by Fergus Muirhead PROFILE Pounding the beat as policeman and piper

John Wilson

hat John Wilson would end up playing the pipes was never in doubt. THis father William was a piper in the 8th Battalion Argyll and Sutherland The Beginning of the Run: Highlanders. His uncle, Archie, Pipe Major John as a 12-year-old with the Scottish Pipers’ Association of the 8th Battalion, was killed, like a lot of piobaireachd, march, strathspey his colleagues, leading the battalion into bat- & reel trophies; the marches, strathspey and reel trophies from tle at Longstop Hill in 1942. The battalion Cowal; the Inverchapel Piobaireachd suffered heavy casualties in this battle, one trophy from Cowal and The Inveraray Highland Games of the decisive engagements in the North Junior Piping Trophy. Africa campaign, and the Wilson family, and the piping scene in general lost a gifted and talented player. After the war John’s father became Pipe Major of the Campbeltown Pipe Band and the young John found himself drawn to the music. “It started for me with a house that was always full of young pipers being taught by my father and as a toddler I was brought up in that environment. My father had a very small practice chanter made for me when I was four or five and I would sit in with the boys and try to imitate what was going on.” This informal involvement didn’t last long and soon Wilson senior decided that his son should take his pip- ing to the next level. “The serious stuff started when I was about six, that’s when my father told me I needed to start to learn to play the chanter. He taught me in a very standard way in the sense that we went through the basic exercises and we got together with the embel- lishments and the ornamentation and how to ‘I was about six... my father taught me piobaireachd! play these properly and then he showed me one or two basic tunes in terms of understand And I always recall that he gave me Salute to Donald timing and rhythm.” All fairly normal up to this point you might and The Massacre of Glencoe and I could play them be thinking. But after John had picked up both before I could play the Glendaruel Highlanders’ his first couple of tunes the teaching regime changed, and Wilson senior surprised his son about six years old! He used to tell me that It wasn’t long before John was strutting his with the direction he took. “He taught me piobaireachd was the ultimate challenge and stuff on the competition boards, and since his piobaireachd! I always recall that he gave me that if I could handle the subtleties that were first outing he has had a phenomenally success- Salute to Donald and The Massacre of Glencoe required in piobaireachd playing and the tech- ful competition career, winning more prizes and I could play them both before I could nical demands of piobaireachd playing then the than we have time to list here. “My father was play The Glendaruel Highlanders. And I was rest would be simple.” the man who took me through the initial stages

PIPING TODAY • 10 PROFILE Pounding the beat as policeman and piper

‘...Donald MacLeod’s singing was just wonderful and that is the real way to communicate when you are teaching someone. It is the only way to get people to understand the nuances of style and expression...’ Campbeltown Pipe Band pre-War. John’s father William Wilson is second left and far left is Ronnie McCallum — Stuart Liddell’s grandfather. Also pictured is Piper: J. Blair; Drummers: F. Rogers; N. McIntyre; J. Coffield; Pipers: A. MacGougan; Arch. McCallum; Allistair McMillan and Dancers: James McCallum; Marion Campbell and Mary McCallum.

and through junior piping where I was very with my version of the tunes. Donald would tape that I was sent contained Glengarry’s March successful from a young age. I competed for then return a tape to me with a critique on the and Patrick Og MacCrimmon. He told me they the first time at Cowal when I was barely nine tunes and another two to learn, and so it went were both extremely challenging pieces. On the and got third in the marches.” on. Maybe six or eight weeks passed between one hand you could form the impression that After this early success John’s teaching was Donald sending me the tunes and me receiving Glengarry’s March was a small tune that didn’t altered to include tuition from the great Don- his feedback so in a fairly short space of time I demand much — when in reality the necessary ald MacLeod, but it is to his father that John had built up about 18 or 20 tunes. phrasing and expression demanded a great deal. remains grateful for that early work. “My father And then teacher and pupil actually met! “Of Then you had the Lament for Patrick Og which put in place the essential strands of maintain- course in the early years I couldn’t have told you was a classic and the technical difficulty and ing my instrument, tuning it and building up what Donald looked like. He could have been a phrasing was there to be seen and the challenge a repertoire of MSR and piobaireachd before I giant of six foot five inches like Ronnie Lawrie. in that tune was proving yourself able to handle went to Donald MacLeod.” I didn’t pay attention to music books so I had it. I always remember him saying on the tapes His early lessons with Donald MacLeod no idea. So you can imagine that when I met ‘here’s a big tune that you need to be able to involved what would nowadays be called ‘dis- him for the first time at the Scottish Pipers’ handle, and, by the way, here’s a wee one that tance learning’ and it was actually a number of junior competition in Glasgow it was a great you may think is not that difficult but the months after the start of their lessons that the surprise and thrill.” difficulty lies in the focus which you have to two actually met. “I was about 10 when I first Although the best part of half a century has place on phrasing and movement’. He wanted went to Donald and we communicated ini- passed since these early lessons, John remembers to get his message across and he was very much tially through the medium of reel-to-reel tape. them fondly and talks enthusiastically about into forward movement in his phrasing and Donald would send me a tape with instruction Donald Macleod’s teaching style, love and shading in his playing. Of course his singing on two piobaireachds and I would return a tape knowledge of the music. “I remember the first was just wonderful and that is the real way to

