will be running a voice workshop and Jim Denly an accordion workshop.

For those who haven’t been before, Chris Newsomd is a must for bagpipers, featuring acts he does numerous playing and assisting workshops and the chance to meet others of similar persuasions. The music and dance of many of the bagpipes’ relatives of Europe is featured and the atmosphere of this unique (well, I know of no other now) event is the most like ballet to be witnessed. The Society, by the way, has been asked to stage an exhibition of bagpipes for the event, so if you’d like to offer your piplis or the day, watch this space for details.

MUSIC FOR THE HIGH AND RAGGEE

As stated in Newsletter 5, Pipe Instructor Robert S.S. Bray has compiled a booklet of tunes suitable for Burns Nights, etc, now offer a 19 tune booklet of tunes analysed by the Dagenham Girl Pipers. All the tunes are arranged for the Highland bagpipes and are written in the Highland banjo notation convention complete with ornamentation. The price is - mail for it! - £7.99. Next print? All Robert wants from you is a stamped addressed envelope (24p for the Burns or 30p for the others). The address is

HELP #1

Does anyone have access to poster printing facilities (A3/A1 size)? We would like to produce some eye-catching posters for festivals and

for members to display at sites, dances etc. Put, dhing mean with your subscriptions, we are hoping someone will volunteer to run us off some free at coast price. Perhaps someone over there might also offer to prepare the answer for free?

HELP #2

As stated in previous Newsletters, we always welcome offers of printing and photocopying as this is by far the largest single item of expenditure of our budget. Even hundred of 44 sheets will save us (and that means you!) quite a bit. So, even if you only have limited access to a machine, please don’t think you not be useful to us. (Why don’t printers play the bagpipes?

HELP #3

This is not a specific plan, more a general word on the subject. On your application form we ask if you are willing to help locally/nationally. If you’ve answered ‘yes’ to either, please don’t think we’re ignoring you - the Society has only been going just over a year and we’re only just beginning to open ourselves properly organised. We haven’t forgotten you - just haven’t got round to you yet. In the meantime, if you have any special skills, facilities, knowledge etc, which you think might be of use to the Society, please get in touch. Any of the “Publishing”, “Skills/Activities”, “Writing”, “Games”, “Drafting”, “Printing”, “Typing”, “Word processing”, “Writing etc.” are gratefully received. Please give it some thought. Quantity of you are just burning to help, don’t wait for us to contact you. If just get in touch and say you haven’t you taken an up on my offer? or words to that effect We’re not at all cliquey and are quite nice really (when our feeds are not playing up!!).

CHESTNUTS FOLK CLUB

Paul James is arranging a Bagpipe Society evening at the Chestnut Folk Club in Walthamstow, London for one Sunday in Nov /24th?), or some (when?). The Chestnuts organisers have kindly agreed to take just *pipemen with the rest of the door money down to the Society. At the moment we don’t know any more but full details will be in the next Newsletter.

LETTERS

Dear Bagpipe Society,

Thanks for the last issue of the Newsletter which I have just had the pleasure of reading. Turn excellent jokes! I’ve always wondered what

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that guy was saying who’s pestering the piper in the drawing? painting. Nine years of experience playing Scots pipes for a living convinces me that indeed it must be that “Bearded tune “MAKING GRACE” that is to blame for the pained expression on the piper’s face.

Also the walking up and down to get away from the sound makes sense (I shall remember this line in case I get asked why I do it (I don’t think anyone else that’s been playing here does it). Thanks a lot for the fun, Sanglit Jenkins (Barisan Jo).

P.S. Long live the Bladepipe Society Dear Jo, who do you think we were really referring to when we called the pieces “Anyone Else Know?”…. Ed)

FOR SALE Sanglit also has a number of pipes for sale, he can be contacted at the above address, but it might be on a dose seat round the London scene first as he just might tie over her.

Set of Hardy pipes (Scottish), Nickel-silver x imitation ivory, 4 years old, new bag and chanter - £700

Set of Jan Swann Flogwyd pipes in D with 3 spare reeds - £300 ono

Set of Belgian pipes by V. Vitrin (tabor drone parallel with chanter) £300

G - chanter by Jan Sawyer (“English” variety except for smaller bell, but sounds the same as on the record)

COURSES

BAGPIPE IN BELGIUM John Foulard tells me that there is to be a music course, including bagpipes at Neuf Chateau in the Ardennes, Belgium. The course - run from 4th to 11th July - cover bagpipes, hurdy-gurdy, fiddles, guitar and bandoneon (an Argentine type of accordion). The music covered will be mainly European dance music plus music from Argentina. The course will be very intensive running from 9 to 5 each day with sessions and dancing in the evening. The basic cost will be £30-35 with free camping and a swimming pool. Accomodation can be provided if required. Among those coming will be Jan Blanchard of La Bamache & Beau Temps fame.

