Pierre Lacocque is an acclaimedMississippi Heat's Warning Shot", 2014, Charlie Musselwhite on CD back cover: "I just listened to WARNING SHOT and it is a delight. Real blues lovers won't have to go through any "rocked up" shenanigans here because Mississippi Heat are true "Keepers of The Blues Flame". Each tune has something special. There's down home country blues and uptown blues. The album has great performances by everybody; enduring melodies, adventurous chord changes and rhythms and ALWAYS inspiring, heart-felt blues. Of course, I'm especially fond of Pierre's tasty and brilliant harmonica playing throughout. A PHENOMENAL PERFORMANCE!!!" — CHARLIE MUSSELWHITE and internationally renowned American blues harmonica player. His style has been influenced by the post-WWII Chicago blues tradition, and he was inducted into the Chicago Blues Hall of Fame in October 2017.
He entered the Chicago scene in the late 1980s when, among other bands, he performed with The Blue Knights led by Tré, Doug McDonald and the Blue Mirror Band and Lawrence "Lil" Sonny Wimberly and his band, The Blues Invaders. In late 1991, he and his brother, Michel Lacocque (the band manager) founded Mississippi Heat with three other musicians. It was originally a quartet composed of guitarist-singer Jon McDonald, bassist Bob Stroger, drummer-singer Robert Covington and Pierre Lacocque, harmonicist and bandleader. Lacocque has since been Mississippi Heat's leader, harmonica player, producer, and primary composer and songwriter for the group.
Mississippi Heat's slogan and mission statement is "Traditional Blues with a Unique Sound." The band's new recording Madeleine (Van der Linden Records) was released in 2021, following Cab Driving Man (2016, DE 848) and Warning Shot (2014, DE 839), both on Delmark Records.
Biography Early childhood and adolescence Pierre-Emmanuel Lacocque was born in Jerusalem, Israel, on October 13, 1952 to Protestant Belgian parents. His father, a Judeo-Christian scholar, travelled extensively in his early career. By 1957, Pierre Lacocque had lived in four countries, having spent two years in Germany, three in France, and finally returning to Belgium. From 1962–1963, during his 5th grade year, his family spent another year in Jerusalem.
Lacocque's father, to whom he has become very close, valued intellectual pursuits in the fields of Judeo-Christian theology, philosophy, and classical literature. The musician said in a 2014 interview that although it was “amazing” to have the “privilege” to read intellectual and classical texts, “it did not match who I was mentally.”
The school he attended while living in Brussels also had a big impact on him. His identity crisis was fueled by the fact that he and his siblings Elisabeth (four years younger) and Michel (19 months older) also attended the Athénée Maimonide, a Jewish Orthodox School. This was a choice his parents and paternal grandfather made in response to the anti-Semitism they had witnessed during World War II. Both parents and their families had had eye opening, transforming, and in some cases, tragic experiences during World War II.
As Lacocque and his siblings were the only non-Jews at the school, he often felt out of place for being a Christian, adding to a feeling of loneliness and isolation. In his interview with Lehmann, he said, "It made sense that I eventually asked myself, 'Who am I really?' Not only psychologically speaking, but also religiously." Lacocque says he never lost the deep connection to Judaism he was exposed to, both at home and at school, and would later find solace in Judeo-Christian philosophy and theology.
Two key childhood events led Pierre Lacocque toward music. First, as a young child living in Neuviller-la Roche, a mountain village in the Alsatian region of France, his father gave him a green plastic harmonica. Blowing through the plastic toy gave him immense emotion. The second came in the mid-1960s, when his father, returning from a trip to India, brought him a Hohner Marine Band harmonica. "I was moved, but not driven to master it," he said later in an interview with Harmonica.com. In an interview with WBEZ's Niles Frantz, he said that, "during my pre-Chicago years I loved the harmonica but did not know deep blue notes could be played on them."
Finally, in 1969, when his family moved to Chicago's Hyde Park for his father's new teaching appointment at the Chicago Theological Seminary, Lacocque had a deeply influential experience. On a late summer Saturday night, while about to enter as a junior at the University of Chicago Laboratory Schools, he heard harp maestro Big Walter Horton playing at the University of Chicago's Ida Noyes Hall.
"I often say it was an experience of awe, but also, it was like a religious experience," he said in his 2014 interview with Kerzner. "My life had a meaning right there. Oh my goodness! I couldn't believe ... the depth of those (horn-like) sounds that Big Walter produced! The sound! He played through an amplifier, and I was very moved. It really changed me. It gave me oxygen."
The following Monday, Pierre had bought himself a Hohner Marine Band harmonica. Lacocque then began an intense period of discovery and practice which included buying many records and listening to top recording artists like Little Walter, Big Walter Horton, Paul Butterfield, and Junior Wells, among many others. He decided to go to as many live performances as possible, some of these by James Cotton, Louis Myers, Carey Bell, Howlin' Wolf, Charlie Musselwhite and Paul Oscher with the Muddy Waters band. He practiced up to 7 or 8 hours a day for years following this experience.
