For the last three years, I have had the great pleasure to be teaching and performing at the Ceolas Festival in South Uist. It would be an understatement to state that playing concerts and recitals in the presence of legends like Iain and Allan MacDonald, and Rona Lightfoot is an intimidating task. In fact, playing anywhere on the islands of South Uist or Eriskay usually means playing for the most educated and passionate piping audience anywhere on the planet.  Needless to say, an excellent pipe is the norm in that environment, where twelve year olds play their grandfather’s MacDougalls.

         I had a few conversations with Innis Campbell at The Scottish Lion about selling my half-silver set. He suggested that I try a new brand of pipes that he would be marketing under the Scottish Lion name. I had heard a set played by a student of mine, Trevor Kellock (now playing with the Frasers and former PM of the Grade 2 Dartmouth and District) and I was really impressed with the steadiness and tone. I agreed to try a set, and that if I liked them, I would play them during week long Ceolas Festival in South Uist in July ’09.

         The pipe I tried was a basic entry level set with nickel and imitation mounts. I was very impressed by the regularity of the turning and the finesse of the craftsmanship. I noted the blow stick especially, because it did not restrict any airflow. The drone bores were flawless and polished and the drone seats were wide enough to accommodate the EZEE drones for deep seating. I put the drone reeds in and gave them a quarter turn and they locked in place solidly.  I blew up the pipe. I couldn’t believe it. I was able to blow a solid tone right away and the drones were easy to blow. I could feel that solidness between the drones and bottom hand right in my breastbone.  I made no alterations to the way I had my reeds set up in my old pipe.  The tenors tuned just slightly above the hemp line and the bass tuned about a third of the way up the lower pin. The upper sections of the drones fit beautifully onto the pins with a few layers of hemp. I played the ground of Lament for Captain MacDougall, tuned up again and they locked! I played for twenty minutes and the drones did not move.

            I always tended to play too much when I prepare for a performance or when I was competing. I always admired great players who never seemed concerned with their pipe. Now, I know the feeling. After the first day with the Scottish Lion pipes, I just practiced about twenty minutes a day, and then a few tunes on the chanter.  In the Ceolas Festival in South Uist, I was scheduled to play at the opening concert Sunday night in Daliburgh, the piper’s concert on Monday, Boisdale House on Tuesday, a dance on Thursday in Eriskay, and the closing concert on Friday night. All the venues were packed and the halls were very warm. The tuning facilities were non-existent. Usually this means a drastically sharpening pipe as it goes from cool to hot - but no worries. I followed the same routine for each – I put some air through the pipe while waiting to go on, I played one air to settle the drones and then started. The result was the same every time – absolute steadiness and a rich, mellow tone.

            I cannot stress the confidence inspired by such a reliable and steady pipe. Many of us play with one ear on the drones, listening for change. With the Scottish Lion pipe, this worry was removed, and I actually relaxed while playing – bringing a special confidence and swing to the strathspeys and reels the people in South Uist love so much.  I played with absolute confidence in the pipe.

            After the first performance on the Sunday night, I spoke with many of the great players in attendance, such as Iain MacDonald, Tony MacDonald (former pipe sergeant of British Caledonia Airways, and great friend of Pipe Major Angus MacDonald), Angus Nicholson of Skye, and several others. I asked them to listen throughout the week and to give me their opinions. They all gave me rave reviews on the steadiness and tone of the drones. They couldn’t believe that I had only been playing them a week!  In the piper’s concert, I played two sets of tunes, about twenty-five minutes, with a brief fine-tuning in between the first and second set. During the first set, I noticed a slight shift in the drones – they seemed to get even quieter. At first I thought I had shifted my arm or something. When I asked Tony MacDonald about it – he said he heard it and winked at Iain MacDonald – because the sound I had heard was the drones locking. I have only experienced this before while playing my grandfather’s 1930’s era cocus wood Hendersons. Of all the pipes I have played, the Scottish Lion drones most resemble those old Hendersons – which were known for their sweetness and mellowness of tone.

            It is safe to say that I played with much more confidence and that I actually loved playing these pipes. In fact, I had originally wanted to order a silver set, but I am going to keep the entry level set Innis Campbell gave me to try – because it is the best bagpipe I have ever played. I don’t state this lightly - I competed throughout the amateur in Ontario and in the Open across North America, and in four Grade One bands. I have played MacLeods, Nialls, Gibsons, Fletchers, my great-uncle’s Lawries, and my grandfather’s Hendersons – but I have never been as pleased with them as I have been with the Scottish Lion pipes and I am very pleased to offer the highest possible rating for them.

John MacLean

Halifax

July 2009