The extent of bagpipe involvement will depend entirely on the

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players, so if you think you are very likely to be going, please get in touch with John Foulard - there will be no commitment at this stage; he merely wants a rough idea just some idea of numbers. John’s address is or he can be contacted by phone on

NORTHUMBRIAN PIPING COURSE A Northumbrian piping course is being organised for July 10-12th 1987 at Newcastle Polytechnic. All abilities are catered for and the prospects looks very intensive. The cost is very reasonable being £25 all in for the complete weekend. There are only 28 places, so if you are interested contact Dewey Chase at

For information on Lowland piping courses, see Edinburgh Folk Festival item.

INTERNATIONAL BAGPIPE FESTIVAL Don’t forget the International Festival of Bagpiping at Stockton-on- Tees for August Bank Holiday (31st August). If you gave the impression earlier that it was to be in Newcastle, so far as we had very firm talkers! Send your M’s or Ms to Judy Moss if you want to perform. It is an ideal opportunity to put the Society on the map, and of course your to earn a bit of spare cash. If you haven’t got a form or want another one, contact me or Judy.

BOOK REVIEW by Peter Stassy

The Bagpipe: the History of a Musical Instrument by Francis Collinson; London Routledge & Kegan Paul, 1975

Francis Collinson originally intended this book to be a study of the Great Highland Bagpipe, with a short preliminary chapter on the history of pipes in general. As it turned out, this preliminary chapter became a large and important part of the book. About half of the study focuses on the early history of the instrument, tracing its history back as far as that mouth-blown divergent pipes of Mesopotamia around 3000 B.C. These proto-bagpipes were supplied with a continuous air flow, thanks to the method of circular breathing that is still employed by the players of the Launeddas in Sardinia today. Collinson makes the significant assumption that the organological definition of the bagpipe does not necessarily depend upon the presence of a bag as an independent wind reservoir, but on the continuous supply of air to reeded pipes.

Collinson goes on to describe similar mouth-blown pipes in the ancient civilisations of Greece, Rome and Egypt. Discussion of the early proto-bagpipes is followed by consideration of the first

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appearance of the bag pipes. This book is full of fascinating surprises. It is remarkable to discover that the bagpipe is such an ancient instrument, with a history of five millennia. It is also surprising to find out the first appearance of the bag is an independent mid-revival by as early as 1300 B.C., although more definite appearances are dated to the last century B.C.

Discussion of the origins of the instrument passes to speculation on the arrival of proto-Incipiens, or the bagpipe proper, in Britain. Did British forms of bagpipes develop from the Viols (divergent mouth-blown pipes) of the Romans, or was there a separate Indigenous development? This question cannot be answered conclusively. It seems. The remainder of the expanded opening section focuses on the development of the bagpipe in the British Isles and Ireland, with sections dealing both the history of the bagpipe in Wales, England, Northumbria, Ireland and Scotland, and there are more summaries of users here during the fifteenth and sixteenth centuries Ed appears that bagpipes were sufficiently established in England that pipers travelled from England to perform at the gates of Edinburgh Castle for James IV of Scotland, and that Henry VIII himself owned five sets of bagpipes.

The third chapter of the book is devoted to the history and development of the Great Highland bagpipe. Attention is paid here to playing technique as well as organological development and sociological conditions affecting the development of the instrument.

Well written, highly informative and full of good illustrations, ‘The Bagpipe’ is an essential volume for any student of bagpipes. With Kerriss ‘Bagpipes’ (Oxford Pitt Rivers Museum, 1980) it forms the cornerstone to any library on the subject. It covers ground not covered by any other monograph with the exception of Breton Flood’s The Story of the Bagpipe (London 1911) which is now out-of-date and out-of-print. It is regrettable that comparatively little attention is paid to the history of the bagpipe in other European countries, and that for most Scottish pipers other than the Great Highland are largely ignored. But no living book is able to cover the history of such an ancient and widely distributed instrument. At least this book provides a starting point and a model of how this research should be continued.

PUBLICATION OF WILLIAM VICKERS TUNE BOOK by John Goodacre

The musical collection made by William Vickers in the 1770’s contains some six hundred tunes, mainly from Northumbeland and the northern counties of England. Its importance has long been recognized and selections have been made from it, for example by the Cut and Dry Dolly Band.

Matt Seattle is publishing a complete edition. The editing has involved considerable labour (see a melline in the Cut and Dry

Dolly Band record itself). For those who are put off by scholarly, the first part contains 180 hundred tunes, clearly written on forty pages for the most part. Price of £5.50. The introduction of this manuscript and edition is almost 115 its on one page and the notes ore only free. Yet all the editorial distortions are listed and comparisons are made with tunes in a dozen other collections. This makes the whole enterprise of more value. It has practical uses too. todo. I call for the big ‘Margaret Ladd’, printed on a flattened 7th, I found it marked from my predecessor small pipes old shareholder 7th, and the notes show that the manuscript has it this way too, although this is not conclusive.

