Dedicated to some of the many kind folk who helped me along the road. Though I could never completely list or adequately thank the many people who taught me , I would like to mention some of those who kindly gave much their time and expertise to help a young fellow who was doubtless more than a little trying at times, and who sadly never reached their level of expertise or ability. (Though not from want of effort on their part!) Whatever little I have learned aright was due to these and others like them. Whatever is lacking is entirely due to my own shortcomings. (Note: like this entire site, this page is a work in progress. I will be adding to it in future.)  Thomas Lawrence Standeven, Jr. - Musician, Gentleman, Mentor 1931 - 2002 " Ar Dheis De go rabh a anam mor. " (The following biography was written by me, using information from Tom himself, for the liner notes of his double CD "John Vesey - Sligo Fiddler" a collection of the wonderful music of John Vesey and his playing partners, selected by Tom from home recordings he had made at informal sessions for over two decades. Sadly, this marvelous treasury of archival music had been out of print, but i understand that it is now available again. I will research and post this information here soon.) Tom was born in Philadelphia, PA in 1931. He began music studies while in school. He enjoyed church choir, especially Gregorian chant and the pipe organ. He also became interested in Greek and Turkish folk music. At 17, he became acquainted with Irish traditional music. Station WTEL in Philadelphia began broadcasting live musical programs featuring Austin Kelly and his All-Ireland Irish Orchestra. He began what became a life-time of Irish musical and linguistic learning. In 1949, he began learning the Irish language, later getting instruction from Mickey Carr (Donegal) and Frank O' Hagan (Derry) beginning about 1951. He earned the "Fainne Oir" (Gold Ring) from Connradh na Gaeilge, signifying fluency in Irish in 1961. He began lessons on the button accordion from the late Dan Smith of Galway in 1954. In 1957, he began learning fiddle in Philadelphia, from John Vesey, the great Sligo fiddler, and that Fall, began learning uilleann pipes from Thomas Busby of Fermanagh. His "piping lineage " extends back through Mr. Busby's teacher, Michael Carney, to the great "Patsy" Touhey, and on back to Touhey's father and grand-father and back, over 200 years. In 1958, he began learning the tin whistle, and later the flute, with help and encouragement from the late Ed Cahill, also of Sligo. In 1963, he began teaching Gaelic and uilleann pipes, first at home, and later at the Commodore John Barry Club (Irish Center) in Germantown, Philadelphia, PA. In 1969, he competed at the Oireachtas (Irish cultural competitions). He won the "Craobh-chorn Eamoinn Ui Cinneide ar son Piobaireachta Uillinne Sinsearachta", (Eamonn Kennedy Award for Senior Uilleann Piping). Tom was the first American to win this award. Martin O Tailtigh, adjudicator, later told Tom that the tune that "clinched" the award was "An Raibh Tu Ag an gCarraig?" (Were You at the Rock?), a haunting air from Penal Times, learned from the playing of Seamus Ennis. I'd like to add a personal note. As a youth, I had the pleasure and privilege to learn from Tom, John, Canice, and others in the now almost extinguished oral tradition. They were great men, always helping a learner along, and always encouraging, patient, and kind. I knew Tom over 39 years, as my first mentor in Irish language and music, and as a good friend. I especially thanked him, while still living, on my own behalf, and on behalf of the many students who benefitted from his knowledge, willingness to freely share it, and his infinite patience and kindness. Many times he obtained loan instruments, books, music, tapes, etc. for students, never charging for his services, and often spending money out of pocket to "further the cause!" I recall writing from Vietnam or other foreign posts, asking for some Gaelic song or tune, or a pennywhistle, and getting it forthwith. From all of us who learned from you; Go raibh mile mait agat, a charadh mhoir! Tom passed away on the first day of the new year in 2002. As he wrote for his friends at their demise, so I write for him as he would have wished; Ar Dheis De go rabh a anam mor, At the Right of God be his great soul.  