He and his brother Michel went to hear Junior Wells at the now-closed Theresa's Lounge on 48th and Indiana Avenue on Chicago's South Side. He met Wells many times during this period and saw him as his first and lasting mentor. "From the beginning, it was Junior Wells who embraced me with open arms and gave me his blessing," he recalled in 2014. "It is as though he was saying, 'Pierre, you belong here with us.'"
In a 1998 interview with Frantz, Lacocque recalled, "I would never have gone to Theresa's had it not been for my brother Michel's encouragements. I was too shy to do that on my own. Michel saw something in the new me he appreciated. He could see that my chronic internal struggles and sadness were transcended through my musical inspirations. I think he was moved by that early on. He still is today".
College years and intellectual phase: Montreal and Chicago (1970–1988)
What followed was a passionate musical period for Pierre. By 1976, he'd completed undergraduate and master's degrees in psychology at McGill University, in Montreal, Canada. While in Montreal, he first joined the Albert Failey Blues Band, and later Oven, a blues-rock band he would play in until 1975. That year, Oven won the a Battle of the Bands with a promise of a record release that never came through. This coincided with a personal crisis for Lacocque.
What was once an exhilarating experience drove him into deep depression and despair. "I suffered from severe anxieties, panic attacks, and despair ... Playing the blues at that time was two-fold: Incredibly pleasing and incredibly devastating," Lacocque said in a 1998 interview. So, in 1975, after six years of intense playing, he stopped cold turkey. He recalls that music at that point was opening him too much and he did not have the tools yet to deal with the darkness it led him to.
He began an intense and salutary period of intellectual pursuit. He first began reading Jewish and Christian existentialists and philosophers he had heard about during his childhood. For him, it was a way of practicing the art of expressing himself with words, reconnecting with his family's background, and dealing with his personal crisis. Lacocque spent the next fourteen years studying psychology and publishing.
"It was absolutely beneficial," Lacocque said in a 2014 interview. "Given my family context, and all this heavy reading. Eventually, I made a decision and I went into music (wholeheartedly again) but, I also said, 'You know what? I want to read about what is the meaning of life. So I studied existentialists for a long time, and I followed a path that was exciting: going to school, writing papers, formulating my thinking, and reading other people."
By 1978, Lacocque had earned a PhD in counseling and clinical psychology from Northwestern University. His dissertation title was: "Meaning in life: Healthy and Pathological Aspects." From then until 1989, he worked full-time as a psychotherapist and continued researching and publishing. Among his most notable publications is a 1981 book entitled "The Jonah Complex," which he wrote with his father, André Lacocque. The book was extensively revised and updated in 1990 under the title "Jonah: A Psycho-Religious approach to the Prophet."
Return to Chicago blues and Mississippi Heat (1988–present)
By 1988, Lacocque recalls, he hit his bottom. He felt he was emphasizing his intellectual side at the expense of another vibrant, spontaneous childlike side. He wanted to find a healthier equilibrium in life. This is when he went back to the harmonica with an urgent need to create music again.
It is in the blues that Lacocque eventually found lasting stability and a home. In his interview with Lehmann, he said, "And look at me – I'm a white guy, I am a Belgian, I am European. I have a French accent. I come from a conservative, rigid Judeo-Christian background. Both my father and paternal grandfather were Protestant ministers. At first, and even at second glance, I do not belong in the Blues world. And yet, I do so completely. The Blues understands me."
He added, "As I said I now feel at home – certainly at home on a soulful level."
In 1989, Lacocque rejoined the Chicago blues scene. He met Tad Robinson, a Blues harmonica player and soul singer, in Pierre's church in Oak Park, Illinois. Tad was then playing with the Mojo Kings, with pianist Mark Brombach, guitarist Steve Freund, bassist Harlan Terson, and drummer John Hiller. Through Tad, he met many blues musicians. He also met Joe Zaklan whom he joined for gigs at No Exit on Sundays from 1990–1991. There he met Muddy Waters' alumnus bass player and singer Lawrence Lil' Sonny Wimberly. Wimberly was a regular at these gigs as well, and took Lacocque under his wings.
Wimberly and Lacocque often played together at the now-closed U.S. Blues, in Old Town on Wells Street. He also met pianist Carl Snyder, an ex-member of the Lonnie Brooks Band, and drummer Michael Lynn. Lacocque would never forget Wimberly's kindness to him and eventually wrote "Heartbroken" in his honor after his death in 1991. Through these gigs he also met Jon McDonald who would eventually become Mississippi Heat's first guitar player.
After Wimberly's death, Lacocque looked for new musical projects. He joined Tré and the Blue Knights for a while, and then Doug McDonald and the Blue Mirror Band. Eventually, Lacocque grew weary of playing covers and other people's material. He wanted to honor the Chicago blues tradition with his own style. He did not like the idea of repeating what had already been done on the blues harmonica. He also wanted to build his own repertoire of songs.