Buying a copy will help fund this one man publishing venture (Dryuary Music) so that he can complete three parts, which together will store a source more &morsching for pibs, tunes like Playford’s ‘Dancing Master’ of earlier distributions. The Great Northern Tune Book’ Part 1, £4.50, from

(John Goodacre)

Since receiving this review from John Goodacre, I have been sent a catalogue from Dragonfly Music which would indicate that Part 2 is also now available for the same price (so rush off and get it John!) with Part 3 during the Spring–Summer 1987.

Also in the catalogue are ‘Fenick’s Pipe Tunes’ 51 owen for £1.00, a classic collection of airy, dance and variations for Northumbrian Smallpipes and other Folk instruments from the manuscripts of Robert Eliot Bewick, maker piper of the mid-19th Century. Includes two beautiful sets of variations on ‘Sir John Tonner’.

‘The Four Winds’ at £2.80, a collection of rare tunes for fiddil composed by Matt Seattle, one of which, ‘The Tarter Frigate’ is performed by Kathryn Tickell on her latest record ‘Borderlands’.

In Spring 1987, Dragonfly Music will be publishing a collection of traditional French dancer tunes entitled ‘The Roueri Central Tune Book’ compiled by M Stevens, bagpiper with Rosbif.

Please add 10 percent for postage and packing, up to a maximum of £1.50 (UK only—overseas customers please enquire).

MEMBERSHIP

Membership now stands at 134 (*mid-Jan) including new members from such far-flung places as France, Australia, the USA and the USSR. The member from the Soviet Union lives in the Ukraine and promises to send us lots of information, miles etc. on bagpiping and bagpipers in his country—Welcome to you Mr. ***. Here’s a list of all new members who have joined since the last *** in pdf.

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Chris Colver, 1 [redacted]
Tel: [redacted]
Burf [redacted]

Tom [redacted]

John Price, [redacted]

Robin Lauder, [redacted]

David Evans & Christine Gheerb,
[redacted]

Stephen Burgess,
Tel: [redacted]

Jason Boss , 7 [redacted]

George Young, [redacted]

Tel: [redacted]

Alistair Marshall, [redacted]

John Baldarson, [redacted]

Iain [redacted] Brack, [redacted]

Derrick Hale, [redacted]

Tel: [redacted]

Mike Salmon,
Tel: [redacted]

Jack Kirby, [redacted]

Tel: [redacted]

Victor Herman, [redacted]

David Lederman, [redacted]

James Andrew, [redacted]

Hamish Moore. [redacted]

Ian Harrison, [redacted]

Steven McCormick, [redacted] 23

Lee Stevensen, [redacted]

Tel: [redacted]

Anatoly Faskinov, Klyv [redacted]

Jean-Pierre Maquire, [redacted]

Michael Steel, [redacted]

Chris Sharrd, [redacted]

Tel: [redacted]

Jack Dorn, [redacted]

Brian Knight, [redacted]

Richard Collison, [redacted]

Hazel Nicholas, [redacted]

Please note also the new address of our new Treasurer:

Chi Allen, [redacted]

Once again we are including a membership form with this Newsletter. No, we’re not being pushy. It’s just that we’ve redesigned and rearranged the form and would like you to destroy any you may have which are in the old format. Please keep the form safe until you can find a prospective member to hand about the head with it.

page 18

MEMBERSHIP BROOCHES & MEMBERSHIP CARDS

By now you will have discovered two little extra goodies with this mailing: a member’s brooch and a membership card. The brooch is strictly for members only, but should you want one for your lapel and one for your bag covers, you can order them for £1 each, but please include a stamped addressed envelope (normal letter weight). Don’t flog these to non-members though – persuade them to join instead.

MAKERS SPOT

This issue features David and Hamish Moore, a piped and horned (tropical forest) man. Hamish lives in different parts of the tibours and wood turning, while his son Mali who started out as a veterinary surgeon turned full-time musician whose internationally acclaimed album ‘Could Wind Pipes’ has marked a milestone in the revival of the hollow-blown pipes of Scotland. Recently they have combined their talents to produce pipes of the highest quality.

A rigorously selected stock of laburnum, holly, African blackwood, hornbeam cherry and fruit woods has been laid down. Records are maintained & the moisture content of each batch of timber and only fully seasoned pieces are used in production.

Furlas for the pipes are available in brass, nickel-silver or silver with simulated ivory or polished holly/hornbeam for the mounts.

Elm, mahogany and cherry are the woods used for the bellows, with Canadian cloth hidden into the woods. The bellows are a fully lined on the inside with pigskin to give totally airtight joints.

The bags are hand-sewn Canadian elk hide which is totally airtight requiring no seasoning or dressing. Bag covers are of a simple design from best quality cotton velvets.

Instruments available are
Scottish Small Pipes in A, Bb, C or D
Scottish Border Pipes in Bb or A
Scottish Pastoral Pipes

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David or Hamish will be pleased to discuss and advise on choice of instrument, key or materials.

David Moore.

