LEGENDS & INFLUENCERS OF THE CALGARY GAMES

George Reid’s life began in the quiet rhythms of rural Scotland, in the parish of Newmill, Banffshire, where the sound of the pipes was never far from the wind. Born into a world still rooted in tradition, he first took up the bagpipes in 1930—a young boy drawn to an instrument that demanded discipline, patience, and a certain stubborn pr

George Reid’s life began in the quiet rhythms of rural Scotland, in the parish of Newmill, Banffshire, where the sound of the pipes was never far from the wind. Born into a world still rooted in tradition, he first took up the bagpipes in 1930—a young boy drawn to an instrument that demanded discipline, patience, and a certain stubborn pride. It would shape the course of his entire life.

When war came, Reid set aside the comforts of home and answered the call to serve. He joined the Gordon Highlanders during the Second World War—not as a piper, but as a medic on the front lines. There, amid the chaos and cost of war, his role was not to inspire with music, but to preserve life where he could. It was work that required courage of a quieter kind—steady hands, clear judgment, and compassion under fire - a trait that was part of George's personality.

When the war ended, like many Scots of his generation, Reid looked westward. Canada offered opportunity, and perhaps a measure of distance from the memories of war and continued to serve in the 19th Medium Regiment, Royal Canadian Artillery Pipe Band in Calgary.

He made a new home there, continuing his service in the reserve while turning his attention to a different calling—health care. Through study and determination, he built a professional life dedicated to helping others, echoing the same instinct that had guided him as a wartime medic.

But the pipes never left him.

If anything, they became more central to who he was. In Canada, George Reid emerged not just as a player, but as a leader and a teacher. Over the course of his long piping career, he served as Pipe Major of six different bands—a remarkable testament to both his skill and the respect he commanded. Each band bore his imprint: disciplined, musical, and grounded in tradition.

Yet his greatest contribution was not in competition prizes or parade honours—it was in people.

Reid devoted himself to youth pipe bands, recognizing that the future of Highland piping depended on the next generation. Patient and exacting, he taught hundreds of young pipers—not only how to play, but how to carry themselves, how to listen, and how to belong to something larger than themselves. For many, he was more than an instructor; he was a mentor, a steady presence, and a bridge between the old world and the new.

From the fields of Banffshire to the battlefields of Europe, and onward to the parade grounds and practice halls of Canada, George Reid’s life was one of service—through medicine, through music, and through mentorship. 

The notes he played have long since faded into the air, but the legacy he built continues to sound in every piper he trained, and in every band that carries forward the tradition he so quietly and faithfully upheld.

When he arrived in Calgary in 1965, he did not come with fanfare or proclamation. What he carried instead was something far more powerful—experience forged at the highest level of the pipe band world, and a quiet certainty about how the drum could, and should, be played.

He had already stood at the pinnacle as a World Champion with the Dun

When he arrived in Calgary in 1965, he did not come with fanfare or proclamation. What he carried instead was something far more powerful—experience forged at the highest level of the pipe band world, and a quiet certainty about how the drum could, and should, be played.

He had already stood at the pinnacle as a World Champion with the Dundonald Colliery Pipe Band, where precision, expression, and discipline were not aspirations, but expectations. In that environment, drumming was not merely accompaniment—it was architecture, the framework upon which the music stood. And it was that philosophy he brought with him to Western Canada.

At the time, the local pipe band scene was enthusiastic and growing, but still searching for consistency and refinement. What followed his arrival was not a sudden revolution, but a steady and unmistakable transformation. As a lead drummer, he set new standards—cleaner execution, tighter ensemble, and a level of musical sensitivity that elevated entire bands. Players who worked with him quickly understood that this was not about playing louder or faster; it was about playing better.

But it was as a teacher that his influence truly took hold.

Through the founding of the Alex Brown School of Drumming, he created something that had not previously existed in the region: a structured, disciplined approach to pipe band drumming rooted in world-class technique. Students came not only from Calgary, but from across Western Canada and the Northwestern United States, drawn by a reputation that spread quickly through the piping and drumming community.

He was known—sometimes with a hint of awe—as a “master of rolls.” Under his guidance, rudiments were no longer mechanical exercises; they became tools of expression. Every stroke had purpose, every phrase direction. He demanded precision, but never at the expense of musicality. Those who trained under him found themselves not only improving, but rethinking what drumming could be.

Generations of players passed through his hands. Many went on to lead bands of their own, carrying his methods into new ensembles, new cities, and new competitions. In time, his influence became woven into the very fabric of pipe band drumming across the region. Bands that had once struggled for consistency began to compete—and win—with confidence on the world stage.

What he changed was not simply technique. He changed expectations.

He showed that Western Canadian and Northwestern American drummers could stand shoulder to shoulder with the best in the world—not as imitators, but as equals. And he did it not through grand gestures, but through discipline, clarity, and an unwavering belief in the music.

Today, his legacy is not confined to a single band or a single generation. It lives on in the hands of every drummer who plays with control, purpose, and pride—and in every corps that understands that excellence is not given, but built, one stroke at a time.

Rodger’s story is one of those quiet turns of fate that ends up shaping an entire community.

He left Renfrew, Scotland in 1958 with a clear plan—make his way to the Pacific coast and continue his career as a Marine Engineer. But somewhere along the journey, Calgary intervened. He arrived during the Stampede, took in the energy of the city,

Rodger’s story is one of those quiet turns of fate that ends up shaping an entire community.

