Hour two of this week’s Blues Before Sunrise continues the musical journey with a varied collection of blues, rhythm and blues, boogie-woogie, jazz and gospel recordings. While the central theme of the program is Will Ezell and his work as a Paramount Records accompanist, this hour broadens the scope with performances that reveal the many musical currents flowing through American music during the first half of the twentieth century.

The hour opens with Tiny Grimes and “Sanctifyin’ the Blues,” an energetic performance that immediately establishes a connection between the blues and the jazz-influenced sounds that were becoming increasingly important in postwar popular music. Grimes was a versatile musician whose work crossed several musical boundaries, making him an ideal introduction to an hour that continually moves between styles.

Ray Charles follows with four selections: “Just a Little Lovin’,” “Roll with My Baby,” “Heartbreaker” and “The Sun’s Gonna Shine Again.” These recordings capture Charles during an important period in his development as an artist. His music drew heavily from the blues and gospel while incorporating elements of jazz and rhythm and blues. His expressive voice and distinctive piano playing helped establish a sound that would have an enormous influence on American music.

The mood changes with “The Worm Turns” by Pigmeat Markham, bringing humor and theatricality into the program. Markham’s performance demonstrates another important characteristic of rhythm and blues: the ability to combine musical entertainment with comedy and personality.

Amos Milburn then takes center stage with “My Baby’s Boogyin’” and “Chickenshack Boogie.” Milburn was one of the great piano-based performers of postwar rhythm and blues, and these recordings showcase the rhythmic drive and infectious energy that made his work so influential. His piano is more than accompaniment—it is the engine that pushes each performance forward.

Walter Roland’s “Last Year Blues” brings the hour back toward the traditional blues, connecting the postwar recordings with the earlier piano blues tradition. Roland’s work as a pianist and singer represents an important link between the classic blues era and the changing musical world that followed.

Josie Miles continues the program with “Baby’s Got the Blues” and “Pipe Dream Blues.” Her performances add another dimension to the hour’s exploration of female blues singers. Mandy Lee follows with “Crap Shootin’ Papa,” a lively performance whose playful title reflects the humor and personality that could be found throughout the blues tradition.

Kansas City Kitty then contributes “Gym’s Too Much for Me” and “How Can You Have the Blues.” These selections continue the lighter, more theatrical side of the blues while maintaining the musical foundation that connects the various performers heard throughout the hour.

The final section of the hour moves into gospel, providing a striking change in mood. The Silverleaf Quartet performs “Sleep on Mother,” followed by Reverend A.W. Nix with “Watch Your Close Friend.” The hour concludes with the Pace Jubilee Singers and “His Eye Is on the Sparrow.”

This transition from blues and rhythm and blues into gospel demonstrates just how closely connected these musical traditions have always been. The emotional intensity, vocal phrasing, rhythmic patterns and piano-centered musical language of gospel and blues continually crossed paths. Many of the musicians heard on programs such as Blues Before Sunrise moved comfortably between these worlds, drawing from the same deep well of African American musical expression.

Although Will Ezell himself is not the focus of every selection in this hour, the music helps establish the broader setting in which his Paramount recordings can be understood. The blues was never a single, isolated style. It was part of a constantly evolving musical conversation that included jazz, gospel, boogie-woogie, rhythm and blues and popular entertainment.

From Tiny Grimes and Ray Charles to Amos Milburn and the gospel groups closing the hour, this collection provides another example of the rich musical territory explored by Blues Before Sunrise. It is an hour filled with piano-driven rhythms, memorable voices, humor, heartache and spiritual conviction.

Hour 2 Playlist

SANCTIFYIN’ THE BLUES — TINY GRIMES
JUST A LITTLE LOVIN’ — RAY CHARLES
ROLL WITH MY BABY — RAY CHARLES
HEARTBREAKER — RAY CHARLES
THE SUN’S GONNA SHINE AGAIN — RAY CHARLES
THE WORM TURNS — PIGMEAT MARKHAM
MY BABY’S BOOGYIN’ — AMOS MILBURN
CHICKENSHACK BOOGIE — AMOS MILBURN
LAST YEAR BLUES — WALTER ROLAND
BABY’S GOT THE BLUES — JOSIE MILES
PIPE DREAM BLUES — JOSIE MILES
CRAP SHOOTIN’ PAPA — MANDY LEE
GYM’S TOO MUCH FOR ME — KANSAS CITY KITTY
HOW CAN YOU HAVE THE BLUES — KANSAS CITY KITTY
SLEEP ON MOTHER — SILVERLEAF QUARTET
WATCH YOUR CLOSE FRIEND — REV. A.W. NIX
HIS EYE IS ON THE SPARROW — PACE JUBILEE SINGERS