Hamish Moore,

GREEK BAGPIPES

Brian Wilson of

would like to know if anyone has any information on Greek bagpipes. He has heard of the pipe played in the Greek islands but wonders if there is a proper mainland survivor. There is of course the Macedonian Ballade, but east Macedonia is only partly in Greece, I think this would be like calling Scottish bagpipes “English”. If anyone has any information, particularly photos, photos, or details, or mechanics etc. could they please get in touch with me as I am trying to collect information from this side of the world for Brian who would like to make a replica.

To the right is a drawing I have found of a Balkan pipe playing duduk — appears not to be very double-chanter pipe, would anyone know if this is a regional or an island bagpipe?

AGONY UNCLE COLUMN

Last issue, if you remember, we started an advice column by the Old Drone. Well, sadly the old bugger chose to join the Great Breadmaker in the Sky (aaah!). Still, all is not lost. Before he oved his last Polobairachd, the Old Drone handed over the column to his apprentice, Uncle Dectavius who will be writing regularly for us from now on (and there’s a good few years left in this one!). Uncle D continues to remain anonymous, at least initially, but like another composer his back is often worse than his bite. Here’s the first of the batch.

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GIFT REED

Dear Uncle Dectavius,

Is it possible to deliberately make a reeded reed for a loudish bagpipe which is accurate throughout its range and responds well? Not only would this be useful to lessen noise pollution during practice, but it might save our neigbour from contact with lawvists too often.

D.B. Renfrew, Cambs.

Dear D.B.,

Is it possible to boldly go where no reedmaker has gone before? Well hardly ever! Your idea of the word “delicately” suggests to me that as a piper you have some across reeds which (or one reason or another) are quieter than average, and that you suppose that such reeds are quiet accidently. You may well be right, there is whatever can be done by mistake, one can eventually learn to do by intention — or more that for at least some makes a bagpipe, it is possible to go it no nearer than tight, tight reeds. For that matter, reeds I consistently to make quiet reeds, but it all depends upon the type of pipe and what you mean by quiet, a reed is a bit like a DC/AC converter on the bag if one are reed, you have a steady high pressure, and on the other, an oscillatory residue of alternating cycles of high and low pressure, (in giving batch of reeds, one can operate this conversion efficiently will by loud and very worse. One way of getting quiet reed them, is to make a inefficient one — perhaps the edges of the lins are rather rough and do not perfectly close, or perhaps the blades are rather stiff — but the penalty of this is that it will be hard work to play, relative to the sound quality. Final alternative approach would be to make a reed that is of efficient but only requires a small energy input. A reed with closer-set lips usually saturates this criteria. However, all alterations of this sort may upset the tuning and responses of the chanter and in time and it can only be a matter of experiment to determine whether a given chanter can be reeded quietly or not. In all else fails, soundproof your practice room and get a louder amplifier.

D.O.

A QUESTION OF BACK-HANDEDNESS

Dear Uncle Dectavius,

I am left-handed and am interested in obtaining a set of bagpipers suitable for left bive power. Can you advise us?

L.H. Simminton

Dear L.H.,

Laurens van der Post, visiting a soviet primary school asked the head teacher what arrangements were made for left-handed works. He received the reply that in the USSR there are no left-handed pupils; quite right too. Why, oh why, do we in this country continue to tolerate the shy-washy, namby-pamby, scared, diffident, liberalism that allows some people to imagine that they are different from everybody else? The Reds have got something right, is any reti-

page 21

Let me give you a piece of no-nonsense, straight-from-the-shoulder advice. Abandon this sinister tendency to enter, or give up.

EXCESSIVE EXERTION Dear Uncle Octavius, Having watched the blueson player in one hand delicately lip away the contents of ten evening’s pot-collection, I wonder if it is possible to fit a saliva trap into the blowies stock to gauge the average of saliar function. Do you know of any changes both in enzyme and acid if they find hot 12 hours continuous playing coupled by debilitation on charter road and during the winter months the choane become unstable even more quickly? I have been told drinking coffee stimulates saliva products, do you know of any saliva depressants? Margaret Dribble, Snitalfields, E2

Dear Margaret, Now I sympathize with your predicament! I have heard that a moisture trap has become available for Highland bagpipers in the form of a plastic insert which fills in the opening. Perhaps your pipes can be modified to accomodate such an item. Unfortunately the most effective saliva-depressant I know is illegal, and I would not risk the revocation of this reserved qualification, not alone, of course, my health, by revealing its nature ! But if you ring me privately I think I might be very know where you can store some high quality mechandise–alternatively, the next most efficacious desiccant is a certain brand of Canadian beer, which again I cannot name for fear of the law of libel. Unfortunately, in contrast to the organ, the effects of moisture in the later are most unfavourable. There is, of course, a third possibility, which I hesitate to suggest unless you are (male) or gay…but then I beg your pardon that you are honest and probably female. Yes, I should be delighted to assist you, but again, the subsistence of this communication will have to be committed privately, on the other hand, I wonder whether you have considered taking up the pipes business, I should be more than glad to equip you… – Editor : recommend the name of some reputable makers. Finally, to open up wider, and avoid cold and humid atmosphere tips a SHE will spring the address of your local BODSN Support Group, affiliated to the National Society for Over-Emplus Oral Secretors!

