Page 34 - RSCDS Toronto Golden Jubilee Book

Music Makers
Coincidentally, Elma remembers danc- ing Mairi’s Wedding for the first time with her partner, Professor ‘Sanskrit’ Smith. "He took me to dance and I kept saying, ‘No, no’ as he led me to top couple’s place. Everyone was saying this way, that way, and this way, that way. I got to the end all right. Very nice man. Played piano too."
On one wall of Elma’s den hang certifi- cates of appreciation from admirers, including TAC and Hamilton Branch,
in appreciation of her dedication and exceptional musical contribution, and the joy she gives. Elma continues to play and will soon celebrate sixty years of marriage to her dancing partner. Dear Elma, Lady of all our hearts, we thank you.
Gordon Hamilton
About six years ago, I attended a Scottish Country Dance in Hamilton where Peter Bush’s group was playing. At the tea break, Peter indicated that he was interested in recruiting additional
As an enthusiastic dancer for the past twenty-give years, there is none more surprised or thrilled than I to now have this opportunity to play for SCD.
I am also most grateful to Bobby Brown for his encouragement and support in my playing of SCD music.
James Stanley
Hamilton
James Stanley Hamilton was born New Year’s Day, 1930, in Ayrshire, Scotland. His family lived across the road from the cottage where Robert Burns was born. His father, Jimmy, was an accom- plished fiddler with his own dance band. "My father was my inspiration. Every night after supper he’d take out his fiddle. Not having the fingers for the fiddle, I took up piano." Stan studied classical piano at the renowned Ayr Academy. One day, his father asked, "Here, you, with your high-fallutin’ music, could ye no put a wee vamp to this!" Stan took up the challenge.
Friend and scholar Professor George Emmerson, who called Stan "the Neil Gow of the piano" wrote: "Stan joined his father's Scottish dance band, and to this he brought that blend of con- scious and subconscious art which has enabled him to express the idiom of Scottish music on the piano in a way that we believe is unique among Scottish pianists."
Stan took particular pride in choosing tunes that suited the tempo and the dance. He composed, among many, the music for Mary Hamilton and From Scotia’s Shores We’re Noo Awa’. He researched, arranged, and recorded tunes that might otherwise have been lost. His strathspey was incomparable, marked by a definitive lilt.
Stan was also a Scottish Country danc- er, having learned as a boy in Scotland. He was a member of the Emmerson team, competing at the Kiwanis Festival. He recalls how, after providing piano music for more than 30 other teams, he then had to "get up, shake up my bones, and dance – to a tape!" His team won.
In 2005, Stan was awarded the RSCDS Award Of Scroll in recognition of his contributions, only the eleventh musi- cian to receive the award. In the sup- porting documentation, Emmerson’s son, Mark, wrote of Stan’s technical expertise:
Whether it is the vamp he provides in
solo performances or the chording by the
second accordion and bass in his band,
with Stan the harmonics and shaping of
the tune are deliberately and skillfully rein-
forced. This can be heard today in Bobby
Brown’s performances, Stan’s prime pro-
tégé, and went well beyond the simple, lim-
ited chording expected of the players and
bands of the early days. With Stan provid-
ing the music, one could be assured that,
with each new first couple, there would be
a new tune, new key, new energy and a
redoubling of the set’s enthusiasm for the
dance.
For these reasons, Stan enjoyed a high reputation with Miss Jean Milligan.
musicians and invited anyone interest- ed to try out. I did and was soon play- ing keyboard in Peter’s band, "Sounds Special". Over the next few years, we played at dances for Jean Hamilton’s Erin Mills Group, and Margaret Morrison’s Burlington Group.
More recently, I have teamed up
with Jimmy Darge – formerly a key member of The Bobby Frew Four for many years. We have enjoyed playing together for the past few years in the Mississauga/Etobicoke area as "The Reel Thing". Jimmy and I have played at dances for the Erin Mills Group, the Kipling Acres Group, and for the Clan McLeod Society.
One night in Ayr, Ann Riley, a young Canadian teacher working in Britain, attended a dance where Stan was play- ing. Ann says, "I fell in love with Stan’s music and, not so long after, I fell in love with the man." They married and, in 1957, settled in London, ON.
With good friend Bobby Frew, who had also come to London, Stan formed "The Clansmen" and, with their crisp rhythms and deftly chosen tunes, the popular band travelled widely. Crossing into the USA during the civil rights turmoil of the 1960s, they discovered
"The Clansmen" was a title that had unfortunate associations. They changed the name to "The Flying Scotsmen". Both bands gave us many beloved musicians, including Bobby Brown, Fred Collins, and Don Wood.
Gordon Hamilton
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