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Home , Aron Burton, Billy Branch, Bob Stroger, Carey Bell, Carl Weathersby, Cash McCall (musician)

With Special Guest Contents Band Managers ...... 3 Press Release/Quotes ...... 4 : Bandleader ...... 6 Inetta Visor: Lead Singer ...... 8 Lurrie Bell: ...... 9 Maximiliano Valldeneu: Guitar ...... 11 Spurling Banks: Bass...... 12 Kenny Smith: Drums...... 15 History Of The Band ...... 16 : Greatest Events ...... 17 Discography...... 18 An energetic and cohesive ensemble. One of ’s top bands.” Press Release/Quotes CHICAGO TRIBUNE

Quite simply the hottest band “Pierre is a virtuoso.” in Chicago. . . “ CHICAGO SUN-TIMES “One of the most exciting “MISSISSIPPI HEAT not only ensemble performing today. . . breathes new life into the classic “The highlight of the entire MISSISSIPPI HEAT is one of sounds of but weekend occurred those bands that defies cliches they also uplift with joy and Saturday night when because each CD is better than dedication everything they play. MISSISSIPPI HEAT set the the last. . . Pierre Lacocque’s Pierre Lacocque is that rare street on fire.” technique and younger generation harpists MIKE SUTTLES musical imagination is who’s absorbed the lessons of (FESTIVAL DIRECTOR, superlative. He plays with the subtlety, silence, and solo LOUISVILLE, KY) finesse and golden tone. Horn construction from the masters - Big and , the Sonny players could take lessons “Once in a blue moon a band Boy Williamsons - as from him from the lines he like this comes along. well as their raucous, hawklike uses.” MISSISSIPPI HEAT’s tonal power.” PHIL LLOYD recordings got the quality that DAVID WHITEIS (AMERICAN HARMONICA gives you the gut bucket, (CHICAGO READER) NEWSLETTER) gizzard rip feel with each and every song. You just want to “All of MISSISSIPPI HEAT’s stop whatever the hell CD’s are pearls. This is one of important thing you’re doing my favorite blues band. . . I and get down and boogie have rarely heard more when these blues jump off passionate and soulful blues. “ those speakers.” CLAUDE COTE RICK SHIDELL (LE DEVOIR, , (AMERICAN CANADA) HARMONICA NEWSLETTER) “It’s been a long time since I heard a good blues band like “Pierre has emerged as a this. You guys really play great sensitive and creative music together.” , a band leader with vision, and a budding harmonica legend.” NILES FRANTZ (HOST OF “COMING HOME” WBEZ 91.5 FM, CHICAGO) “MISSISSIPPI HEAT has developed its own unmistakable sound. They have a signature, an immediately recognizable feel. . . Their CDs are a musical achievement.” RENE MOISAN (PRESIDENT, PRODUCTION BROS., MONTREAL, CANADA)

“This hard-driving Chicago blues band plays classic Chicago blues with flair, intelligence and respect for the traditions established by “Pierre is wonderful... really musical predecessors Muddy nice harmonica. ....Clean Waters and Howlin’ Wolf. . . arragements and playing. Nice MISSISSIPPI HEAT Stuff!” provides living proof that CORKY SIEGEL harp dominated Chicago style bands is not an anachronism.” “Mississippi Heat has finally THOMAS CULLEN III found a record company that (BALTIMORE BLUES believes in it, and particularily SOCIETY NEWSLETTER) in Pierre Lacocque’s undeniable talent... Not only as “You have to hear their CDs. a bandleader and creative I can’t praise MISSISSIPPI songwriter, but also as an HEAT too highly. They are exceptional and original absolutely megastonking.” harmonica player. ... What is BLUES & RHYTHM indeed most important (about (ENGLAND) this great chicago bluesband) is Pierre Lacocque’s creative input that pervades throughout Mississippi Heat’s original tunes, and which is heard in his awesome subtelty and power as a harmonica player.” ROBERT SACRE SOULBAG MAGA- ZINE () Pierre Lacocque: Bandleader

