As a young MacAndrew, he received some classical training in Edinburgh, and mixed this with his awareness of the aural tradition going back to the Gows which he venerated and came to embody.
[2] He talked little of his wartime experiences, but it was at this time that he determined that, should he survive, he would devote himself as far as possible to keeping the tradition of Scottish fiddle playing alive.
[3] On returning home, he began to make recordings on the Parlophone label, for the School of Scottish Studies and the BBC.
He was, however, dismissive of his efforts in this field, too much so friends, colleagues and pupils believed, and his aim, he said, was never for publication; but the eventual book added a valuable addition to the library available to Scots fiddlers.
He did not use microphones; unlike some even quite famous players, he respected the fine Pietro Guarneri violin he used, dusting excess rosin away and keeping it always in good order.
He was acknowledged by such as Ron Gonnella, Ian Powrie and Willie Hunter as the greatest Scots fiddler of his generation.