Mark Hewins Interview
This article is about inerview of Mr. Mark Hewins, who is one of the most important musician in Canterbury Scene. I interviewed him on October in 2020 by e-mail.
Please enjoy!!
ーWhat got you interested in playing the guitar? What kind of music do you enjoy listening to besides Canterbury music?
At age 11, I heard lightning Hopkins playing the blues and went straight out and bought the album. This was the first album I ever bought. These days I listen to Joe Pass, Wes Montgomery and a lot of Indian and other devotional Music. (Amongst other, random things)
ーWhat is the first Canterbury album that you heard?
The first Canterbury album I heard was ‘Land of Grey and Pink’ by Caravan. It had just been released and I was struck by the quality of the songs and specifically by Richard Sinclair’s bass playing and singing. It affected me a lot, as it has many others.
ーPlease let me know how you came to join in Canterbury Scene in detail.
I met Richard and the others at the second Hatfield and the North Rehearsal at Jubilee Studios in London. We talked about equipment and he invited me to come to Canterbury. (Where I moved in 1974). I knew of Canterbury because as a child I often visited Herne Bay on the Kent Coast, which is a regular haunt for people from South London, and Canterbury is close by.
When I moved to Herne bay I was playing both solo and in bands around the area, including Canterbury, where I had the residency at Alberry’s, with my band Polite Force which included Graham Flight who had played with ‘The Wilde Flowers’. Dave Sinclair was a member of the band and a number of Canterbury Musicians, including Richard Sinclair and Hugh Hopper would come to hear us play. We had many guests including members of Camel and Tony Coe, amongst others.
ーWhen and why did you move to Margate?
I lived in Herne bay from 1974 to 1979 and when my wife and I decided to relocate from London to the Coast, we looked at houses in and around the Herne Bay area. After living in Whitstable for a couple of years we found the perfect house just along the coast in Margate and are still living there.
ーPlease tell me what made you to establish Musart Label. I think it is very hard (of course it is really precious and important, too) to do both musical activity and label works at the same time. What is your driving force?
I established Musart because I wanted to move away from the regular music labels and control my own work and benefit financially from releasing material, rather than waiting on label owners. Other Canterbury musicians are also on the label; for the same reasons, I think.
ーWould you tell me how you came to join in Soft Heap in more detail? Who introduced you to them?
I was playing with John Stevens and Elton Dean. Elton knew my playing and of my Canterbury connections and asked me join Soft Heap after Alan Gowen tragically passed away. I knew Pip, of course and although I had never met John before, (who was also new to the group), we all got along; Musically and personally, very well!
ーThis photo from “A Veritable Centaur” booklet was taken at Gloucester Arms, wasn’t it? Who was the best billiards player of all of you?
We were all terrible players, although a pretense of skill was strongly in evidence!
ーYou have collaborated with Mr. Hugh Hopper so many times. When did you meet Hugh for the first time?
I first met Hugh in Canterbury, when he came to see me play at Alberry’s in the late 70’s. He said really liked my playing and much later asked me to join his band, The Max Axe Quartet. We also played together at many engagements and on many albums over the years.
ー You said “Soft Heap is the best band I have ever been in, in any context.” in previous interview on "Calyx". I would like to know more details about the reason that you said so.
I have worked in the Bob Geldof band and with Lou Reed amongst others, but the band I most enjoyed playing in was definitely Soft Heap. The playing was never predetermined; although we developed a Musical ‘shape’ over the years. It flowed as a stream of consciousness from the Musicians, I have never encountered such artistic chemistry before or since - we were perfectly attuned to each other. As a young player, (The others, were older than me), I found it very exciting.
ーYou wrote that you used to see Mr. Alan Gowen before you join in Soft Heap in “A Veritable Centaur” booklet. Would you like to tell me what kind of person he was?
I did not know Alan very well. I always met him in the company of others and he was quite ill at the time. I can say that he lived up to his reputation for being a gentle and extremely talented musician.
