I don’t honestly remember what year it was, but I was again in Chicago for the Chicago Blues Festival.  As usual, I had a hotel room at the regal Palmer House Hilton on E. Monroe, a short walk from Grant Park, the site of the festival.  I do remember leaving for the festival after a breakfast at one of The Corner Bakery locations near the hotel, and I chose a walking route via E. Adams toward S. Michigan Ave. to eventually make my way to Grant Park.  Reaching Michigan Ave. I headed south in the direction of E. Jackson, which then headed south into Grant Park and the location of the festival.  However, as I reached the area where S. Michigan Ave. and E. Jackson cross, at an area known as the South Garden of The Art Institute, I could see a band and hear a very fine version of the blues being played, and at the center of the music was a harmonica whose player definitely knew the humble instrument very, very well.  As I got closer to the intersection, set-up there on the sidewalk just outside of the South Garden was a full blues band playing for all passers-by an inspired blues tune, with the front man/singer/harmonica player holding court to the rapt attention of the developing crowd.  The band was plugged into some electrical outlets obviously belonging to The Art Institute, and they were using the connectivity to their best advantage as the volume was high.

It’s not at all unusual to see street musicians in Chicago anytime of year, but during the Chicago Blues Festival, numerous individuals and ad-hoc groups can be found on the routes leading into the festival.  The bridge over the railroad tracks as one heads south on E. Jackson tends to attract the majority of the buskers, and as long as the individuals and groups don’t block the public access into Grant Park or cause some sort of scene, the Chicago Police who patrol the area during festival time are inclined to let them hustle for money.

As I got closer to the band playing at S. Michigan Ave. and E. Jackson, I was startled.  I forced myself to clarify in my mind who I saw playing the strong harmonica and singing the blues; it was legendary Chicago bluesman Little Mack Simmons.  Needless to say, I was elated, and his presence alone was the impetus to stop my journey into Grant Park to take in the streetside performance he and his fine blues band were presenting.  Of all my Chicago Blues Festival memories, this occurrence remains one of my most treasured.

But many blues fans either have never heard of Little Mack Simmons, or only have a peripheral awareness of him.  And that’s a shame, because Simmons’ place as a blues singer, songwriter, and harmonica player in Chicago occupies a certain tier of prominence.

Simmons was born in January, 1933 in Twist, Arkansas, a city in Cross County, an area lying in the upper northeastern section of the state.  Not a lot of detail is available on Simmons’ earliest years, but it is known that as a young man he made friends with an equally youthful James Cotton, and together as youngsters they learned the harmonica.  In his late teen years, Simmons moved north to St. Louis, Missouri where he obtained work with a railroad company, while also starting to work within the St. Louis blues club circuit.  This was a crucial time for Simmons’ blues development as it was the period when he began working with noted blues guitarist and singer Robert Nighthawk.  Simmons remained in the St. Louis area for some time working by day on the railroad, and continued to hone his blues skills at night on the St. Louis blues club scene. 

1954 represented a major move for Simmons when he moved north again to settle in Chicago.  It was here that Simmons decided to assemble his own band to compete at the-then highly competitive Chicago blues club circuit. 

Cadillac Baby (i.e., Narvel Eatmon), a songwriter, producer, record label owner (i.e., Bea & Baby), and club owner was one of the first to recognize Simmons’ talents and provided him a place to play at his Cadillac Baby’s Club, where Simmons enjoyed a protracted five-year residency. 

It was five years after his arrival in Chicago that Simmons commenced his recording career, with his first release being a 45rpm single on the C.J. Records label with “Come Back” / “My Walking Blues.”  From 1960-1963, Simmons recorded additional singles for JayBird Records, Bea & Baby Records, and Checker Records.  Oftentimes, Simmons’ releases were released under the Little Mack or (Mac) monikers.

It should also be noted that Simmons was featured on a 1966 four-song EP with Carl Jones entitled Blues From Chicago, with each artist submitting two cuts.    

But Simmons was no one-trick pony.  It was during this period that Simmons also owned and operated a music club named The Zodiac Lounge.  Simmons also came to own a recording studio, and the record labels Simmons and PM.  His labels not only recorded blues, but soul and gospel, as well.  Artists that recorded for Simmons’ labels included Chicago soul artist Otis Clay, and Chicago blues piano patriarch Sunnyland Slim. 

However, all was not positive for Simmons.  In 1967, he was charged with and found guilty of drug-related crimes, and he was condemned to a three-year sentence.

It remains somewhat unclear to this blogger exactly how actual much time Simmons served as a result of his drug conviction, as from 1968-1970, Simmons had releases on both the Biscayne Records and Dud Sound Records labels. 

Simmons made an abrupt U-turn at some unclear point and directed himself toward the ministry, but again, the time and length of that departure are up-in-the air research-wise.

Simmons continued to release singles through the 1970s on Dud Sound Records, PM Records, and Simmons Records. 

To this point, only 45rpm singles recorded by Simmons have been referenced.  However, ten full-length productions on Simmons’ work were released during the 1975-2002 period, on the PM Records, Black And Blue, Wolf Records, St. George Records, Electro-Fi Records, and Blues Special Records imprints.  It was as if the world suddenly awakened to Simmons’ broad skill set

And, Simmons is well-represented on numerous blues compilations with others.

So, what made Simmons’ brand of blues so appealing?  To be sure, he was quite popular in the blues venues of both Chicago’s west and south sides.  Simmons was certainly an energetic performer, for one. Most definitely, he could deliver a tough, classic Chicago shuffle type of blues.  His harmonica playing had a slick and smooth gliding nature to it, and could satisfyingly descend into a voice-like medium of expression, with the results being added deepness and complexity within his style.

At once, Simmons could fall back to his roots with his both his vocals and harmonica excursions, but yet sound very up-to-date via his use of satisfying harmonies and flowing curlicues. 

Toward the end of his life, Simmons enjoyed a regular Thursday evening slot at Chicago’s long-running Rosa’s Lounge, one that included his own band.