Will Highland pipes ever have a Ravi Shankar? The great Indian sitarist died last week at the age of 92 and the entire world seemed to take notice, paying tribute to his life.
But would we have ever known about him, or even the sitar itself, had it not been for the Beatles in 1960s going all guru-India, George Harrison learning to play a bit and then incorporating sitar into a few songs? Probably not.
To take nothing away from Shankar’s obvious skills as a virtuoso sitar player, but I would bet that back then and ever since there were a dozen or more sitar players just as good. Harrison more than likely heard the sitar while tripping on acid and asked the maharishi, “Hey, Sexy Sadie, who’s the best sitar player in India?”
A few paisley-clad photo ops later with Ravi imparting his wisdom to the mystical Beatle, and George Martin had no choice but to allow the sound into “Norwegian Wood,” “Love You To,” and “Within You Without You.”
As a relatively ghetto-ized ethnic instrument, the sitar is perhaps not unlike the Highland pipe. In the 1960s and ’70s the sitar might have been heard on obscure folk LPs, but it was not part of the mainstream until the Beatles attracted millions of people to embrace it.
Maybe the pipes are waiting for a similar big break. What if the biggest pop act of today decided to make a serious pitch towards the pipes? What if Coldplay or U2 or the “Gangnam Style” dude sought out the greatest piper and hung out with him in the Highlands, surrounded by media, dressed in tartan, committed to making several songs that featured the GHB?
Imagine Stuart Liddell or Roddy MacLeod or Willie McCallum tripping with the Edge or Chris Martin or PSY beside the MacCrimmon Cairn as they diligently worked together on the scale and G-gracenotes, and then produced several massive hits that brought the pipes into worldwide acceptance as a “serious” instrument.
The pipes have been used in pop music, in one-off ways. But the pipes haven’t been an ongoing part of really big pop music, not in a Beatles/Harrison manner, with a champion for the sound, becoming synonymous with the instrument, played seriously and respectfully.
Toronto, like so many other Commonwealth-country cities, was built by many Scots. Though the city has become much more multi-cultural from the days of white Europeans settlement, a walkabout most older neighbourhoods uncovers evidence of the role that Scottish played in laying bricks and pavement, carving stones and wood.
Most days when I ride to work I go across plenty of streets with Scottish names – “Dunedin,” “Colbeck,” “Strath,” and even “Craic.” Sometimes I think these roads must have been named by homesick builders and bricklayers.
I carry on to the toney Forest Hill area, home to many of Toronto’s business elite and the neighbourhood where Aubrey Graham – much more famous as “Drake” – grew up. And every trip I ride along Dunvegan Road and, after a few blocks, turn at Kilbarry, not spelled the same as piping’s notorious Archibald Campbell of Kilberry, but it’s a confluence of streets that every time I cross it I wonder if somehow there wasn’t come piping connection back in the 1920s when these large homes were constructed.
I can’t think of a much better, or more ironic, piping crossroads as the intersection of Dunvegan and Kilbarry, but I got to wondering if other such piping and drumming road coincidences exist.
Thanks to the officious folks at Google, who kindly mapped the planet, and somehow took away from the charm and serendipity of discovering such things, here are a few others:
No one but the most cold-hearted competitors among us like to see the collapse of a pipe band. When it’s a band with such a storied, long history as the Edinburgh City Police, which by all accounts decided on November 29, 2012, that 130 years is enough, it’s a punch to the guts.
Disbanding happens fairly often, and every year it seems to happen more frequently.
The reasons for a band calling it quits are many, and to generalize such a complex matter is risky. But the most frequent and significant factor I think is this: the lack of a succession plan – that is, when the pipe-major decides to retire or resign, or even when he or she is forcibly removed from office, there is not a well-prepared and identified successor for the job.
And often it is the most successful bands that are hit the hardest when the pipe-major leaves. More often than not there is not a clearly defined, recognized and, most importantly, groomed person to take over. Time and time again we see very well established bands in a lurch when their leader of 10, 15, even 25 years departs. They scramble for a solution. They usually put out the call for “interested parties” to apply, then they go through a laborious review of candidates, ultimately settling on an untested outsider, who needs years to settle in. Though it’s logical to assume it would be the case, the pipe-sergeant is often not the slam-dunk heir.
In fact, the leadership handover should be exactly that: a handover. The new leader should be a familiar and obvious choice who has been with the band for years, who has worked side-by-side with the pipe-major, who brings continuity and consistency to the inner-traditions and culture that has made the group successful.
The last 40 years are littered with top-tier Grade 1 pipe bands that lost their pipe-major and quickly fell to and stayed in the lower-tier. Many of them eventually collapsed altogether. Here are a few: David Urquhart Travel, Vale of Atholl, Muirhead & Sons, Red Hackle, Dysart & Dundonald, Clan MacFarlane, Black Bottle, Clan Gregor, Woolmet & Danderhall, Bilston Glen, Polkemmet and now, of course, Lothian & Borders Police.
Exceptions are few: a near-dead Shotts & Dykehead was rescued in the late-1980s by Robert Mathieson and Jim Kilpatrick to rise to five World’s wins. ScottishPower made a smooth transition from Roddy MacLeod to Chris Armstrong. Strathclyde Police have clawed back to the top-tier under Duncan Nicholson and Eric Ward. And, certainly, the Vale and Dysart might reach the top-tier again.
But in general bands founder after their established and successful leader leaves. They languish in the lower-half of the grade, often go from leader to leader and, sadly, too frequently decide to dissolve the band rather than muddle through the process of continually rebuilding in a pipe band environment where pipers and drummers are impatient for success, and the talented will go elsewhere if the results don’t come fast.
No matter how successful or committed the pipe-major or leading-drummer, that person’s first order of business should be to prepare his or her successor, make clear to all who that successor is, and work with that heir-apparent to impart the leadership skills required for the job. Yes, that designated successor might get fed up waiting for the chance to lead and move on but, when that happens, a new successor should be selected and groomed – and everyone in the band should know about the choice.
Pipe bands are not much different from businesses. An organization’s style and culture are defined by the leader who gets to pick who’s on the team, who fits the style and culture, who brings the strengths to the group. That leader also needs to have the confidence and integrity to know that change is inevitable, and looking after the group as a whole, even when he or she is no longer part of it, is central to the job.
Regardless of how prize-winning or secure your band is today, ask yourself who the next pipe-major or leading-drummer is. If you’re not sure, perhaps it’s time to resolve that problem before it creates a catastrophe.