John Francis Vesey - "The Sligo Fiddler" 1924 - 1995 "Ar Dheis De go rabh a anam uasail." (The following biography was written by Tom Standeven for the notes of his double CD, "John Vesey - Sligo Fiddler" - see above.) John was born on April 21, 1924 in Ballincurry, near Tubbercurry, County Sligo, Eire. This rural area in South Sligo was well known for its grand Irish music on fiddle and flute. He grew up among some of the finest traditional musicians in Ireland, at a time when the music was still part of the way of life. As a child, he heard many of the best-loved tunes being lilted or hummed by his mother, Anna, as she worked about the family farm. His first fiddle lesson was given him by his father, John, Sr. An old friend of the family, Michael Gorman, offered to teach him some time after. Gorman was a master fiddler and possessed a powerful bowing style which best brought out the drive in the old Sligo dance music. A demanding teacher, he gave young John the basic bowing and fingering method required to play the many difficult tunes he was to later master. After World War II, John emigrated, first to England, and later to America, settling in Philadelphia, PA, near relatives. In America he fully developed his fiddling style. He followed the two Sligo masters, Michael Coleman and Paddy Killoran. However, John retained the basics he'd received from Michael Gorman, and eventually developed his own style, while remaining true to tradition. John's music reflects the strong influence of the uilleann pipes. Many of the nuances and tones he brought out of his instrument were originally piping movements. He soon became well-known in New York, Boston and Chicago, as well as Philadelphia, performing at Irish dances, house parties, radio broadcasts and on television. Often, he played in his own home with friends. In 1957, John decided to teach fiddle, offering his skill to anyone who wished to learn. I was one of his students. Today, there are very few who practice the intricate bowing and fingering which was his hallmark. John continued to teach the fiddle up to the final years of his life. As a teacher, he was the best, and his standards were of the highest. John was also a strong advocate of proper comportment for musicians, expecting them to always be a credit to the people we represent as traditional players. Such was expected of anyone who would learn from him. John passed away on Feb. 22, 1995. Ar Dheis De go rabh a anam uasail. (At the Right of God be his noble soul.)  Donald Rory Leslie 1898 - 1974 The pipe major of the MacGregor band I played in when I was a boy was Donald Rory Leslie, a native of Skye. As I heard his story, he came from a privileged home, but ran away to join the Army. However, he was turned back as too young, so he then ran away again, this time to sea, where he served as a cabin boy and later as man before the mast in the old square-riggers, which were then still plying the seas. When WW I broke out, he enlisted again served with the 79th Queen's Own Cameron Highlanders during the war. He was wounded twice by gunfire during the Great War and his brother was fatally wounded at the age of 20. Donald stayed in after the war, and later served in Ireland during the Irish Rebellion.  79th Queen's Own Cameron Highlanders, ca. WW I (Place Unknown) (Courtesy of Robert Leslie) Donald then went back to sea, sailing between Britain, Australia, and America, where he eventually immigrated.  Donald (on left w/ cigarette) with shipmates on the SS Mosella, c. 1920s (Courtesy of Robert Leslie) Donald was a tall man even in his old age, and a real Highland Scot. He was gaunt, rugged, and craggy, with the look of a Highland eagle, a shock of white hair, and eyes as chill as his native lochs. He was a stern Presbyterian, and past Grand Master of both his Orange and Masonic lodges. He was a skilled custom builder, and still worked hard every day. He was a very hard-bitten, dour old man, doubtless partly because of his war experiences and rough life at sea. Sometimes if we would ask him where one of the bandsmen was, he'd snap back; "Hanging on the barbed wire at Mons!" Despite his sometimes ascerbic humor, he made many friends at the Caledonian Hall in Philadelphia, including a Scotsman named Alec Whyte. He married Alec's daughter Margaret in January, 1929. However, she died at the age of 42 in 1950. He next married Kathleen S. Kyle three years later in 1953. Though a tough old