On the back of Mississippi Heat’s CD Footprints On The Ceiling, there is a photograph of a man with his eyes closed, playing the harmonica with such passion, that one is almost stunned by the actual silence of that frozen moment. Yet when he is heard live or on record on his harmonica, the listener is caught up by its fervent, inspiring presence. The man behind the harmonica is Pierre Lacocque, Mississippi Heat’s band leader and song writer. Pierre was born on October 13, 1952 in of Christian-Belgian parenthood. However, shortly after his birth, Pierre’s family moved to and France before going back to in 1957. By the age of 6, Pierre had already lived in three countries. A preview to his future musical career on the road. Pierre’s childhood in resonated with the intense and impassioned Scrip- tural upbringing of his father, a Protestant minister, now living in Chicago, who became a world- famous Old Testament scholar. Pierre, his brother Michel (Mississippi Heat’s General Manager) and his sister Elisabeth (who did the artwork design on the Heat’s first three CD’s) went to a Jewish Orthodox School in Brussels. After the Holocaust, Pierre’s parents and paternal grandfather (also a minister) felt that their children and grandchildren should learn about the suffering and plight of the Jews, as well as about in general and its philosophical and theological depths. At the Athenee Maimonides (Brussels) they were the only non-Jews ever (and since) to attend. At the Athenee Maimonides they learned old and modern Hebrew, all the religious rites and prayers, as well as studied the rabbinical commentaries on the books of the Old Testament. With the devotion to his studies, there was little time or room for much else. The family culture and priority was on intellectual pursuits, not on play such as soccer or music (two old interests of his). Serious studying, the reading of existential philosophers and theologians, were the only worthwhile activities condoned and encouraged by Pierre’s parents, his father in particular. But thanks to the radio in young Pierre’s room, there was just enough opportunity to unravel the subtle auditory endowments of Destiny. From the radio he heard and was moved by such soulful singers as , Otis Redding, and . Pierre was careful to keep the volume down. This is where he began to appreciate African- American music. ... The sound of the harmonica was first introduced to him when he lived in Alsace, France. His father was then a minister in a small village called Neuviller (1955-1957), not far from Albert Schweitzer’s birthplace in Gunsbach. Pierre’s father had bought him a green plastic harmonica toy. He was about three years old at the time. He remembers blowing in and out of it and feeling a surge of sadness that felt so familiar. As he experimented with the toy he often cried listening to its plaintive sounds. It was not until he came to Chicago in 1969, however, that he finally detected his destiny: playing the blues on the harmonica. He had never heard the blues saxophone-like amplified harmonica sound until then. In 1969 Pierre’s father received a full-time Old Testament professorship at the Chicago Theo- logical Seminary, located on the ’s campus. The family decided to move perma- nently to the Windy City and leave Belgium for good. Pierre was sixteen years old. The golden era of the 1950’s electric Chicago sound was still having a vibrant impact on local bands. Luminaries such as , Otis Spann, Little Walter, , Elmore James, , Howlin’ Wolf, , , and so many others, were still dynamic forces to reckon with in the late 1960’s. Unfortunately some had died by the time Pierre arrived in Chicago. Little Walter, Pierre’s mentor and main influence, died in 1968 following a head wound he acquired during a fight. ... Otis Spann, Muddy Waters’ long-time band member and perhaps the best blues player ever, had also recently died of cancer. On a Saturday night in the early Fall of 1969, Pierre decided to go to a concert being held at the University of Chicago’s Ida Noyes. He had no exposure to Chicago Blues before then, and had no expectations as to what he was about to hear. As he listened to the band playing, he became overwhelmed with emotion and excitement at a sound he never heard before: A saxophone-sound- ing amplified harmonica! In his own words, “ I was absolutely stunned and in awe by the sounds I heard coming from that harmonica player and his amplifier ... It sounded like a horn, yet distinct and unique”. The harmonica player went by the name of , a name he had never heard before but who changed his life forever. What he heard that night, the music, the mood, the style and sounds, moved his soul. From that moment on, Blues music, and blues harmonica in particular, became an obsession. Two days later, on a Monday morning, Pierre bought himself his first harmonica (or “harp” as it is called in blues circles). Next he was buying records, instruction books, anything to do with the blues harp. He was talking to people, picking up new knowledge wherever he could. Obsession led to passion and intense dedication, and Pierre was practicing the harp six, seven hours a day, notpaying attention to the clock (although he is known to check the clock now to remind him when he needs to get off the stage, because if it was up to him he would keep on playing beyond the scheduled sets! His band members tease him about that). Pierre eventually finished High School (like , Pierre graduated from the University of Chicago’s High School, better known as “The Lab School”. The two never met, however, as Butterfield had left the school before 1969). Pierre then left Chicago to go to College in Montreal, Canada. He played harp through his College years, making a few dollars here and there. While at Stanislas College and later, at McGill University, both located in Montreal, Pierre got his first live experience with a local blues group named the ALBERT FAILEY BLUES BAND. About a year later, Pierre joined another band: OVEN. That was in the early 1970’s when he lived for six years in that French-Canadian city (1970-1976). OVEN gigged regularly, and eventually won the Montreal Battle of The Bands contest in the summer of 1976. Unfortunately, the promoter who promised the winner $1,000 Canadian dollars and a record contract skipped town, and was never seen or heard from again. The news of the winand of the shady promoter did make the Montreal newspapers though... Not having the ill-fated career anymore, Pierre, 24 at the time, and disillusioned, came back to Chicago. Although playing the blues on the harp could never be more fitting as it was at this point, it couldn’t pay the bills. And it was at this point (1976) that Pierre described his life as going “the intellectual route”. Pierre decided to further his education in Clinical Psychology. It was during this period that Pierre met his Social Worker wife Vickie, and began working as a clinician at a Mental Health center in the Pilsen neighborhood of Chicago. For the next decade, Pierre was involved with his psychological work and research, finishing a doctorate at Northwestern University and publishing professional articles and a book, until a major insight took place in 1988. Pierre, an accomplished 36 years-old man, who had been studying Existentialism, Theology, History of Religions, etc. began to feel a void in his life. He began to re-evaluate his life and look into his own heart. Eventually he heard the answer loud and clear: He missed playing the blues. The awareness struck him like a beautiful horn, coming from an amp, distinct and unique, and yet a sound he had heard before, hidden all these years, but definitely not lost. And this is where Pierre’s passion revived, his fire and “joie de vivre” rekindled, his ability to take what was lost inside of him all these years and turn it into the raw, powerful heat that it is today. Inetta Visor: Lead Singer