ーThe front and back cover photos of “A Veritable Centaur” were taken by you. Where did you take these photos? And why did you choose these photos for album cover?
The photos were taken in Lille, Northern France, which was always the starting point for our concerts in Europe. We thought that the photos resembled a female breast – a soft heap.
ーYour playing in “Moon Over Man” and “Polite Force” has fusion color. But after that, your music including Soft Heap has more avantgarde and free jazz element. Are there any influences from other musicians and so on?
I have developed my own style over the years and I have attempted to push forward with my playing rather than live in the past. I dislike the idea of copying other musicians and playing the same music over and over again. This is why you will rarely see me playing cover numbers, or in groups that keep regurgitating the same songs year after year.
ーWhat is the most important thing when you are playing the guitar? Are there any players who have an influence on your play?
The emotional content, guitar tone and intent have always been major factors. I want to communicate with the listener in a way that stirs their emotions in some way. Whilst I listen to a number of gifted guitar players, I always try to create my own voice.
ーPlease let me know about your composition. What is the significant thing when you compose the songs?
I have composed a number of tunes in the past and was influenced by world events and people I knew. For example, Hugh’s News (Tanker Rescue Bid) was written after an oil tanker sank and later dedicated to Hugh Hopper. Led it Lay, which we played with Richard Sinclair’s band, Going Going, and the original ‘Caravan of Dreams’, was written for my wife Yvonne before we were married. But, I much prefer spontaneous composition e.g. the tunes on the latest release, ‘Taxonomies’, with Martin Pyne and Alex Maguire, were entirely improvised.
ーYou came to Japan on Gong’s tour. Do you have any impressive memories in Japan?
Japan is my absolutely favourite country and I have many friends there. I seek out Japanese food wherever I am and there is a Japanese restaurant that I visit weekly near to my home.
When I was there in 1999, I was able to meet one of my dearest Japanese friends and soul brother, who I have known since the mid 1980’s as a serious collector of Canterbury music and improvised jazz.
The last time I was there with my wife in 2017, I was visiting as a tourist for the first time. We stayed in Hiroshima and my soul brother showed us around the memorial, which was a very moving experience. When we stayed in Kyoto, some wonderful Japanese friends came especially from Nagoya to show us around the Temples and Shrines in the Gion district. There is so much more to see and experience and I can’t wait to return to continue to explore the Country and culture.
ーPlease tell me about your current musical activities. I think the coronavirus effect is really serious for all musicians. What kind of impact is it having on your activities?
I am still able to play concerts near to where I live, but international travel is not an option at the moment. I am releasing material on BandCamp and the fans can see that at
https://www.markhewins.bandcamp.com.
I continue to publish images and stream music on my web site
In addition, I meet with musicians from around the world on Zoom to play and record improvised music. It is just another way of working!
ーAbout “EDQ BBCR3 and More”, which you released very recently, is there any messages about these difficult situations from you in “Hard Times For Dreamers”?
The album ‘Hard Times for Dreamers’, is referring to the current situation in which we all find ourselves. It is hard financially, emotionally and mentally for all of us.
ーAbout “Lyn Dobson & Mark Hewins” that you released on April this year, I was very surprised to know that Mr. Eric Peachy joined as a guest! How did you come to collaborate with him?
I was introduced to Eric by Jack Monck, the bass player from the band Delivery, and we played together regularly from them on. It was natural for him to join us on the album as we were all together in the same place when that track was being recorded.
ーWould you tell me about future plans about both your musical activity and Musart releases?
I am continuing to release largely unpublished music via Bandcamp and the next release will be another Hopper/Hewins album. Promoters are starting to get in touch again, with tours being planned for 2021/22. Let’s hope we are able ‘to get back on the road’ then.
ーI’m sorry it might be difficult question, but what is “Canterbury music” for you?
Haha :D - That question would be the subject of another entire interview.
2020. 10. 10.
interview by Kanyo (Twitter: @kanyoko_RSQP)
I really appreciate to Mark's kindness from the bottom of my heart.
Thank you for reading!!