By John Goodacre

SOCIETY CONCERT

On December 5th 1986 the Society presented its first public recital of bagpipe music, at Lauderdale House in Highgate Hill in London. The success of the evening more the deserving private houses’ attendance of the venue, the musical talent and the professionalism with which this was organized. The culture was the lack of a large audience.

The evening opened with original music by the duo of Judy Tarry and Dave Hewton. Judy, a Finnish player played without drones during the songs, but a striking figure in blue red and black dress. Dave sang to his duty and played bagpipes (note, the spelling is correct), a type of mouthbin. “In their” official polytechnic time “innocents in the streets”. “Talk to me”, he terms to his blues-style guitar in their

concluding number! And she surely did, on her jazz-style goose.

Jean-Pierre Rosta and Peter Stacey followed with their varied piping duo, which draws on Jean-Pierre’s French and Peter’s Scottish repertories and their combined work on research music. Their extended arrangement, with divisions, of “Washington’s March” used several of their possible combinations, pipes and tabors, tabs of Grande Communs, Grande Cornemuse and small pipes etc. Peter took up his arrangement and mercifully interduced the “Preluo Darnier” of their own “Exclusion Music”, “Preluke” and “Bourse Michille” Fronntenary.

John Napier is an experienced Scottish piper who has recently become a Lowland Pipes enthusiast. Inspired, like many of us!, by the playing and teaching of Hamish Moore. He was a member of Hamish’s class during the Edinburgh Folk Festival week last Easter. His recital, played on the Lowland pipes and Scottish Small pipes was mainly of traditional Lowland and Northumbrian turns. In some he was joined by Sam Allen on her concertina or her mouthpon. Their happiest combinations, small pipes and concertina, were at its best in their final duet “The Pleasure Girl”.

Jon Swayne and Paul James together form an impressive duo which is in its own right more than just the musical section of Bloomsbelles. Yet in 1986 when this solo did the survey group mini known Bloomsbelle turns left them under pressure to hurry on the band down in the heart of a dance session. Their playing of Frankie Armstrong’s tune for “Lady Diamond”, however, was haunting and they sounded with “Lycus pipe Bird”, with the piper and poet of Yorkshire funeral march, Jon’s playing again showed his to be an accomplished soloist. It was good to have an expert invite to hear them play out in song. Exciting solo work too. Like in last section, the tune was a lot of possibilities into the pot during a performance. This has its own risks but it can produce unique effects of the moment, as in his set of three milzes, one of them by Eric Montfort. In the final, slight syncopation increased the drive and the second had plenty of chromatic notes to add interest.

As a public concert to spread the word about oiline and the Society and its benefit to swell the Society’s funds, this was a first try and a failure. Pierre Jenn, the tune was changed for the real thing. But there need have been no doubt that this talent for a full and varied program is already there. Next time the Society must show that it can organize a successful event and it can hardly expect the pipers to continue to perform unfortunately without fees.

page 72

EDINBURGH FOLK FESTIVAL

The Edinburgh Folk Festival this Meril features, as usual, lots of good raising activities Hamish Moore in an attempt to “spread some news South from North of the Border”. At the events are taking place around the festival which should be worth visiting Edinburgh for more, but with the cause of all this good piping it would be a very special week indeed.

page 73

Sat 14th April Lowland Border Pipers’ Society Foundation School of Scottish Studies, George Square

Mon 15th-Fri 17th Lowland Piping Course - contact Robin Morton Shillinghill, Midlothian

Fri 17th-Sat 18th 4 small piping festival with exhibitions, talks (lectures), workshops (concert on Sat)

REQUEST FOR LEAFLETS by Judy Terry

Do you make pipes or have a bagpipe related business? Are you running a pipe-related event. Let us have business cards, price lists, catalogues, leaflets etc. and we will display them on the Bagpipe Society stall which we hope to dirt at several festivals this year. At Dunedin England, for example 1980, some ten leaflets were taken and each of the four makers who had information on. They were not just the usual leaflet uselessness but genuine enquiries in every case. You send it - we will display it.

All literature for display to Judy Terry.

LONDON MEETINGS by Chi Allen

Having given up concert evenings into organizing raffles, sales and meetings and taken on domestic after your move; I haven’t yet found an excuse to forget the London events. So, as we have now moved to 267A North Circular Eastern Phoebe and I am putting on informal gatherings on the first Friday of every month at:

          8pm on Fridays booze, pipes,

children, parents, what have you, or just come to listen and chat.

PIPES OF PEACE by Chi Allen

Wanted: - Pipers in France. Do you now liberals would like to buy pjasen of this very good March, in London free at starts. There must be loads of other Good Campers, could cheap up. If you are interested - contact Chi Allen - Address above.

