"It’s (Blues) music that speaks to us all and connects us all - people will always be able to relate to it. It is a music and art form that has a rich history and important heritage but will always be relevant, whatever society brings in the future."

Mark Cole: Blues & Roots Music with Soul

A powerful, passionate vocalist, Mark also plays a pretty mean harp, honest uncluttered slide and rhythm guitar, a little mandolin and accordion, and loves experimenting musically with other instruments and found objects. His many talents keep him in demand at studio sessions covering all types of roots music. Both in the studio and on stage he has played with or supported a great many artistes including Pinetop Perkins, Willie King, Kent DuChaine, Alison Moyet, Dr. Feelgood, Chris Jagger (Mick's brother), Roy Wood, Ian Dench (EMF), Steve Gibbons, Mike D'Abo, Phil Beer (Rolling Stones session man), the Gutter Brothers, Richard Thompson, Australian blues maestro Mojo Webb, guitar legend Alvin Lee (at the Glastonbury Festival in 1994) and Chicago Blues legend Eddie C. Campbell. Over the years he has received critical acclaim for his vocal performance and songwriting which has been described as having "a quality and professionalism that sets it apart from so many" with an "assured melodic delivery and ability to constantly impress" (Rock 'n' Reel magazine). He writes songs across many styles for himself, the bands that he plays in and other performers.

(Mark Cole, covering all types of roots music / Dubbel Xposure Photography)

Mark regularly performs with his blues duo/band Sons of the Delta, with americana band The Jigantics and with harmonica maestro Liam Ward. He also performs occasionally with his blues and soul band Maxwell Street, solo and as a 'gun for hire' with other bands and musicians. Mark's debut solo album COLE was released in July 2018 and features eleven songs across the various genres. Blues and Americana duo Mark & Ward, they deliver an entertaining and diverse show of Southern American music styles and a set from these two takes a "pass-the-parcel" approach with each given a chance to share their own styles and songs, with a growing number of co-written songs from their debut album, "Blues and Other Truths" is released on Friday 29th March).

Interview by Michael Limnios

How has the Blues influenced your views of the world? What does the blues mean to you?

If you think about it, the blues is in every man and woman. The stories it tells are the stories of everyone, whether it’s about heartbreak or hard times, all people of all walks of life go through these at some point. So, for me, in influencing my views, it reminds me to be tolerant and appreciate that deep down we are all the same. It’s a shame not everyone can see that. We all need to reflect on that and try and live in harmony. So that’s what the Blues means to me – shared feelings and a common bond that we can all relate to.

How do you describe your sound and songbook? What's the balance in music between technique and soul?

For me, when it comes to blues and roots music, soul is more important than technique. They are stories of pain, of joy, not a mathematical problem to be solved. A certain level of technique is important, because you can’t give free reign to your soul in a way the majority people will understand unless you have that foundation to build on. At the end of the day, we all want to build an audience, so your sound has to be accessible or you’ll be playing to an empty room. Personally, I also like the sound to reflect the story, help to build the mood and narrative. I very much believe the mantra of “serve the song”.

"The best advice I ever had as a musician was what I mentioned above – serve the song. The song is the most important thing, not your ego or how fast/loud you can play. Just do what the songs needs to get it across in the best light. There are no specific rules apart from “less is more”, usually." (Photo: Mark Cole)

Why do you think that the British Blues Scene continues to generate such a devoted following?

I think, because of the boom of blues influenced bands in the 60s and 70s here in the UK, we have a historic reputation for innovation and experimentation and that seems to attract listeners. The bands that get it right and have a certain special something about them build a strong following. The fact that there’s no language barrier helps too – most of the blues listening world can speak pretty good English whereas, sadly, many great bands who sing in a less well-known language might not get as many fans as they deserve.

Which meetings have been the most important experiences for you?

Meeting the person who loaned me my first blues album to listen to. From the first time I listened, I was totally hooked. It spoke to me like no other music. I can’t remember the guy’s name, but the album was Sonny Boy Williamson 2’s “Portraits In Blues Vol. 4” on the Storyville label. Also, every trip to Mississippi has a profound effect on me – like plugging myself in to the wall and recharging my soul. I always learn something new, see things in a new light.

What was the best advice anyone ever gave you?

The best advice I ever had as a musician was what I mentioned above – serve the song. The song is the most important thing, not your ego or how fast/loud you can play. Just do what the songs needs to get it across in the best light. There are no specific rules apart from “less is more”, usually.

Why is it important to we preserve and spread the blues? What is the role of Blues in today’s society?

It’s music that speaks to us all and connects us all - people will always be able to relate to it. It is a music and art form that has a rich history and important heritage but will always be relevant, whatever society brings in the future.

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?                                  (Photo: Mark Cole & Pinetop Perkins)

I think my favourite day and possibly most important musically was when Rick Edwards (my Sons of the Delta partner) and I recorded an album in one day at Delta Recording Studio (no longer there) in Clarksdale, Mississippi. We were fortunate enough to get some amazing musicians in the studio with us: Jeff Hayes on drums, Eric Lanier on bass and the wonderful Pinetop Perkins (who was then 92) on piano. On a few tracks we also had Robert Nighthawk’s son, Sam Carr, on drums. I had to pinch myself all day long, being in the room with two legends of the music. After the session Rick and I went to Red’s juke joint where T Model Ford was playing that night, and we had a fantastic evening. Pinetop came in at some point, looking very smart in a denim suit, and everyone stood up and clapped. Wonderful. Rick and I left sometime after midnight and Pinetop was still there til 3:00am apparently. Best day ever. There’s a funny story from the morning after concerning Pinetop, but I’ll save that for another time.

What do you miss most nowadays from the blues of the past?

When I listen to the old masters there’s a subtlety and rawness to the music that is not as evident nowadays. I know that sounds like a contradiction, but a lot of bands today think rawness means aggression and volume. To me, it doesn’t. You can have a raw and honest sound and still be subtle and dynamic in how you play and how the song is arranged. Maybe the heart and soul element isn’t as present as it used to be?

What are your hopes and fears for the future of?

My fear is that blues music becomes even less heard on the radio and television because how else will young people hear it? Yes, there’s the internet but you need to look for it to find it, and how do you find it if you don’t know it exists? My hope is that enough new young bands come along and somehow get younger audiences on board. I can see that today with bands like the Cinelli Brothers, who even though they are young they have great heart and soul in what they do and how they sound. They do attract a young audience as well as us oldies, and that’s important.

What are some of the most important lessons you have learned from your experience in the music paths?

In terms of playing and writing, the things I’ve mentioned above – less is more and serve the song. Also, be respectful of those you perform with as you are just one part of the whole sound, and it all needs to fit together and still leave space to breath. Listen! In terms of the business side, assume nothing will probably come from offers made but still see where they lead. Know your worth and try to not undersell yourself. You’re not a diamond, so don’t oversell either, but what you and how you do it has a value to it.

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(Photo: Mark Cole & Liam Ward)