Inetta Visor has blessed MISSISSIPPI HEAT with her voice since 2001. Her powerful, Etta James-like voice on Footprints On The Ceiling, Glad You’re Mine, and One Eye Open with the Heat is a testament to this blessing. Inetta was born February 4,1955 on the South Side of Chicago. She graduated from Simeon Vocational High School in 1972, and studied electronics at the Omega Institute, and worked as a radio engineer for then Chicago Alderman Roman Pucinski from 1975 to 1983. Ever since a child, Inetta had always had a passion for . It was a rare moment when she was found not singing or humming a song to herself. Her favorites at the time were Rock ‘N Roll tunes by such bands as the Rolling Stones and the Beatles. One day she decided to try out for an audition she heard announced by a WVON radio DJ for Rock ‘N Roll choir DUBBER RUCKlE. Apparently Inetta was a natural, and she was selected to sing with this choir. She sang her first pro- fessional gig with them in 1971, and continued to hone her singing skills on and off the stage when- ever she could, as she continued to work as a radio engineer to pay the bills. In 1979 she began to sing with a choir TWT (THE WHOLE TRUTH) founded by a former Dubber Ruckie member. With TWT Inetta sang throughout the week at various clubs with this 12-piece or more band. Even though some nights she only came back with very little (as low as $15.00!), she gathered great experience on stage. In 1984, Inetta left TWT and put together her own choir (SISTERS WITH VOICES). Not soon after putting out an ad for her choir, she received a phone call from a man named Marc Pulido inter- ested in her services. Pulido told her he was with a band by the name of SKYLINE, and many of their gigs were on the North Side of Chicago. He offered them to work with him. Every one in Inetta’s group (but herself) refused to participate due to the racial implications of playing on the North Side. Inetta optimistically took this offer and sang back-up until this band disbanded in 1986 (due to diffi- culties in obtaining a record deal). Inetta eventually began working at a South Side daycare center, after she left her radio engineer job in 1983. Her goal was to eventually work as a recording engineer, to better pay the bills. But at that time it was difficult for a female to get this type of position. However, out of the blue she got a phone call in 1993 from her former band member acquaintance Marc Pulido. After seven years he had not forgotten her voice. Pulido was now with a band named TAINTED BLUE. She joined that band as a back-up singer, and a few months later was their lead singer. Pulido eventually left Painted Blue to found his own group World Class Noise, a 12 piece group, which Inetta did back-up vocals for as well (she is on 6 of their CDs). She sang with TAINTED BLUE until they broke up in 1997. Inetta then took work with the Student Assistance Program (State of Illinois) in 1989 for more stability as she continued to press her musical career. In 2000 she was recommended by long- time acquaintance Theresa Davis to well-established (since 1991) Chicago Blues band MISSISSIPPI HEAT, who already had several CDs out, their most recent being Handyman (2000) winning Best Blues CD of the Year by Real Blues Magazine. Theresa Davis, who had sung for the Emotions, had recommended Inetta, as she herself did not see blues as her musical form, and therefore did not see the Heat as an ideal match for her. MISSISSIPPI HEAT at this point were looking for a replacement for their then singer Katherine Davis leaving the band to promote her new Jazz CD. Inetta auditioned for them at ’s club on Wabash. As it turned out Katherine Davis stayed a while longer than anticipated. In 2001 Inetta decided to give Michel Lacocque (Pierre’s brother and band manager) a call to offer her ser- vices to MISSISSIPPI HEAT once again. Just as she was about to pick up the phone, while looking at the business card, she received a call from no one other than Michel himself! The rest is history. Since she joined the band, they have recorded three albums and a DVD with Inetta, all of which have received awards. Inetta also won the Best Blues Singer competition at the House Of Blues (Chicago) on July 10, 2003.