bird, Donald was kindly enough in his own way, and his dear wife Kathleen was the soul of hospitality. No one ever left their house without copious quantities of tea and her lovely scones! He was also generous. The small amount of money he took for tuition was put towards the purchase of a set of pipes - if the pupil stuck out the rigorous training and "graduated" into the band. Donald played with the old PRT (Philadelphia Rapid Transit) Pipe Band, which produced many fine pipers who went on to become PMs in the Philadelphia area. He was also a long- time member of the Philadelphia Ulster Pipe Band, prior to joining the Mac Gregors c. 1950. He became Pipe Major of the Mac Gregors in 1957 and served for 17 years until his death. The band performed at Highland Games, parades, and events around Philadelphia and vicinity, and played at the NY World's fair in 1964. They also competed and won at several Highland Games, including Ligonier, PA. The band was originally started by the Clan MacGregor Society, but though we wore MacGregor sett kilts and plaids, our cap badges, doublets, and some of our gear was Cameron.  The MacGregor Pipe Band of Bucks County, PA, ca. 1960s (Courtesy of Robert Leslie) Our pipe chanters were mainly Hendersons, because Donald said only Henderson still made them "right", i.e., with the "Gaelic" sound that he considered important to piping. They were far flat of modern chanters. Our tunes were also the great old tunes of the old Cameron Regiment, which included the favorites of the Cameron clansmen who had first embodied the Regiment in 1793. Many were old Jacobite tunes, such as"Gaibhaidh Sinn an Rathad Mor" (We'll take the High Road"), played and sung by the Cameron clan as they marched behind the Gentle Lochiel to join their Prince at Glenfinnan. Other standards were "The White Cockade", "Hey, Johnnie Cope" and "Over the Water to Charlie" as well as the tunes of Regimental history, such as The 79th's Farewell to Gibralter and other tunes telling of places they had been, and battles lost and won. I remember Donald telling us of Piper Kenneth MacKay of the 79th at Waterloo. When the French were trying their best to break the Camerons' hard-pressed and beleaguered square, and the casualties stood at nearly 50%, MacKay strode forth and marched around the square, playing the old Cameron battle piobaireachd, "Cogadh no Sith" (War or Peace). His inspiration helped the Camerons hold firm. Donald told us the story, then played "Cogadh no Sith" for us. What a great way to learn the history and traditions! The tunes were all played in the very old Gaelic style that characterized the Camerons in the old days, and that is now (thankfully!) coming back into fashion after far too many years of "musical technician" tunes and the ubiquitous rock / jazz / whatever "fusion" style tunes that have nothing to do with true piping tradition, and increasingly "brightened" tuning bordering on the shrill. ( I know that in music, as in much else, "de gustabus non disputandum est," but I fervently wish all those people who wish to play that sort of thing would just stick to those genre, and to clarinets or saxes instead of mucking about with "The Noble Instrument"! ) The Camerons were the last of the truly Highland Regiments, in that they had a preponderance of Gaelic speakers. Donald told us that in WW I, they had ordered the Camerons to stop speaking Gaelic in the trenches, as it had led to some men being injured or killed when green English troops in the next trench thought the Germans had gotten into the trenches and opened fire on them! However, t he last time I saw the pipe band of their descendant regiment (then the "Queen's Own Highlanders"), some were still Gaelic speakers. Once in a pub after a parade, he was sipping a scotch, and an ornery drunk started on him - the usual - "Hey! Guys in skirts! What are you? Sissies?" Donald ignored the lout - until the fool reached for his Cameron dirk. (A dirk is a long, wide-bladed and ornate Scottish side-arm, now mainly ornamental and traditional in nature rather than for combat .) Faster than you would believe, it was out of its sheath and quivering in the top of the bar! Donald growled, without even looking at the idiot; "Touch it again and you'll be wearing it!" The drunk stumbled back, and his friends hustled him out - luckily for him! Speaking of dirks, Carl Laughlin, one of our senior pipers, who