He left Renfrew, Scotland in 1958 with a clear plan—make his way to the Pacific coast and continue his career as a Marine Engineer. But somewhere along the journey, Calgary intervened. He arrived during the Stampede, took in the energy of the city, and made a decision that would ripple far beyond his own life: he stayed, put down roots, and raised his family there.

In doing so, Calgary gained one of its most steady and influential figures in pipe music.

Rodger was there at the beginning, an original member of both the 19th Medium Regiment RCA Pipe Band and the Clan McBain Pipe Band. In those formative years, when the pipe band scene in the city was still finding its footing, he helped build not just bands, but standards—quietly reinforcing the discipline, tone, and musicality that define good piping.

Yet his greatest contribution was never about visibility or recognition. It was about commitment.

For forty years, while an active band piper in Calgary, Rodger worked as a private piping instructor—one student at a time, one tune at a time. There were no grand stages in that work, no applause. Just patience, consistency, and a deep respect for the tradition. Generations of pipers passed through his hands, many of them going on to perform, compete, and teach in their own right. In that way, his influence extended far beyond what could ever be measured.

He was not a man who sought attention, but one who earned respect—through reliability, knowledge, and a genuine desire to see others succeed.

In a community that values both heritage and excellence, Rodger became a cornerstone. His decision to stop in Calgary all those years ago proved to be more than a change of plans—it was the beginning of a legacy that continues to be heard every time a well-taught piper strikes in with confidence and pride.

A native of Milnathort, Scotland, Ben began his journey in 1920. At the age of eight, following the passing of his mother, he and his father left Fife to begin a new life in Canada.

His military service began as a reservist with The Calgary Highlanders, where he joined the Pipe Band. In the years that followed, he became a prominent figure

A native of Milnathort, Scotland, Ben began his journey in 1920. At the age of eight, following the passing of his mother, he and his father left Fife to begin a new life in Canada.

His military service began as a reservist with The Calgary Highlanders, where he joined the Pipe Band. In the years that followed, he became a prominent figure in the piping and drumming community, serving as both a bass drummer and Drum Major with several civilian bands, including the Calgary Scottish, the Red Hackle Pipe Band, and later performing at the Grade 1 level with the Clan McBain Pipe Band in the 1970s.

Ben’s presence extended well beyond the parade square. His likeness was immortalized in the iconic 18-foot Drum Major neon sign that stood for many years in front of The Highlander Hotel on the Trans-Canada Highway (16th Avenue SE), becoming a familiar landmark to generations of Calgarians.

He was also actively involved in the leadership of the Calgary United Scottish Games Association, contributing his time and energy to the growth and success of Highland Games in the region.

Flora McInnes was a cornerstone of Calgary’s Highland Games community, remembered for her precision, dedication, and tireless work behind the scenes. Born in Bowden, she moved to Calgary as a young child and remained there for her full span of 99 years, building a life defined by service and excellence.

Her involvement in the Highland Game

Flora McInnes was a cornerstone of Calgary’s Highland Games community, remembered for her precision, dedication, and tireless work behind the scenes. Born in Bowden, she moved to Calgary as a young child and remained there for her full span of 99 years, building a life defined by service and excellence.

Her involvement in the Highland Games was marked by an extraordinary attention to detail and a commitment that few could match. Flora approached every event with near-military precision, ensuring that nothing was overlooked. Much of her work went unseen, but it was essential to the success of the Games year after year. 

She held herself—and others—to high standards, driven by a quiet determination to do things right. Her love of the bagpipes was also central to her life, and she encouraged others to embrace the tradition, influencing even those who had initially set their sights elsewhere.

Beyond the Games, Flora was equally accomplished. A top graduate of the Calgary General Hospital School of Nursing in 1946, she remained deeply involved with its alumni, eventually earning a lifetime achievement award. She was also exceptionally skilled in countless crafts and an award-winning gardener, bringing the same care and precision to everything she did.

Flora’s legacy is one of quiet leadership, discipline, and lasting impact—especially within the Highland Games community, where her contributions helped shape experiences for generations.

Pipe Major Maxwell returned to the Calgary Highlanders Pipe Band at a moment when it needed more than leadership—it needed rebuilding.

From 1977 to 1981, he undertook a second tour as Pipe Major, stepping forward at a time when the band was still finding its footing after being reduced to nil strength in 1969 and only formally reactivated 

Pipe Major Maxwell returned to the Calgary Highlanders Pipe Band at a moment when it needed more than leadership—it needed rebuilding.

From 1977 to 1981, he undertook a second tour as Pipe Major, stepping forward at a time when the band was still finding its footing after being reduced to nil strength in 1969 and only formally reactivated in 1975. This was no small commitment. In civilian life, Maxwell served as Comptroller of PanCanadian Petroleum, overseeing the finances of a company with more than 1,100 employees. Yet despite the demands of that role, he chose to invest his time, energy, and discipline into restoring the Regiment’s musical arm.

What followed was a remarkable transformation.

Under his direction, the Calgary Highlanders Pipe Band grew into the largest pipe band in the city. More importantly, it became a competitive force—earning honours, winning competitions, and re-establishing a standard of excellence that reflected well on the Regiment and the broader piping community.

The military took note. In 1983, Maxwell was awarded the Medal of Military Merit in recognition of his leadership, commitment, and the enduring impact of his work.

Even after stepping away from the Calgary Highlanders, his influence did not diminish. He went on to form the Clan Maxwell Pipe Band, a successful civilian ensemble that carried forward his standards and passion for the art.

Pipe Major Maxwell’s legacy is one of quiet determination and lasting contribution—a man who, despite the weight of professional responsibility, chose to build something enduring, and succeeded.