Lurrie Bell: Guitar Lurrie Bell, son of the blues harp great , has been steeped in the traditions of the blues since his birth on December 13, 1958. At the age of six, Lurrie picked up a guitar that he found lying around the house, and taught himself to play. Lurrie grew up around many of Chicago’s blues greats - he was literally schooled in the blues. Role models and mentors included not only his father but his grandfather, former Muddy Waters pianist , as well as others such as guitarists , Eddie C. Campbell, , Eddie Clearwater (a cousin), harmonica master Big Walter Horton, piano legend , ace bass player , and many more. From the ages of 8 to 15, Lurrie left Chicago to live in Mississippi and Alabama with his grand- parents. During this time he played in gospel churches, immersing himself in the passionate expres- siveness and emotional commitment of the venerable gospel tradition. After moving back to Chicago, he continued to play in church; attending Crane High School, he also formed his own band, and played Soul, R&B and Blues. The first time Lurrie performed publicly on stage with a blues band was at the age of 16 with . By 1975, Lurrie was close to graduating high school, but decided to leave at the invitation of his father to join his band. After savoring a taste of the life of the professional bluesman, Lurrie never looked back. He found himself in demand, and some of the music’s leading lights offered him jobs in their bands. Soon he was being celebrated internationally as a rising musical genius. He was also noted for the soulfulness and maturity of his singing, which was astounding for a blues musician at such a young age. He garnered write-ups in major publications such as Rolling Stone and the New York Times, touting him as a rising star. But tragically, the onset of mental illness in his early ’20s stopped Lurrie from fulfilling this destiny. For nearly two decades, Lurrie struggled. Despite several short stays in institutions, he received little ongoing treatment, and he eventually became homeless. By the early ‘90’s, he didn’t even own a guitar. However, his passion for music remained unrelenting. He often spent his days walking around the city, playing harmonica. At night, he’d still find his way to blues clubs, where he’d stand at the edge of the stage blowing harp, hoping to be called up. Usually Lurrie was ignored or even barred. Nonetheless, many times he was still able to strap on a borrowed guitar, and play down torrents of fractured lightning, before handing it back and disappearing again into the night. Some mornings he’d show up at the Maxwell Street Market, dirty and disheveled after days of roaming the streets, find a band, and pour forth an epic version of a blues classic like Buddy Guy’s “A Man And The Blues,” astounding long-time observers and casual tourists alike with the depth of his passion, and the height of his musical powers. Moments like these have become legends in the annals of Chicago blues. To this day, Lurrie remains beloved as a musician, and deeply respected as a man for the courage and perseverance he showed during those dark years. Even while he was struggling, record producers continued to seek him out. Bandleaders hired him, whenever he was able to play and sing, as a sideman in their bands. He also recorded some well-received disks under his own name. Lurrie’s discography, as leader and sideman, lists over 70 recordings. Sideman or co-bandleader credits include: · Carey Bell’s Blues Harp Band · Carey and Lurrie Bell Blues Band · Koko Taylor and Her Blues Machine · Sons of the Blues · Mississippi Heat · Son Seals Blues Band · Jimmy Dawkins Blues Band · · Lovie Lee · Roosevelt “Booba” Barnes · Eddie Shaw and the Wolf Gang · Vampin’ Blues Band Finally, in 2000, Lurrie began to receive some of the professional help he had needed for so long, and he began to regain control of his mind and his life. He has also started to rebuild his music career, and the results have been astounding. His technique is more powerful and focused than ever, yet the incendiary intensity that’s always characterized his music- through good times and the bad - is undiminished. Lurrie leads his own band, “Lurrie C. Bell’s Blues Band,”, and tours about 2-6 times a year. Word is spreading to a new generation of blues fans that Lurrie is back, better than ever, and this time he’s here to stay. In the liner notes to the Lurrie’s 1997’s “Blues Had a Baby” (), producer Scott Dirks writes: “Regardless of how many times you hear Lurrie Bell play, he will do something to surprise you. To say he is creative and inventive is an understatement - each time he picks up a guitar he seems to have forgotten where the limits are, what boundaries existed the last time he played, and he fearlessly sets out on a new exploration. “ HIGHLIGHTS ** 2005: Lurrie is the subject of a documentary/portrait by independent filmmaker Paul Marcus: “Mercurial Son: The Blues Of Lurrie Bell”. A book chapter (2006) is devoted to Lurrie in a book by David Wheitis, published by The University of Illinois Press. ** Has recorded over 60 albums to date, and counting. He can also be heard on many Delmark Recordings [under his own name, and/or as a guest star on such recordings by Tail Drag- ger (2005) and Mississippi Heat (2005)]. Lurrie also recorded for , Isabel Records (France), and JSP (England), among other labels. ** His CD “SECOND NATURE” (Alligator Records) was nominated for the 26th W.C. Handy Award. The Chicago Tribune also named that recording as # 1 CD on its “Year’s Best Recordings” list. ** 2005: Awarded “BEST TRADITIONAL BLUES GUITARIST” by Trophees France Blues.

PRESS RELEASES AND QUOTES “I think he’s the best blues guitar player in Chicago.” Bob Koester, owner, Delmark Records “. . . Bell (is) consumed with an intense and fervid musical imagination; he plays with a near apocalyptic fury, as if determined to break boundaries and create a new musical vocabulary.” David Wheitis, Journalist and Blues Critic. Writer for Living Blues and the Chicago Reader “He may be the greatest blues guitar player that ever lived.” , Sons Of Blues (who played and recorded with Bell for seven years) “Perhaps the most talented blues guitarist of his generation … eclectic, accidental genius.” The Boston Phoenix “(Lurrie Bell) is the premier guitarist in the Windy City.” Boston Blues News “… an eloquent blues guitarist with a sound and feel of his own.” Robert Palmer, Rolling Stone

“…a magic vision that threatens to overwhelm but Maximiliano Valldeneu: Guitar

Maximiliano Valldeneu was born on December 15th, 1969 in Buenos Aires, Argentina. At the age of six, Max and his family moved to Santa Fe, Argentina. Max is a self-taught musician, and at age 17 began studying Jimmy Hendrix - one of his biggest influences. However, Max’s musical style was forever changed after hearing Blues legends like Buddy Guy, B.B. King, , , and Stevie Ray Vaughan, among others. Max decided to dedicate himself to Blues music, which fascinated him. Soon after, he put to- gether his first Blues band, La Fulana Blues Band. He then began performing with some of the big- gest names in his country, and even jammed with international legends such as . In 1997 Max made his first trip to the . Upon returning, he founded a new band, Mo’ Blues. He led this band until 2000 when he decided he needed to be closer to the Windy City. Max moved to Chicago and had no problems blending into the Blues scene. He began playing with many great artists such as Eddie C. Campbell, , Billy Branch, Koko Taylor, L.V. Banks, Johnny Drummer, , and now, Mississippi Heat. In 2001, Max began to play for Artie “Blues Boy” White. He became his bandleader, and started to tour nationwide. This experience exposed him to different styles of music including Rhythm and Blues (R & B), and smooth Jazz (a blend of jazz, funk, R&B, Blues and Latin music). Max became a member of The World Band, giving him opportunity to play with one of his mentors, . He then played with the Platinum Band, and became a member of the Revue. Even after the passing of Tyrone Davis and Little Milton in 2005, Max, along with the Platinum band, continued to tour successfully. Recently he attended the Poretta Soul Festival in Italy, and a variety of venues from New York to Canada, France and Belgium. He joined Mississippi Heat full-time in the Summer of 2004. Max appears on the Heat’s Delmark Records’ CD “One Eye Open - Live at Rosa’s Lounge”. It has not been long since Max discovered great Jazz guitar- ists Ronny Jordan, Norman Brown, Bobby Broom, and his all- time favorites, George Benson and Wes Montgomery. Their style has brought enrichment to Max’s own music, and influenced him to create his own smooth jazz band. Max’s style is a result of a lifetime of musical influences from many genres of music. You can hear his harmonious blend of blues, jazz, R&B, Latin, and Funk on his solo debut CD, “Smooth To The Max”, or performing at many great venues in and around the Chicago area.