took over the MacGregors after Donald's death, was a very talented wood-worker. He kindly made the scabbard and hilt for my first dirk, fitting them to a cut-down sword blade I provided him with. I had left the blade rather longer than usual for a dirk, thinking (as the young so often do) "Bigger is better!" I proudly displayed it to Donald after receiving it from Carl, expecting him to be impressed. He looked it over and said, "That's no dirk. That's a young claymore!" Typical Donald! (A "claymore" is a traditional Scottish broadsword. The originals were two-handed, but the term has long been applied to the later "basket-hilt" form.) He was a tremendous piper of over 60 years experience, and could play and teach "ceol mor" ("big music" aka "piobaireachd" ["piping"] - the classical form of Highland pipe music), with the familiarity of a Gael who also knew the stories and the words behind the tunes from his youth. Donald had a bout with laryngeal cancer before I first met him, and beat it. He had part of his larynx removed, though, and spoke in a crusty, hoarse voice, like a loud whisper. Despite this, he still very impressive, and always got his point across! He had been told to quit smoking and piping, but though he quit smoking, he told me (about 1963) that he would never stop piping, and that he would "die piping." That prediction proved true. Some years after I left the area, he passed away. I was told that he had a piping student over one evening, and that he had then gone into his study after the student left. His wife later found him there, slumped over the table, his practice chanter still in his hands. His son, Dougal, was also a fine piper, and a real gentleman, and was our pipe sergeant. Dougal also worked with his father as a custom builder, and they built many ine homes together in Southeastern PA. Also like his father, Dougal was a Mason, and likewise f ollowed in the military tradition, serving in the Korean War from 1950-1953 as a member of the 69th Field Artillery Battalion. We all expected Dougal to become PM upon Donald's death or stepping down, but he unfortunately passed away early. Dougal had a son, also named Donald, who likewise had great capability, although I have heard that he later gave up piping, and another son, Robert, who I have since re-connected with. R obert also carried on his grandfather's piping tradition, and currently plays with the Cairngorm Pipe Band of Horsham, PA) Donald was an energetic man, a true son of the Gael, a stern taskmaster, and a great teacher. I will always remember him. (I am much indebted to Donald's grandson, Robert, who carries on the family tradition of piping, for some of the information and photos above.) Other Mentors and Friends In Ireland, I would like to thank the late pipers and pipe-makers, Dan Dowd and Mattie Kiernan (both of Dublin), and the seannachies and tradition bearers who shared their knowledge, including Séosamh O hEigceartaigh of Gaoth Dobhair, and Sean O Duinnin of Cul Aodh, among others. In Scotland, Rev. MacKenzie (Uibhist a’ Tuath), Mrs. MacLeod (Beinn na Faoghla), and many more, including most recently Mr. Kelvin Hunter, formerly of the Highlanders' Museum at Ft. George. In Cape Breton Island, Nova Scotia; the late Angus R. Gillis and his entire family (especially the late John Neil Gillis), and their sister, the late Mae MacGillivray, the late Christine, and Jimmy Gillis), piper, fiddler, and singer J. Francis MacDonald, the late Duncan Ranald Gillis and his wife Lizzy, and their families, and many others, (most, unfortunately, no longer with us) all of Gillisdale (SW Margaree); the late Sandy Cameron and his family, and Willy Kennedy, all of Mabou, and many more. From the Antigonish and Merigomish area of Nova Scotia; the late Anne MacDonald, Catherine MacKenzie, the late Mary C. MacLellan and the late Hugh A. MacDonald, the late Joseph "Johnny Joe" MacDonald, the late Angus MacQuarrie, the late Father Rod Chisholm, the late Father Jack MacGillivray, the late Ross MacEachern, James Hendra formerly of Beauly, Maureen and Scott Williams, their families, and others too numerous to mention. In the San Francisco Bay Area, I want to mention the late Pat Cotter, uilleann piper, and his fine musical family. (For those many others: mentors, neighbors, and friends not mentioned by name - pardon the ommission. You are all highly regarded, and you know who you are.!) |