The fifth and final hour of this week’s Blues Before Sunrise offered a sweeping journey across styles, showing how the blues has both absorbed and influenced other genres for nearly a century. This set was not bound to one time period or tradition — instead, it moved fluidly between jazz, soul, electric blues, and even rock, proving once again that the blues is the backbone of modern music.
The hour opened with the warm harmonies of the Deep River Boys, whose recording of “Wrapped Up in a Dream” brought the rich blend of gospel, swing, and pop into focus. Their vocal precision and tight arrangements exemplified the crossover sound of mid-century Black vocal groups. From there, the show shifted into pure jazz elegance with Charlie Parker’s “Everything Happens to Me”. Parker’s bebop phrasing brought new sophistication to a classic standard, reminding listeners that even in the most complex jazz, the spirit of the blues was never far away.
The exploration of jazz continued with Billy Eckstine, one of the most important male vocalists of the 1940s. His performance of “Blues, the Mother of Sin” demonstrated his velvety baritone and dramatic delivery. Ella Fitzgerald’s “I Can’t Face the Music” followed, balancing Eckstine’s intensity with her unmatched phrasing and effortless swing. Together, they painted a picture of the blues’ influence on the golden age of jazz vocals.
Moving into instrumental brilliance, Jimmy Smith’s version of “Flamingo” put the Hammond B-3 organ at center stage. Smith was a pioneer of soul-jazz, and his grooves connected directly to the blues, even when the material leaned toward jazz standards. His performance bridged the gap between bebop sophistication and the raw, church-inspired feeling that made his sound revolutionary.
From there, the set plunged into the heart of modern electric blues with B.B. King. His “Gambler’s Blues” and “Blind Love” stood as back-to-back showcases of his mastery — one slow-burning and anguished, the other smoother and more reflective. King’s voice and guitar phrasing spoke volumes, balancing heartbreak with authority. His work here underscored why he remains one of the definitive voices of postwar blues.
Bobby “Blue” Bland followed with “I Can’t Put You Down” and “I Smell Trouble.” Bland’s unique blend of blues grit and soul polish set him apart, and these tracks showed his ability to take traditional blues themes and elevate them with a modern R&B sensibility. His recordings represented the moment when blues began to merge seamlessly with soul, reshaping popular Black music in the process.
Texas blues was represented by Peppermint Harris, who delivered rollicking performances of “Let’s Ride” and “Fat Girl Boogie.” Harris’s playful phrasing and danceable rhythms offered a lighter, more good-time feel, showcasing the variety of moods the blues could embody. His songs stood as reminders that blues wasn’t always about pain — it was also about joy, humor, and release.
The guitar fireworks continued with Freddie King’s “Washout.” Known as one of the “Three Kings” of the blues (alongside B.B. and Albert), Freddie brought fiery solos and an energetic drive that helped bridge traditional blues and rock ‘n’ roll. His presence in the set highlighted the blues’ role in shaping guitar-driven music for generations to come.
The final stretch included Smokey Smothers’ “Honey I Ain’t Teasin’” and Jimmy Reed’s “Down in Mississippi.” Smothers’s track had a raw Chicago edge, while Reed’s laid-back, hypnotic groove captured the Delta spirit transported to the city. Together, they balanced grit with groove. Finally, the hour closed on a surprising yet fitting note: Fleetwood Mac’s “Albatross.” This 1968 instrumental, led by guitarist Peter Green, drew deeply from the blues while shaping the British blues-rock wave. Its atmospheric calm provided a meditative close, reminding listeners how far the blues traveled — from the Mississippi Delta to the world stage.
Hour five was both a celebration and a meditation, bringing together artists from different traditions and eras to illustrate the universality of the blues. By mixing jazz, gospel harmonies, soul, electric blues, and even rock, Steve Cushing showcased the adaptability of the form and its enduring ability to speak across time and genre. It was the perfect conclusion to a program rooted in history yet always alive in the present.
Hour 5 Playlist
- Wrapped Up in a Dream – Deep River Boys
- Everything Happens to Me – Charlie Parker
- Blues the Mother of Sin – Billy Eckstine
- I Can’t Face the Music – Ella Fitzgerald
- Flamingo – Jimmy Smith
- Gambler’s Blues – B.B. King
- Blind Love – B.B. King
- I Can’t Put You Down – Bobby Bland
- I Smell Trouble – Bobby Bland
- Let’s Ride – Peppermint Harris
- Fat Girl Boogie – Peppermint Harris
- Washout – Freddie King
- Honey I Ain’t Teasin’ – Smokey Smothers
- Down in Mississippi – Jimmy Reed
- Albatross – Fleetwood Mac