Spurling Banks: Bass

Spurling was born on June 28, 1949 in Hot Springs Arkansas. He began playing music at age 3, rather crudely, but began he did. He first played brass instruments all through grade school and High School. At age 16 his dad, Andrew Brown, a celebrated Chicago guitarist and singer, known around the world for his suburban blues, introduced Spurling to the bass guitar. Spurling played with his dad for a couple of years. In 1968 Andrew introduced Spurling to Jimmy Johnson. Jimmy played all over town, and his repertoire included a much broader variety of music. Both Jimmy and Andrew felt Spurling would get more experience playing with Jimmy. They played as a house band in many of the more popular clubs on the Rhythm & Blues circuit in Chicago. This gave Spurling a chance to play with most of the soul and blues artists listed in his bio today (see below). Later, after some good solid learning and mentoring years with Jimmy, Spurling helped form a band called “Volunteered Slavery”, with Al Watkins and Elbert Waters. Except for one huge accomplishment, (one of the longest played R & B commercials for the McDonald’s Corpora- tion), the band did not fare well. When Volunteered Slavery melted away, Spurling played around Chicago, and traveled with the Scott Brothers Band, until an illness sat him down for about six months. At this time Spurling made up his mind, no more scratching around on the chitlin circuit. He needed a new beginning. Respond- ing to many calls and the same number of promises, Spurling finally took a job with a friend he had made during a recording session for gospel great, Albertina Walker. The friend, Charles Pittman, drummer for Paul Simon and the Dixie Hummingbirds, had a local job at Lake Point Towers. Spurling seized the opportunity to play on the north side of Chicago. And so began a new era. The group “Tomorrow”, inhaled and exhaled in size, received a lot of good regular press from the Chicago Tribune’s Kup’s Column, and played many small private parties (sometimes with just only one VIP person in attendance!). During this job, Spurling met Harold Harris, longtime piano player for Hugh Hefner at the Playboy Club. Eventually Lake Point Tower executives decided to change their hiring procedures and format. It did not include all the band members of Tomorrow (only Spurling was invited to stay). He then felt this was a good time to move on. Harold Harris had connections in high places … so why not work with him? So began a twenty plus year journey of high society galas, parties, functions, various recordings (shelved), and business deals that never seemed to make the grade. But, during this journey, Spurling learned and experienced a culture known to few, and became a much better person from it. During this time, he worked days, first for a liquidation/consulting business firm, where he became close to the Treco family. Besides the welcome and appreciation he received from his job, his work also gave him extensive management skills, as well as the ability to sell and promote. The next daytime income Spurling sought out was in the medicial field. This obsession came after a personal tragic event left him in need of helping and caring for the sick and injured. Spurling excelled as a physical therapy technician. He was well known, and highly respected by patients, doctors, fellow employees and hospital administrators. For twelve years he worked in various areas of physical therapy, learning and being all that he could to assist everyone in his path. He worked by day and played nights and weekends, occasionally requesting time off for big mid-day affairs or long weekends. Trips to Las Vegas, Europe, Florida, and other distance trips became quite a juggling act, but everyone at work usually understood and respected Spurling’s need to play. In 2002 doctors told Spurling that the diabetes which he had managed to control for 30 years was affecting the strength in his legs and his ability to see. He would have to quit work. Playing dates, mostly with Harold Harris and guitarist Eddie Wade, had started to fade in 1999. They had played thousands of high society, top of the hill locations and events, and it seemed like the members were ready to grab a seat on the back porch, and wait for someone to come looking for them. Spurling, still eager and needing to play, decided to quit working with the Harold Harris En- semble, and to start over. With all the time and experience he had under his belt, it did not take long for him to land jobs with local bands interested in hiring a good, solid, and mild mannered bass player. Spurling’s talent was obvious, and he sometimes heard musicians and bandleaders ask him why he played with them, and not with better know bands. Realizing that destiny and faith had a plan in mind, Spurling smiled and pushed on. He knew he needed a steady weekend job playing blues and soul to get back what he felt he had lost during the society years. BAMM...fell a blessing! Johnny Drummer, a longtime bandleader and well-known entertainer needed a bass player at the club he was working at...Lee’s Unleaded Blues (on the south side of Chicago). Johnny was one of the few who knew Spurling from the early days, and welcomed the opportunity to work with him. Johnny’s personnel changed more often than the seasons, which normally is not good, but Spurling loved the changes. They gave him the chance to play with many styles. He felt that every change was a new lesson in life and music. After about 14 months, Spurling’s diabetes started to affect his health again. It was at this time that his doctors told him that he had to quit his day job at the hospital, and could only play intermit- tently. “Now is the time”, he told himself. He started wood-shedding, and putting his grounded time to use. It was at this time that he realized how unfaithful he had been to his bass guitar over the years, getting by shucking and jiving, living off of those early years when he toiled and eagerly sought every opportunity to better himself. When the doctors permitted him to start playing again, Spurling felt different. He now needed to play more that ever before. Sitting in one place every week no longer would work. He knew he did not want to just take calls, and play with anybody who called, as he did a few years earlier after the Harold Harris Ensemble. Years before, this actually worked well for him. It made him play. He only knew a few of the musicians Johnny Drummer hired. He would typically show up at a gig, and meet the personnel for the night. They would meet on stage, set the mood, count to four and go. That was then. Now, he needed to play a set show, see some familiar faces, and feel