Hour One of this week’s Blues Before Sunrise lays the groundwork for everything that follows, blending jazz sophistication, blues feeling, and early rhythm and blues into a cohesive opening statement. While the program’s central theme—postwar piano—doesn’t fully take hold until later, the seeds are planted here through carefully selected performances that highlight phrasing, rhythm, and musical interplay.
Billy Eckstine leads off with a series of recordings that immediately establish a polished, jazz-influenced atmosphere. His rich baritone and smooth delivery on tracks like “I Stay in the Mood for You” and “I Want to Talk About You” bring a level of refinement that contrasts with the rawer blues sounds heard later in the show. Yet even in this setting, the blues remains close to the surface, embedded in the phrasing and emotional tone of his performances.
Lurlean Hunter follows with a set of recordings that soften the mood while maintaining depth. Her interpretations are subtle and controlled, offering a quieter, more intimate listening experience. There’s a warmth in her delivery that balances Eckstine’s formality, creating a natural progression within the hour.
Annisteen Allen adds a touch of rhythm and personality with “Don’t Hesitate Too Long,” “In the Middle of the Night,” and “More More More.” Her vocals carry a sense of confidence and swing, bridging the gap between jazz and the more rhythm-driven sounds of early R&B. She brings a bit of edge to the hour without disrupting its overall flow.
Tiny Grimes shifts the focus toward instrumental work with “125th Street Sunrise,” “Loch Lomond,” and “Annie Laurie.” His guitar-driven approach introduces a different texture, but the rhythmic foundation remains consistent with the show’s broader direction. There’s a sense of movement in these recordings, hinting at the evolution of blues into more modern forms.
The Delta Rhythm Boys provide a brief return to vocal harmony with “I’d Rather Be Wrong,” their tight arrangement adding variety and depth. Pete Johnson’s “Buss Robinson Blues” brings the piano back into focus, offering an early glimpse of the instrument’s central role in the hours ahead. His boogie-woogie style is both energetic and foundational—a reminder of where much of the postwar piano tradition began.
Ernie Freeman’s “Night Sounds” closes the hour with a smooth, understated instrumental that leans into atmosphere. It’s a fitting conclusion—calm, reflective, and slightly anticipatory. By the time the final notes fade, the stage has been set for a deeper exploration of blues, rhythm, and especially piano in the hours to come.
Hour One doesn’t push too hard—it eases the listener in, establishing tone and direction while leaving plenty of room for the music to grow. It’s a quiet but essential beginning to a thoughtfully constructed five-hour journey.
Playlist – Hour One
Baby at Birdland – Baby Lawrence
I Stay in the Mood for You – Billy Eckstine
I Want to Talk About You – Billy Eckstine
Blowing the Blues Away – Billy Eckstine
Opus X – Billy Eckstine
Palm Chant – Lurlean Hunter
I Hadn’t Anyone Till You – Lurlean Hunter
My Home Town Chicago – Lurlean Hunter
I Get a Warm Feeling – Lurlean Hunter
Don’t Hesitate Too Long – Annisteen Allen
In the Middle of the Night – Annisteen Allen
More More More – Annisteen Allen
125th Street Sunrise – Tiny Grimes
Loch Lomond – Tiny Grimes
Annie Laurie – Tiny Grimes
I’d Rather Be Wrong – Delta Rhythm Boys
Buss Robinson Blues – Pete Johnson
Night Sounds – Ernie Freeman