RANDOM NOTES WANDERING OVER NOISY KEYS by Julien Bondarra

Since my artistic I have been inundated with mail: all, of it

enthusiastic and encouraging. The only letter that has been less than encouraging concerned Gunther’s Pipeweed and Cake in Chevrelette. A four page pamphlet letter from the small factories of Barzass Bordeau Smoker Herbal Pipeweed has led it very clear that they are prepared to take violent action against me and nobody!! I continue to use this name. But it shall not be infringed.

Enquiries about Boddarre’s Europeipe keep coming in. Several Italian language players have written to me. I can develop Europeipe to perform the tangongs if sharply. Well, I feel confident that I can do this once I have ironed out the core basic problems of viscosity, stench, bidentricous combustion etc.

Actually, development of Europeipe has been severely hampered by an unfortunate accident in October. Many of you may be surprised to hear that I do not conduct my researches in a laboratory, but late at night in the kitchen. Thus seemingly impaling manifestations of my bag-pelating-crazed mind have been causing problems, but I find I can cope with them by extending to indoor those. On that fateful evening I had been enthusiastically ignoring a small but seemingly vicious pack of hand-retractable valves in stretching tubes of pastel pink soda green. I continued my researches at the cooker when suddenly the kitchen door appeared to open and in rode seven of the twelve Mar- Lords of Regarde as magnificent white stallions. The chief Marlok announced that his mare was Donax and he was having some trouble with his reeds. Whether I passed out before or after the explosion I shall never know. The fire department believe it may have been the glycerine and potassium permanganate that ignited a pocket of carbon monoxide in the pipe bag.

By now my symptoms have grown back and we have had the kitchen ceiling replastered.

A chance hearing of a feature on Radio One’s “newsbeat” is leading to research that will totally revolutionize pipe making throughout the world. According to this feature, a baker in Exeter has had serious problems with death watch beetles invading his stores of biscuits.

When I heard this, I was in my workshop trying to evade a bout of flu despair. The dull desolar met me - Suddenly everything fitted into place. I contacted the Entomological Department of the Edinburgh University who proved very generous, not only with their knowledge but with their beetles.

These are the facts I needed to know. Death watch beetles or Xestobium rufovillosum are insects which spend most of their life cycle boring in hardwood making loud ticking sounds as they do so. They have phenomeal power of scent detection Harwich Salt wood has also have a particular fondness for flour, ginger and tobacco. And what appears God-given to pipe makers is that they bare a very even 3/32” hole.

Research started immediately. I have purchased 27 healthy beetles from the university and they have all been out to work. 25% success

page 24 page 25

of various British hardwoods have been cut and 1" x 5/32" holes drilled on each end. In the hop of one end of each billet I have placed a beetle, head first, and secured it with at least 1/2 nail rifle pellets are ideals. At the other end of each billet I have inserted a paste of ginger black withered cigars in the holes. Each billet is in a sealed polythene bag.

How all I can do is listen and wait. My favourites are Tulan and Biondi, both spring in boys shop has her nanny on Ringe and Alexander, in Holly and Vera. I have no doubts about Elmer in plum. The first pair to endure successfully from the far ends of their billets will be given two months of continual bliss in a sealed packet of ginger nuts. From them I intend to breed a strain of super beetles that insect in speed and accuracy when boring. Eventually pipe makers never need do any boring work again. Farewell boredom! I can confidently predict that this will be the greatest breakthrough in pipe making since the improvement of polymeric injection moulded chanters.

Death watch beetles currently bare at the rate of 3-5" a year, I will keep you informed of progress in future Newsletter.

The response to my enquiries about Whoopes Cushions has been numerous. There is clearly a massive demand for a Federation of Whoopes Cushion Users (FEWCU). I am currently in the process of inaugurating this and am collecting material for the journal “Makin’ Whoopes”.

My contention is that the Whoopee Cushion is an international instrument, my supplier buys all his stocks from Taiwan and they are made of rubber. He tells me he there also made in Hong Kong, but can’s get anything and can’t work. My Ken Lane of Worthing think that I believe the Fluazilfirra of Bascom utilizes a sheep’s bladder in much the same way as a Whoopee Cushion in some of their Pantalatisticum rituals. Can anyone supply me with more details?

Perhaps the most common effect to emerge from my investigations is that I have found a Whoopee Cushion Museum collection! The Edinburgh Museum of Childhood has a Whoopee Cushion and I am currently trying to get photo prints to take measurements and hopefully to record it! There will be a detailed report and photos in the first issue of “Makin’ Whoopee”.

I received a letter about Whoopee Cushions from “Den Nationale Rat der Pupvikenstentere”, but sadly the entire letter and their address was rendered illegible after the incident with the exploding Exzotips. Can anyone supply me with their address? Their main office is in Berlin.