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Pictured at the Glenfiddich Piping Championship in 1978, from back left: Ed Neigh; Murray Henderson; Tom Speirs; The Duke of Atholl; Hugh MacCallum; John MacDougall and Dr William Wotherspoon. From front left: William Livingstone; Iain MacFadyen; Pipe Major Angus MacDonald MBE; Pipe Major John D. Burgess MBE; James MacIntosh and John Wilson.

communicate when you are teaching someone and I still use it all the time. It is the only way ‘Some purists get offended when players play to get people to understand the nuances of style around with the theme of a piobaireachd. and expression because you can’t demonstrate that just by playing or by looking at the staff Now I’m not saying that we shouldn’t respect notation.” I got the impression that John would have piobaireachd and hold it in esteem but we talked all day about these early lessons with Donald MacLeod. John has a real passion for should also be open minded with the music...’ the music and it is obvious that he was deeply wish to be disrespectful to the academics, in this of the classical music within piping, although affected by the years he spent with Donald world it is a feeding ground for them and this he would probably be upset at my calling it MacLeod. Having said that he is also conscious can be off-putting for beginners who can only that given his previous comment about it be- of the way he introduces piobaireachd to his go on what they have heard about it. I firmly ing the music of the people, as well as what he own students today. While he is keen to show believe that it is the music of the people and, says next! his pupils the delights of piobaireachd early on, arguably, it was there before the light music “The mystique surrounding piobaireachd is, he is also aware that for some it can be daunt- so it’s even more a part of our music than the in my opinion, misplaced and, regretfully, there ing. “I am very quick to get young players on light music is.” is a bit of snobbery attached to its study. That’s to piobaireachd. You can sometimes see their John is in full flow now and it’s one of the a difficult term to use for someone who was wee faces when you mention piobaireachd and most interesting sights and sounds in the piping steeped in and brought up with piobaireachd you see the sudden realisation that I’m going world. He has a reputation for being quick with and taught by canntaireachd from the minute I to teach them ‘that slow stuff’. Piobaireachd an opinion if he believes strongly in something, put a chanter in my mouth. I got piobaireachd is held in a sort of mystique and while I don’t and it’s obvious he believes in the importance tuition from my father and from Donald

PIPING TODAY • 12 be gratefulthatpeople are recognising thatnot should alsobeopen-minded withthemusicand in itspurest formandhold it inesteembutwe saying thatwe shouldn’t respect piobaireachd with thethemeofapiobaireachd. Now I’m not some of our progressive players play around of thinking.Some puristsgetoffendedwhen form and should be detached from that way me becausepiobaireachd ismusicandanart therethere anditirks isawee bitofsnobbery disrespectful tothemorpiobaireachd but MacLeod for 20-odd years and so I’m not being a really good architect.firms Ihadvisitedafew I decidedthatdidn’t really have theflair tobe came tomyyear out,afterthree years ofstudies sity inEdinburgh tostudyarchitecture. When it in Glasgow. beltown andhow heendedupinthepolice words toaskhimabouthismove from Camp- value asa musical form.” Highland Bagpipe isaboutbutthathasgreat ofwhattheGreatonly isitafundamentalpart “I leftin1967togoHeriot-Watt Univer- I managedtofindaspaceinbetween John’s did indeedallow himtodevote more time to a goodsolidcareer.” liked this job I might be lucky enough to build find timeforpracticeandcompetition andifI a goodstructured working patternandwould I couldbuildacareer formyself. Iwouldhave day onethatifitturnedouttobetherightjob the forefront from ofmymind.Ihadaview personal piping.But thepipebandwasn’t at it mightgive meabitmore timeformyown that that attractedme,Ijoinedwiththeview Glasgow Police. Although itwas thecareer with people.So in1971IjoinedtheCityof a jobthatwouldletmebe‘out there’ dealing charge ofpolicingGlasgow City Centre. in oneoftheforce’s highestprofile jobsin ent andDivisional Commander ofADivision ending upwiththerankofChiefSuperintend- Glasgow and subsequently Strathclyde Police, Glasgow andahugelysuccessfulcareer infirst me tousetheseskills.” person andIhadtolookforajobthatallowed sion in the firstplace. I realised Iwas a people I realised Ihadprobably madethewrong deci- conscious decision.For meitwaseasierbecause things willbeokay, thatit’s justaboutmakinga need togowhere tellsyou your toand heart me tosaythatwhenyou hitthecrossroads you worked outokayformeintheend,it’s easyfor the samedilemma.“That’s hard becausethings what advicehehadforyoungsters todayfacing inthedecision.”IaskedJohnplayed abigpart so Iwasn’t gettingalotofpipingin,andthat to daywork andIwasstudyingalotatnight took alotoftime.Studio timetookupday ill prepared. The coursewasreally toughand Iwas was goingtocompetitionswhenIknew ing whatIthoughtshouldbeachieving. well. Iwasstillcompetingbutwasn’t achiev- “Of coursethepipingwassufferingterriblyas with thecoursethatmadehimleave university. people didn’t comethrough it.” competitive apprenticeshipa very andalotof in designteams.But itbecameclearthatwas tobecreativethe opportunity andgetinvolved I hopedbecominganarchitect wouldgive me had imaginedlifewouldbelikeasanarchitect. and Ithoughtthatitdidn’t fitinwithwhatI out there intheir50stakesexception tothis) development drawings(andIhopenoarchitect and hadseenpeopleintheir50ssittingdoing His move totheCityofGlasgow Police Ileftuniversity Iwaslookingfor “When That jobandtheseskillstookJohn to But forJohn itwasn’t justdisillusionment PIPING TODAY •13