like he was a part of something. For about a year or so, he split his time slots between four bands: Johnny Drum- mer, Eddie Clearwater, and Mississippi Heat. Juggling this act was quite a feat. But it always worked out. During this time he was observing, listening, and studying the actions and methods of these bands, trying to decide which was the better home, and most promising option for his future. Spurling searched and prayed for an answer. He also sought advice from his soul mate Robin, who had been a pillar of support in his life through sickness and health, and triumphs and failures, for the last few years. Pierre Lacocque, bandleader for Mississippi Heat stayed in touch with Spurling, and their rela- tionship soon became more than just band business. They found similar interests in social qualities, human concerns, business habits and necessities. The decision was becoming evident and easier to make with every conversation that took place. Hence, in April of 2004, Spurling Banks became an official Mississippi Heat(ian), and the heat has been on ever since... working harder and harder... to get hotter and hotter. “I only hope that the experience that I have gathered through the years will act as some assis- tance to the Mississippi Heat family and organization. I want to contribute the best I can towards a quality and rewarding level of music.” “MOVING RIGHT ALONG” Where has Spurling Banks played? From the clay dirt floor as a stage, and the massive black sky with the stars and small white Christmas lights as a ceiling, in small Mississippi towns to the great private marble brass and crystal rooms of the unimaginably rich. This list reveals diverse settings in the Chicago area, and beyond. Some of these places include The Montreal Jazz Festival, The House of Blues, Lee’s Unleaded Blues, Playboy Clubs (various locations), France, Empress and Harrah’s Riverboat Casinos, Navy Pier, Pops for Champagne, Tiger Stadium (Detroit), Burning Spear, Soldiers Field, Brass Rail, Blue Max, Las Vegas Strip (private and open), Belgium, Capital Theater, Civic Opera House, Millionaires Club, Cotton Club, Pump Room, Checkerboard Lounge, Hilton JJ Hotels, Arie Crown Theater, Rumors, Empire Room, Blue Flame, Harvey Inn, Lake Point Tower, (private and open), High Chaparral, Keyman’s Club, Como Inn, 50 Yard Line, Steppenwolf Theater, Willow Brook Ballroom, Peppers Lounge, Ford Center for the Performing Arts, Chicago Music Awards, Germany, Chicago Blues Fest, Standard Club, Shaws Crab House, many private clubs and penthouses, European Government tour, Canadian Clubs, most of Chicago’s finest hotels, plus numerous stadiums, clubs, festivals and various venues around the world. Who has Spurting Banks played with? Some of the smallest up-and-coming unknowns, to some of the best known names in entertain- ment. Some of the better-known names include Robert “R” Kelly, Howlin Wolf, Redd Foxx, Bobby Blue Bland, Mississippi Heat, Eddy Clearwater, Carl Weathersby, Billy Branch, Freddy King, Junior Wells, Donny Hathaway, , Johnny Drummer, Roy Hightower, Jimmy Johnson, Maurice John Vaughn, Alligator Records, Delmark Records, CrossCut records, Lowell Fulsom, Carey Bell, Lurrie Bell, Otis Clay, Garland Green, Syl Johnson, Najee, Robert Townsend, Albertina Walker, Dionne Warwick, Keith Washington, Congressman Walter Fauntroy, Operation Push Band, Shirley King, Detroit Jr., Carl Wright, The Scott Brothers, Bernie Mac, Walter Jackson, Major Lance, An- drew Brown, Terry Collier, Bob Guthrie, Kenny Neal, , Sugar Blue, , Mighty Joe Young, Cynda Williams, Rufus Thomas, Betty Everett, Betty Wright, Denise LaSalle, Koko Taylor, Bobby Rush, Casey Jones, Tyrone Davis, Luther Ingram, The Harold Harris Ensemble, Sarah Vaughn Tribute Show, The Pharoh’s, Brighter Side of Darkness, Cash McCall, Artie “Bluesboy” White, McDonald’s Corporation (commercial), and many, many other known and un- knowns. Spurling Banks’ clientele and audiences Bill Kurtis, Robert De Niro, Oprah Winfrey, Ashford and Simpson, Hugh Hefner (several private parties), The Links, Burrell Advertising, Jim Tilman, Max Robinson, The Pritzer, Kovler, Crown, Lustre, Wexler, and Field families, John Corbouy, Commissioner John Stroger, Mayors Daley Sr., Bilandic, Byrne, Washington, Sawyer, and Daley Jr., a host of Chicago businessmen and digni- taries, Muhammad Ali, The Honorable Elijah Muhammad and family, Ramsey Lewis, Walter Jacobson, Siskel and Ebert, Michael Jordan, Scottie Pippen and most of Chicago’s outstanding athletic greats, Isiah Thomas’ wedding reception, Magic Johnson, The Jacksons (when they were very young), Irv Kupcinet, Channel 26 WCIU, Channel 2 WBBM, ... to name but a few. Kenny Smith: Drums Kenny Smith was raised in the heart of the Chicago blues scene. While other babies listened to nursery rhymes, Kenny listened to the blues, and the blues in Kenny’s house were played by America’s finest. His father, Willie “Big Eyes” Smith, is one of the best-known living blues drum- mers. Willie played in Muddy Waters’ band for some 30 years. So, it’s only natural that Kenny would grow up with a drumstick in his hand, and a back beat in his head. Muddy Waters and his band were like family to Kenny. They encouraged his music, and were his mentors. In a recent article about Kenny’s drumming capabilities Robert Margolin said: “…Kenny … plays in the moment and provides a great drum part in any musical situation. He listens and creates in an instant. Kenny is certainly already one of the best drummers out there. Trust me on that. I’ve been on bandstands with some of the best…and the worst.” While Kenny acknowledges that his father taught him 99% of what he knows, he has also studied with such great drummers as , , Earl Phillips, S. P. Leary, Francis Clay and Art Blakey. Kenny has performed with an impressive list of blues legends, that includes , , , Honeyboy Edwards, Henry Townsend, Rusty Zinn, Fingers Taylor, Mississippi Heat, and The Cashbox Kings - just to name a few. Besides playing and recording with Mississippi Heat since 1997, he has played on more than 50 albums with people like Jody Williams, , , Lurrie Bell, Dave Myers, Kim Wilson, Paul deLay, Junior Wells, and the Legendary Blues Band. Kenny reports: “I am seriously developing my piano playing and my vocals. The harp is just a hobby, but the drums are my heart and soul. If there comes a time when I feel the blues is dying, I will make a Kenny Smith CD to carry on the tradition, to keep the blues alive. I grew up with the blues all around me, from the very day I was born, so the traditional blues will always be a big part of me. I can play different styles of music but I learned it all from the blues.” History Of The Band

