Hour Five of this week’s Blues Before Sunrise provides a smooth and satisfying conclusion to another journey through the first fifty years of recorded Black music. Blending sophisticated jazz, heartfelt blues, and early soul, the final hour creates the perfect late-night atmosphere while showcasing an outstanding collection of performers whose recordings remain timeless.

The Ravens open the hour with “You’re Always in My Dream,” demonstrating why they were among the most influential vocal groups of the postwar era. Their rich harmonies and emotional delivery helped pave the way for the doo-wop groups that would emerge in the years ahead.

Jazz takes center stage with Milt Jackson’s “A Thrill from the Blues.” Jackson’s vibraphone work combines elegance and blues feeling in equal measure, creating a performance that is both sophisticated and deeply rooted in the traditions of Black American music. Joe Williams follows with “Loneliness, Sorrow & Grief,” bringing his unmistakable voice and remarkable ability to tell a story through song.

Sarah Vaughan contributes the beautiful “Rather Have a Memory Than a Dream,” a performance that showcases the vocal mastery and emotional depth that made her one of the greatest singers in jazz history. Her phrasing and tone transform the song into something both intimate and unforgettable.

Jimmy Smith changes the mood with “Organ Grinder’s Swing” and “Oh No Baby.” Smith’s revolutionary Hammond organ playing helped redefine jazz during the 1950s and 1960s, and these recordings demonstrate the rhythmic drive and inventiveness that made him a major influence on generations of musicians.

The blues return with Little Willie John’s “Got to Get Up Early in the Morning” and “All My Love Belongs to You.” Though often remembered as an early rhythm-and-blues star, Little Willie John possessed a voice capable of conveying tenderness, heartbreak, and intensity within the span of a single performance.

Magic Sam’s “Love Me with a Feeling” brings Chicago blues into the spotlight. His expressive guitar work and soulful vocals helped lay the foundation for what would later be known as the West Side sound. Harold Burrage follows with the energetic “Stop for the Red Light,” while Lee Jackson’s “Fishin’ in My Pond” delivers a classic example of blues storytelling.

Dusty Brown contributes the lively “Rusty Dusty,” before the Big Three Trio offers the charming “You Sure Look Good to Me,” adding a touch of vocal-group harmony to the latter portion of the hour.

The final featured artist is Howling Wolf, who closes the program’s vocal performances with “Mr. Highway Man,” “Sweet Woman,” and “Ride with Me.” Wolf’s towering presence, unmistakable voice, and raw emotional power remain among the most recognizable sounds in blues history. These recordings provide a fitting conclusion to a broadcast dedicated to preserving and celebrating the music’s rich heritage.

As always, the journey ends with Fleetwood Mac’s “Albatross,” whose gentle instrumental beauty offers a peaceful farewell and a moment of reflection after five hours of extraordinary music.

Playlist – Hour Five

You’re Always in My Dream – Ravens
A Thrill from the Blues – Milt Jackson
Loneliness, Sorrow & Grief – Joe Williams
Rather Have a Memory Than a Dream – Sarah Vaughan
Organ Grinder’s Swing – Jimmy Smith
Oh No Baby – Jimmy Smith
Got to Get Up Early in the Morning – Little Willie John
All My Love Belongs to You – Little Willie John
Love Me with a Feeling – Magic Sam
Stop for the Red Light – Harold Burrage
Fishin’ in My Pond – Lee Jackson
Rusty Dusty – Dusty Brown
You Sure Look Good to Me – Big Three Trio
Mr. Highway Man – Howling Wolf
Sweet Woman – Howling Wolf
Ride with Me – Howling Wolf
Albatross – Fleetwood Mac