AX: Tell us about the genesis of the Cartier Concourse.
MS: The Cartier people came to me last year and said you have to do it. They actually gave me full authority though a letter from the CEO.

AX: Do you feel good about brining this event to India?
MS: I’m on edge — the cars have been given to me on a personal guarantee. So all this grand show that’s happening is not what I’m thinking about, because until the cars go back to their owners I’m on edge… they should not get damaged.

AX: Criteria for eligibility?
MS: 5 or 6, actually. As I see Indian automotive history, how it evolved over the years, there have been pockets of distinction, pockets of distress, and pockets of idiocy. Pockets of idiocy in terms of some stupidity of Maharajahs here and there, some great cars, outstanding ones that have never been seen, pockets of love and luck – like King George V’s car landing up in India. I’ve tried to put all these pockets together. Being the first Concourse, I’m trying to show what India had and has. This is not the definitive show – I’ve not been able to have all the categories I wanted.

AX: Compare the vintage car movement today versus 20 years ago.
MS: 20 years ago it was a Sunday picnic. Cars were treated as something for grandchildren to have rides in. Today people realize the value of these cars and tend to think of preserving and looking after them.

AX: Are Indian restorers aware, or becoming aware, of standards abroad? Like Pebble Beach, etc.
MS: They are getting there. See for yourself – see the cars here, tell me what you think? Some cars have been done very well.

AX: What’s the biggest issue before the Indian vintage car movement today? Like in the UK, you have a strong movement, special insurance, etc.
MS: To get everything together – the politics of it all. Infrastructure is lacking, but people will realize with an international arena.

AX: Will the Cartier show always be in Bombay?
MS: No, this show is in Bombay, but the show will move around India. That’s why there are no South India cars here.

AX: Do you still find hidden gems sometimes?
MS: Not really, most are known. Though there could be oddities, like the WWII stuff that was not valued before.

AX: What’s your opinion of the cars at this concours?
NM: Very interesting, some of them are world class. Some, which are less than world class, should not be judged on the same criteria as one has to keep in mind the difficulties, the situation surrounding them – spares are not available, so you have to take a different view. There are positive qualities, and negative qualities. It’s a very good exhibition, really.

AX: Any particular cars impressed you?
NM: About 20 cars actually, because of the level of restoration given the circumstances, the history behind these great cars. I love the Maharajah cars, the American cars are in astonishingly good condition. The owners too are delightful, very much like the people I meet in Europe.

AX: Restoration is a tricky business. What do you think about “Indian Engineering,’ where people have adapted parts to keep the car running, which would not be authentic abroad?
NM: It’s something to be admired actually. In fact, here if it’s a particularly clever solution, the judges will mark it up. All marques do not have the sort of records say Rolls-Royce have.

AX: Did any car disappoint you?
NM: No. Well, we are not here as a gang of critics, we are enthusiasts. Disappointing is not a word I would use.

AX: Tell us about Nick Mason the car enthusiast.
NM: Well, I was a car enthusiast before I became a professional musician. Thanks to my father who was involved in cars. He used to actually make documentary films for Shell – films on Le Mans and the Mille Miglia. He also used to race a vintage Bentley. I was taken to my first race when I was 7 years old. I was brought up with motor racing, model cars, and films about motor racing.

AX: When did the music happen then?
NM: In my 3rd or 4th year of architecture actually, around 1967.

AX: You’ve written a book – Into the Red?
NM: I’ve written 2 books actually, one on my cars which is Into the Red and the other is on music history.

AX: How many cars do you have?
NM: About 35-40 cars, of which about 20-25 are significant.

AX: Are they all running?
NM: They should be, but two or three may need an engine rebuild after Goodwood.

AX: Can you relate classic cars to music?
NM: This is quite often asked. I think they complement each other because they are different – one is a group activity while the racing is done alone.

AX: Are you just a racing driver or somebody who gets technical – tweaks his cars, modifying the suspension, etc.?
NM: Both actually. Although old cars are ideally not supposed to be touched for the sake of originality, unfortunately and inevitably one tends to do things to make the car go quicker – it’s basically developing the car.

AX: What was Le Mans like for you – you’ve raced there?
NM: Fabulous, I loved it. It was a dream come true. Le Mans was always a goal for me – no, not F1, that’s too professional, I could never have done that. But Le Mans has a category for the amateur, and you can genuinely compete with the professionals, because it’s more about getting the car home after 24 hours.

AX: What’s your daily drive? Not an Austin Allegro hopefully?
NM: No, no danger of that. Well, I have a bike, a BMW 800, and an Audi RS4, which is useful for carrying my drum kit and still has great performance.

AX: Tell us about Ten-Tenths, your website. It generates business and promotes the vintage car movement.
NM: Less work nowadays, as TV commercial budgets have dropped but it was really a way of keeping the cars occupied, and thus in good shape. Renting them out is not an option because I don’t trust anybody else – these cars do break down.

AX: Are you a Ferrari fan?
NM: Yeah, but not just a Ferrari fan, other marques too.

AX: But the 250GTO is your favourite?
NM: Absolutely.

AX: How many Ferraris do you have?
NM: I have 7.