TRADITIONAL BLUES WITH A UNIQUE SOUND. . . As bandleader and composer, Pierre’s vision has never wavered since he founded his band in 1991. His mantra is clear and focused. The band has always had an ensemble sound: all musicians are featured and welcome to contribute on stage and on recordings. His music is traditional because it is steeped in Chicago’s golden sounds of the 1950’s, Muddy Waters, Howlin’ Wolf, Jimmy Reed, Jimmy Rogers, all the great harp players. . . Big and Little Walter, The Sonny Boy Williamsons, Junior Wells, George Smith, and many extraordi- nary contemporaries such as Kim Wilson, Rod Piazza and Paul deLay. On the other hand, Pierre’s blues is unique because he dislikes to tread on old beaten paths. He always writes new stuff. MISSISSIPPI HEAT emerged in 1991 on a night at the Cafe Lura in Chicago. Guitarist Jon McDonald invited Pierre to play harp for him with Robert Covington on drums and vocals. It was a great night, with a raucous crowd in this Polish neighborhood. Pierre looked happy, and the band played with such inspiration that his brother Michel was drawn to say he would find gigs with little efforts. A man of his word, Michel did find gigs for the band. He was wrong about the effort part, but was right about the fact that he could manage such a band. ... Pierre and the Heat have now finished 7 CDs (as well as a DVD for Delmark Records in 2005). Some of their recordings have won awards such as “BEST CHICAGO BLUES CD OF THE YEAR” and “BEST BLUES PRODUCTION OF THE YEAR” (e.g., Handyman, and Footprints On The Ceiling by Real Blues Magazine ). TRADITIONAL BLUES WITH A UNIQUE SOUND. . . As band leader and composer, Pierre’s vision has never wavered since he founded his band in 1991. His mantra is clear and focused. The band has always had an ensemble sound: all musicians are featured and welcome to contribute on stage and on recordings. His music is traditional because it is steeped in Chicago’s golden sounds of the 1950’s, Muddy Waters, Howlin’ Wolf, Jimmy Reed, Jimmy Rogers, all the great harp players... Big and Little Walter, The Sonny Boy Williamsons, Junior Wells, George Smith, and many extraordi- nary contemporaries such as Kim Wilson, Rod Piazza and Paul deLay. On the other hand, Pierre’s blues is unique because he dislikes to tread on old beaten paths. He always writes new stuff. MISSISSIPPI HEAT emerged in 1991 on a night at the Cafe Lura in Chicago. Guitarist Jon McDonald invited Pierre to play harp for him with Robert Covington on drums and vocals. It was a great night, with a raucous crowd in this Polish neighborhood. Pierre looked happy, and the band played with such inspiration that his brother Michel was drawn to say he would find gigs with little efforts. A man of his word, Michel did find gigs for the band. He was wrong about the effort part, but was right about the fact that he could manage such a band. ... Pierre and the Heat have now finished 7 CDs (as well as a DVD for Delmark Records in 2005). Some of their recordings have won awards such as “BEST CHICAGO BLUES CD OF THE YEAR” and “BEST BLUES PRODUCTION OF THE YEAR” (e.g., Handyman, and Footprints On The Ceiling by Real Blues Magazine ). Over the years., MISSISSIPPI HEAT has been the subject of several TV and movie features. French TV has released a documentary on Blues featuring the band., and our vocalist for a presti- gious program called ARTE. Soon after a concert was filmed in Montreal., Canada., and was sold to an Italian TV company. French Canadian TV also featured Pierre and his brother-manager Michel on one of their regular programs called “BAISERS D’ AMERIQUE”. This half-hour segment was viewed in 35 countries worldwide. MISSISSIPPI HEAT has also been featured in countless trade magazines such as Living Blues and Blues Review. Mississippi Heat: Greatest Events

