He was also a pipemaker, and the pipes he made with Fred Picknell include several important innovations, and have a distinctive tone.
In contrast to the widely accepted notion of traditional folk music as an essentially rural activity, he and his family lived in the mining community of Newsham in south-east Northumberland, and were miners themselves.
Some of the moves seem to correspond to the sinking of new pit shafts, and the family may at this time have specialised in this skill, perhaps accounting for their relative wealth.
He was resident in Newsham, and hired as a sinker when the Cowpen "C", or "Isabella" pit was sunk in 1849, and gave his occupation as pitman when he married in 1850.
He was also, nearer the end of his life, after the pit where he worked was laid idle, the landlord of The Willow Tree, then the only public house in Newsham.
In later life he won several competitions, in particular those organised by the Society of Antiquaries in Newcastle Town Hall in 1877, 1878 and 1879 – the first prize in these was the substantial sum of 10 guineas.
This confirms that he was a sinker of pit shafts, as others of the family are believed to have been, and lists his piping achievements, as well stating that he won trophies and cash prizes (£50 on one occasion) for shooting.
He may be the James Clough who became manager of the Barrington Colliery at Bedlington, and if so, the pressure of that job may have meant he had less time for piping.
He studied with Thomas Todd, having first learned the basics of the instrument practicing in the house of a neighbour, in secret from his father, on borrowed pipes.
He first entered a competition in 1894, winning the learners' class, and placing third in the Open the following year, behind Richard Mowat and his father.
There is a story that he proposed when he realised the bead and cane curtain in her parents' house provided ideal raw material for reed making.
One old drone reed in the set of pipes formerly belonging to his son 'Young Tom' Clough (IV) does indeed have a residue of black paint.
He became friendly with figures who were active in the folk music revival, notably Cecil Sharp, William Cocks in Northumberland, the composer and musicologist William G. Whittaker and the graphic artist Stanley Kennedy North, an active member of the Musical Association, and himself a piper.
Kennedy North's influence was probably crucial in arranging Tom's recordings, his performances at concerts in London, his broadcasts for the BBC, and a folk music tour of Germany and the Netherlands.
Kennedy North also made very precise fair copies of some variation sets from Tom's repertoire, apparently in preparation for publication.
His playing style was similar to that of his father, and he was able to explain details of this, and to confirm some conclusions Chris Ormston had reached from study of Tom (III)'s recordings.
In 1929, HMV issued a recording of Tom (III) playing three pieces – Elsey Marley, The Keel Row and Holey Ha'penny.
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.
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.
[citation needed] Tom Clough was an influential teacher of the pipes, though at an advanced level: his pupil Tommy Breckons recalled learning first from G.G.
These exercises consisted of scales and arpeggios – the pupil would have to start slowly, and increase speed till mistakes happened.
Another group of exercises, based on variation sets, are all found in the four tunes Fenwick of Bywell, Jacky Layton, Felton Lonnen and Oh dear, what can the matter be.
This is corroborated by many of his surviving drone reeds having been previously painted black, including some in a set belonging to 'Young Tom', now in the possession of Chris Ormston.
As there is no evidence Picknell played the pipes himself, it would make sense for him to collaborate with Clough, considered the best piper of his age.