Fortunately at the same time I lost an 18 page letter in Finnish from what appeared to be some kind of medical institution. My knowledge of Finnish is nil, but with the aid of a Finnish phrase book from the local library, I got the impression that they have abandoned what the Biederbide Society is all about. There were a few illustrations in the letter which I found rather embarrassing.

page 26

ISLE OF MAN BAGGAD

I haver from new member Chris Stewart on the Isle of Man that while they don’t have a Native Manx Bagpipe, a band has been recently been formed over there on the lines of the Berwick Bagadous i.e. Highland companies, bombaders and percussion. Sounds very interesting, particularly if they are lining the band as a vehicle for traditional Manx music. Good luck to the Isle of Man Bagad, and please keep me informed of developments Chris.

BUSKING

A few weeks ago I opened my morning mail and immediately laced with enquiries, new members, technical questions and donations to discover a wonderful belated Christmas present for the Society. John Boadace had sent a cheque for £45.75 derived from six separate busking spots over to John.

“Stafan has recommended us to try busking to raise funds for the Society. Here is my autumn account”:

19.ix.1986 Oxford Corner Market 1 1/4 hr. £1.56 20.ix.1986 Leicester Market 1 3/4 hr. £11.80 20.ix.1986 Stamford 1 hr. £5.13 25.ix.1986 Stamford Market 2 hrs. £19.04 31.ix.1986 Stamford Market 2 hrs. £16.00 24.ix.1986 Leicester Market 1 1/2 hr. £1.81

1 seldom manage to play at price times. The first hour at Stamford was as the shops were closing. On Christmas Eve I only finished my own Christmas shopping at four, when the Market stalls were already packing up noisily yet my cap included six pound coins my half past five.

The magic ingredient that made the difference between Oxford and after was the presence of my young collie Bellina as my assistant. She sits dolefully by my cap until I admire sweets. One Berwick woman putting money in the cap made it quite ‘clear’ it’s the dog you understand’. Still, I am convinced Bellina wouldn’t do so well without me here spoiling.

So there you have it. Lot’s of much needed loot raised for the Society to wave that brings happiness to the people – think about it, players?) – and thank you very much John.

SCRAPBOOK

At last we’re beginning to put stuff in for The Society Scrapbook. However, it’s still only a few of you who are sending me photos &c; what an unassuming, introvert lot bagpipers must be? What about some more?

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DANCING ENGLAND
by Judy Tarry
The very last ever Dancing England was held on January 17th in the Assembly Rooms at Derby. The Bagpipe Society had a stall there, barbecues in the encouragement of member Dave Ledman (Bear Valley Music). The stall was manned by John Goodacre, Judy Tarry and Dave Shaw who all managed to do no playing in between the chatting. In addition to various leaflets, copies of ‘Chanter and the Noseflute’, postcards and badges. We had a display of cards, pictures and photos and a selection of pipers on display. The interest in the stall was so great that little dancing not seen! Boysworth Radio interviewed Judy and then came back later to record John and Judy playing a duet on Leicestershire small pipes and Flemish bagpipe.

Several members came and introduced themselves - it really is nice to be able to put a face to a name, so do let us know who you are if you see us running a stall or you come to an event, with so much interest in pipes in the Notts/Derby/Leics area, there really should be some good meetings.

On the day, we provisionally set up a concertina and bagpipe workshop weekend in conjunction with the Conservative Association. If you are interested or have any thing special you’d like to see put on the programme, contact Judy.
Judy Tarry

Many thanks to Judy, John and Dave for running the stall; they obviously worked very hard with little time off to themselves. If you’d like to help run the stall at future events, please contact Judy. Perhaps we can organise a rota or large events such as Newbury (sorry - Aldershot!!)

BAGPIPES ON RADIO 3
by John Goodacre
On July 15th, 1986, Michael Oliver’s Radio 3 magazine programme “Music Weekly” included the following exchange between himself and Oliver Jameson on a visit to last autumn’s Musical Instrument exhibition at the Craft Council Gallery.

M.O. Do you find, though, that there are gees of craftsmanship represented here which are not antiquarian, which are equally alive?
G.D. I think not; people would patronize immediately the accessibility with standard craft work art. For instance, the various small pipes that are Played here - the small pipes are interesting for the reasons are that there are so many different types, that there continue to be folk playing traditions in such diverse areas as Leicestershire, Northumberland and the Lowlands of Scotland and Ireland, and also, cutting back to the pure craft side, they are such impressive examples of craft skills - and these, I think are among the most impressive on show.

M.O. In my the folk or Oastle-folk instruments are _? my idea of instrument making. They’re made by people who are familiar with the tradition for people who themselves grew up in that tradition - there’s nothing abstractian about them.

G.D. Yes, but interestingly several of the makers of the folk instruments are very much representatives of the new breed of craft college trained makers, in that way they could be quite their talk on a Baroque flute or two, for instance. before turning to the specialization of many makers of small pipes in response to, perhaps, their own playing needs or the request of a friend to make an instrument for them. So many of them are coming to it later than would have been the case in the old days.

