The Recordings, and Playing Style
In 1929, HMV issued a recording of him playing three pieces - Elsey Marley, The Keel Row and Holey Ha'penny. The first is a simple song tune in jig time, the latter two are elaborate variation sets. This recording is currently available on The Northumbrian Smallpipes (Topic TSCD487), and The Keel Row may be listened to online at the website of the Morpeth Chantry Bagpipe Museum. The pieces, especially the variation sets, are played in a highly ornate style, and what is significant about the technique, apart from his great skill, is the total lack of open-fingered or slurred notes. The chanter is closed, and hence silent briefly, between any pair of notes. This forms a great contrast with the style of Billy Pigg, which was distinguished by his use of open-fingered ornamentation. Tom felt, on the other hand, that open fingering was 'a grievous error in smallpipe playing'. This 'error' persists: Young Tom once commented 'Nowadays they play with half their hand off the chanter'. Chris Ormston, who knew 'Young Tom' for a few months before his death, is a respected modern piper who consistently uses and advocates the 'Clough' style. One other recording is known to have been made, late in his life, when his deafness was severe. This was made by Colin Ross and Forster Charlton, of Tom playing his variations on Nae Guid luck; while this recording was used to transcribe the piece for the Pipers' Society Tunebook, it was apparently not kept, as it was felt that it would not be fair on Tom to retain it.
Read more about this topic: Tom Clough
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