PROFILE PROFILE

practice and this led to a hugely successful ca- reer in solo piping as well as great success with the Police Pipe Band. “I got right back into competition. I won the senior piobaireachd at Oban in 1971 and that was the start of my competing getting back on track. Then the band came into play. Angus MacDonald was the band president and Ronnie Lawrie had just stepped down as pipe major in favour of Ian McLellan and there was an approach asking me to join. So I started playing in the band then under Ian. We became Strathclyde Police and from 1972 to 1974 we were on the rise. We had a lot of people coming in who were really good players. Jim Wark joined the same day as me and then David Pirie came from the Scots Guards and Alistair Ross from the 214th BB and, of course, Harry McAleer came over from Northern Ireland. You sensed that something was on the boil. We won the World Champion- ship in 1976 for the first time and that was the beginning of the ascendency.” It wasn’t all plain sailing, however, and then, as today, the whole question of career develop- ment versus playing in the pipe band became a real issue. “There were people like me and Gregor McLeod who were finding that there was a conflict between career development and playing in the band and a number of players left. In 1979, the band had a meeting with the then Chief Constable Patrick Hamill. He was told in no uncertain terms that throughout the Force John Wilson, pictured left, playing for Johnny Cash, June Carter Cash and their son at Glasgow Airport there was a clear conflict at divisional manage- ment level in terms of their overview of people it was no longer viable in terms of giving it the how you rate one performance against the other who played in the band gauged against their time it needed.” 28 or so that you have listened to.” ability to progress in the force. As a result of By now John was well on the way to a suc- John reckons that his career in the police that meeting he formed the Strathclyde Police cessful career in the police but he also continued undoubtedly helped him as an adjudicator and Pipe Band Unit. After that, the issue of career with this interest in piping by moving from the has no doubt about the central issue in terms of development was removed from Divisional competition board to the judge’s seat. Is it a the way judges are perceived by the competitors. responsibility and passed centrally to HQ to re- natural progression I wanted to know? “It was “There is an issue of credibility and it won’t go move any suggestion that there was an element certainly natural for me to move to judging, but away.” Although John believes that credibility of prejudice in terms of career development I’m not suggesting it should be for everyone. It in the eyes of the competitors may only come because a police officer was in the band.” is an interesting point. There is an issue with from success on the competition arena, there As well as helping band members with the competing pipers, in that, they want to look are exceptions to this rule. “I can reflect back issue of career development, the formation of at judging panels and look at the individuals on my early days and look at people like James the Band Unit seems to have acted as a platform sitting there and feel confident in the profile of Campbell of Kilberry and Archie Kenneth who for one of the most successful periods that any these individuals as people who have ‘done it were extremely well regarded authorities in pip- Pipe Band has ever enjoyed at any level of com- and got the t-shirt’. But there are others who ing but weren’t successful senior pipers by any petition. “When the Band Unit was formed, would argue that because you are a top class means. There were very few people who would that was when the band went from strength to piper, or played in a top class band at the very have argued against their credibility and their strength and we went on the famous run from top level, it doesn’t naturally follow that you will place on senior judging benches. Their credibil- 1980 to 1986 and so it went on until I left the be a good adjudicator. There is an element of ity stemmed from their exceptional background band at the tail end of 1989. Just after that, truth in that. I didn’t find any conflict. I think in piobaireachd. James Campbell was the son of following another promotion, I effectively gave being a policeman helps a lot as a judge. It’s Archibald Campbell of Kilberry who compiled up solo competition as well when I realised that about clarity of thinking and assimilation in the Kilberry Collection.”