ECAUSSINNES SPRING BLUES FESTIVAL One of our favorite place to perform. Fans, medias, family members and friends in Belgium are intense and welcoming. We have last returned in May of 2002 for the official release of our CD Footprints On The Ceiling (CrossCut Records, ccd-ll071). We have performed at Ecaussinnes many times since 1994. Our first appearance there drew Belgian TV as well as a private movie crews to capture the band on film. “BACK TO THE ROOTS”, a full-length made-for- TV movie, was partly made out of that show (Salammbo, Videopool, Brussels, 1994).

CHICAGO BLUES FESTIVAL We have appeared THREE times at this Festival since 1994. We have performed on the MAIN STAGE in 2000, on a Saturday night.

LUCERNE BLUES FESTIVAL (Switzerland). 1995, 1996, 2000 . .. A LIVE recording at LUCERNE was made in 1996 (U nreleased as yet).

MONTREAL INTERNATIONAL JAZZ FESTIVAL First concert there was in 1994 . . . 27,000 fans waiving during the band performance. The newspaper LE DEVOIR called MISSISSIPPI HEAT’s perfor- mance “the best show we’ve seen in memory”. Since 1994, we have appeared FOUR times at this Festival, the last performance being on July 1st, 2005. We were the Headliners.

CARACAS INTERNATIONAL MUSIC FESTIVAL (Venezuela, 1998). Mobbed by fans on stage. We were set to play subsequent years as well, but the political climate in Venezuela is too volatile for us to return at this time.

NOTODDEN BLUES FEST (Norway, 1996). Great welcome and organization. Huge crowds attend this Festival.

... AND MANY MORE IN EUROPE AND NORTH AMERICA France, Belgium, Germany, England, the , Switzerland. . . Pocomo Festival...Baltimore. . . Columbus. . . Toronto. . . Montreal. . . Quebec City. . . Syracuse. .. ). Discography 2005-- ONE EYE OPEN Delmark Records (CD: DE-783). Delmark Records (DVD-1783). Voted “Best CD of the Year” by Back to the Roots - Belgium

GLAD YOU’RE MINE CrossCut Records (ccd-ll085). Awarded the”German Music Critic’s award” - Berlin, Germany BAND: Guests On Elmore D. Upcoming CD [Daniel Droixhe].

2003-- CARL WEATHERSBY WITH MISSISSIPPI HEAT- LIVE AT LUTHER’S BLUES — Unreleased CD (Recorded on February 7, 2003).

CHICAGO BLUES EXPLOSION - LIVE AT THE KINGSTON MINES-Unreleased CD (Recorded on April 24, 2003).

2002-- FOOTPRINTS ON THE CEILING CrossCut Records (ccd-l 071). “Best Blues CD of the Year” and “Best Blues Production of the Year” (REAL BLUES MAGAZINE).

2000-- BILLY BOY ARNOLD WITH MISSISSIPPI HEAT - LIVE AT LUTHER’S BLUES-Unreleased CD (Recorded December 1st, 2000). HANDYMAN. (Our 1999 CD was also Licensed by CrossCut Records, ccd-ll064).

1999-- HANDYMAN (Van der Linden Recordings, VDL-I03) “Best CD of the Year Award” (REAL BLUES MAGAZINE).

PIERRE: Guest appearance on Blue Fuller’s CD THE MEANEST LITTLE GIRL. Blue Barrel Productions (CD - BFBOOI98).

PIERRE’s song “Stay With Me” (from Mississippi Heat’s Handyman (1999), was also released on the compilation CD BLU ES FROM CHICAGO [Brinks, Hofer, Gilson & Lione] in celebration of the 1999 AIPLA Spring Meeting. (No Serial # Provided). www.brinkshofer.com 1998-- PIERRE: Guest appearance on Keith Doder & The Blue City Band’s CD BLUE TO BRIGHT. Spider Blue Productions (No Serial # Provided).

1996-- LIVE AT LUCERNE. Unreleased CD (Recorded in November 1996).

1995-- THUNDER IN MY HEART. (Van der Linden Recordings, VR-I02).

PIERRE: Guest appearance on Doug Clark’s VIRTUOUS REALITY CD. Nightlife Records (No Serial # Provided).

1994-- LEARNED THE HARD WAY. (Van der Linden Recordings, VR-I0l).

1992-- STRAIGHT FROM THE HEART. (Van der Linden Recordings, VR-I00) Reissued and Mastered in 1995 (VR-I00RE).