(25 seconds of John Goodacre on Leicestershire small pipes by Julian Bondercar playing his own prelude “Mary Bryant”; (discussions of harp and folk pipes still drawn etc.)

M.O. A nice scene the exhibition has, for that matter, cheerfully improvisatory ‘instant harp’ to the Immaculately crafted, like the Leicestershire still pipes by Julian Bodacles that we heard earlier.

PUBLICITY
by Judy Tarry
The wheels grind exceedingly slow but have begun turning. However, to carry out any idea of publicity Officer I do need certain information. If you can help will you please send me the following for starters:

a copy of your local folk magazine
the addresses of the music library you use
details of any museum collections of instruments you know of e.g. collections that have tubes and if so what sort and how many
do you know of anybody selling chantaras, cards, wrapping paper etc with bagpipes on (we currently need goods for sale on the stall); rentals, details etc… would you purchase?
could you dispose of application forms when busking at bookings

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at a festival, at your local library, music shop etc.

Once we have got lots of goodies to sell, we can actually start raising money for the Society, but there is another activity, as one of the Society aims is to “spread the word” to the music at large.

Please assure me (need nothing - you may not be for wrong (besides which, I like meeting letters!). (Don’t send it mine…..Ed)

LONDON GIANT

On Fathers’ Day which we didn’t tells me 15 June 22nd this year!, shop Grand Order of Builders at Gladmacco, their 26th High Giant of London, at Covent Garden. This is a marvellous event which has taken place for the past two years. Everyone is welcome to attend and join the Bog band. All instruments are welcome provided they can play in 6 and do no ringtones have been featured for the past two years. About once a month we meet at the shop to chat, make masks and coffee. Coresnt Garden to the attornment of the band. On autumn times, there are lots of other things going on such as Morris Dancing and Mumming. The only stipulation is you join the band. This must be a genuine or clause of some sort - a smile mask will do so you can go the whole hog and dress up. Merrible the from or a smilig in armour - whatever turns you on. Enrollment of the band will be given in the next newsletter.

WHO DOES WHAT

Just to remind you of who does what, here’s the latest list. All addresses and phone numbers are listed towards the beginning of this newsletter under the title “First Annual General Meeting”. Please refer to them and new your membership list as several people have recently changed address. What is it about bandaging? First of all its babies and now everyone is moving house….Phew! -

Membership collections Dave VanDoorn
Items for Newsletter Dave VanDoorn
Items for the journal “Chanter” Peter Acorry
Membership renewals Chi Allen
Publicity (offers of help, info plc.) Judy Terry
Secretary Sherron Hamilton
Musical co-ordination Roy Cross
Items for discussion by Committee Simon Owen

NEWSLETTER IS DOPPYDATE

At the risk of boring you, I’d like to mention once again that the tour date for Newsletter 4 is March 14th. Please try to get all information, articles etc. in to me by this date.

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DIARY

All the bands/performers/events listed in this Diary feature bandwidths (as far as we know). Space does not permit details of the types of pipes to be listed and sometimes the information is a bit sketchy as we have not been supplied with full details. If you want to know more, contact me and I’ll try to help if I can. Please send details for the Diary of any events that you know of that feature bagpipes (anywhere in the world). Remember, it doesn’t only have to be you or your band. Let us know no we can record the word.

MARCH

06th Kathryn Tickell Woodens Folk Club, Kingswiford, M.11 and

14th BooballBs Rockingham Area, Wentworth, Yorks

7th Bluezabella Southport Arts Centre

7th Concertina/Northumberland Philharmonic and Kathryn Tickell, Dave Shaw Nobbi Dunn - Nottingham

12th Mexicana Session Billi Hayates Village Hall. Berk.

21st Jack O’Leyis Washington Shield, Woughton Centre. Chaffron Way, Milton Keynes

  Plays. 01494767281

27th Bluezabella Sutton School, Sutton in ITeIe, Ely

28th Jack O’Leys Novels, Cardiff

28th Bluezabells Somerset Wildlife General Fieldsh Brandywyk St, Ilminster

APRIL

4th Red Shift Farnham Maltings (date uncertain)

5th Red Shift Calneish, Maidenka, Bucks

MAY

1st Black Annis & Cotswold & Border Morris, run-up at Round Rainbow St Catherines Cross, Amescilli, Beds

14th Madish Moore & Sobadatt Folk Club, Ship Inn Kem Cambell Wellington. Somerset

24th Bagpipe Society Evening at the Chestnuts Folk Club, the Chestnut Tree, Leafside Rd. Walthamstow, London E7 (date to be confirmed. Could be 14th June instead)

27th Dave Denton & Central Folk Club, Tottenham Court Road, London 1 Judy Terry Broadstairs Pavilion, Kent

30th Bluezabella

JUNE

18th Bluezabella East Side Festival, Parish Church, Notts (Commemorates the 900th anniversary of Battle of East Stoke

21st Grenangos Band last battle in the War of the Roses Covent Garden, London, 10am) - all musicians welcome to join in.

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