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John reckons that the preparation and the ball’ when I was up there on the platform. a relaxed wider view and asking yourself if it’s time that competitors give to their art these I believed in driving the performance along entertainment. Does it sound good musically days means that they have to be able to have and if someone had said that the judges on the as opposed to saying that’s a really traditional confidence in the panel that is testing them. panel liked things rounded down a bit, there is bagpipe composition and they’ve changed the “It’s such a serious business now. The pipers of no way I would have done that.” time signature and the rhythm and it’s totally today have a clear vision of what it’s all about. That all sounds well and good but what offensive to me? There are people who will They know how much work they have put in would John do if faced with a choice of playing never be moved from that position. But there to get to the levels they have reached in stretch- the judges’ way and winning a prize or playing it are also people who are totally open-minded ing themselves, and they have to feel that the and who would embrace almost anything, who people who are sitting in front of them totally would argue that it’s hard to ‘knock it’ if these understand what it’s all about.” bands are pulling in the crowds. Surely all of the While he is adamant that competitors need people can’t be wrong all of the time? I think we to have respect for the judges he is also vocal should embrace all who play the bagpipes and on the lack of musicality that he hears in some recognise that there will be extremes, but that performances. “I still feel that a competition happens in every art form. Why should piping frame of mind has developed which is a bit be any different?” unhealthy in terms of performing. People see It’s been a whistle-stop tour through one of the concert performance and the competition the most respected and productive careers in performance as two entirely different things piping in recent years. If you were looking for and I think that there is, perhaps, a perceived a list of achievements and prizes won then we’ve message which has come out from judges which run out of space but I don’t apologise for filling has contributed to this as well. The individual this piece with John’s own words rather than aspect of interpretation is being sterilised in a list of trophies won. He is an engaging and many competition performances and some charismatic character who brightens up every players clearly think that the whole ethos of space he inhabits with a word and interesting playing in a competition is having a good set of story and it was important to let him speak. So pipes, not making any technical errors and, in John Wilson, former Chief Superintendent and Divisional I will let him have the last words in response to terms of your timing and your general expres- Commander of Strathclyde Police A Division my question about the state of piping today and sion, just playing it ‘right down the middle’. I his way and missing out on the prize list? “You the future of his involvement in it. have judged competitions where I have sat and have to ask, what it is that is important? Is it First of all, his view on the state of piping heard the same performance time after time only about being in the prize list? For some it today. “It’s as healthy as it’s ever been. When I after time. Good bagpipes, good solid fingering might be and that’s because it’s such a big com- look at the opportunities for young people to but not a lot to excite you, not a lot to generate petitive world out there and the importance of come on board, and the numbers that are actu- any sense of emotion. It’s like people being very building a track record is absolutely paramount ally playing and the raw talent that I hear, you careful and cautious and almost, to some extent, to these individuals, because in many ways that have to say that it’s in a good state of health and just going through the motions.” is what supports them for entry to the North- probably as good as it’s ever been.” How does John see this changing? “Change ern Meetings and Argyllshire Gathering. But I And lastly where does John Wilson fit in? has to come from competitors and judges alike. wouldn’t have changed even if it took me out “I would like to think that I will still have I would love to see even closer links between the prize list.” all my faculties about me to enable to carry the Competing Pipers’ Association and the I talked to John last time about his involve- on judging and I’d like to think that I could adjudication panel. It would be great to see, ment in piping more generally where he is still contribute something to opening up further for example, a composite workshop between in demand as an MC at prestigious events, in- dialogue between the Competing Pipers’ those two groups to sit down and talk about cluding the Glenfiddich Championship where Association and the judging fraternity to make performance and what it should be all about. he charms audiences and competitors alike sure we’re all on board and all together in terms I don’t wish my colleagues on the adjudication with his easy flowing delivery and informative of what we’re looking for on the competitive register to think for one minute I’m suggesting content. He is also a keen promoter of the platform. I’d also like to continue just putting that that are totally responsible for this attitude variety that we are seeing in piping today, and something back into teaching because I got a because they are not. I’ve spoken to competitors the coming together of the pipes with many lot out of piping between what my father gave who have admitted that they look at judging other traditional instruments, he is also keen to me and what Donald MacLeod gave me, and panels and then they try to decide how to play. see this development continue with the Great there is so much talent out there that I think As a performer I never did that in my life. I Highland Bagpipe becoming more integrated it’s important that people like me that have played what was in my soul and the musical into the mainstream traditional bands. “The something to contribute can continue to put values I respected. In terms of MSR playing, issue is whether you are simply focusing in something back. for example, I would put myself down as a guy on what these bands are doing with a piece of “So that’s it, nothing earth-shattering. Just who pretty much liked to have ‘a good kick at bagpipe music or simply sitting back, taking keep her steady on course!” l

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