Hour One of the February 15, 2026 edition of Blues Before Sunrise opens with polish, poise, and swing — a reminder that the blues story doesn’t begin in distortion or even in rural lament, but often in ballrooms, bandstands, and broadcast studios. This first hour sets the tone with elegance before the program gradually moves into deeper waters later in the morning.

Timmie Rogers starts things off with “If I Were You I’d Love Me,” a sly, self-assured performance that carries both humor and authority. Rogers had a knack for blending personality with phrasing, and it’s the perfect way to ease listeners into the broadcast.

The spotlight quickly turns to the Basie orchestra, with Jimmy Rushing stepping forward on “Boogie Woogie,” “Don’t You Miss Your Baby,” and “Baby Don’t Tell on Me.” Rushing’s voice is built for swing — hearty, rhythmic, and grounded in blues feeling even when backed by big band precision. His performances here demonstrate how seamlessly blues sentiment integrated into jazz orchestration.

Helen Humes continues the Basie connection with “Bolero at the Savoy,” “And the Angels Sing,” and “Don’t Worry About Me.” Humes brought both warmth and clarity to the bandstand. Her delivery never feels forced; instead, it glides atop the arrangements, equally comfortable with romantic balladry and uptempo sparkle.

Then comes the irrepressible charm of Fats Waller. “Copper Colored Gal of Mine,” “Who’s Afraid of Love,” and “I Adore You” showcase Waller’s playful sophistication. His piano lines bounce and grin, but beneath the humor lies impeccable timing and musical control. Waller represents a crucial bridge between stride piano tradition and popular songcraft.

The saxophone takes center stage with Tab Smith on “Boogie Joogie,” “Because of You,” and “Deejay Special.” Smith’s tone is smooth yet blues-inflected, capturing the transitional sound between swing-era dance music and the emerging rhythm & blues aesthetic. His instrumentals feel modern without losing their roots.

Vocal harmony enters the mix through the Four Vagabonds’ “Ask Anyone Who Knows,” a reminder of how close-harmony groups contributed to the blues conversation. Their blend is polished, but the emotional core remains intact.

The piano tradition deepens with “Self Portrait” by Meade Lux Lewis. Lewis’ boogie-woogie left hand anchors the hour in rhythmic drive, connecting big band swing back to barrelhouse origins. His influence on postwar piano styles cannot be overstated.

A moment of gravitas arrives with “Canoe Song” from Paul Robeson. Robeson’s deep, resonant voice shifts the emotional register, offering a sense of reflection and cultural weight.

Finally, “Last Call” by Plas Johnson closes the hour with smooth, late-night phrasing. It feels intentional — not a dramatic finale, but a graceful transition. The door is still open, and the story is just beginning.

Hour One establishes the program’s thesis: blues is not confined to one style or setting. It swings, it croons, it jokes, and it testifies. From big band stages to boogie-woogie pianos, this opening hour lays the groundwork for everything that follows — including the scholarship spotlight and electric intensity later in the show.

Hour One Playlist

If I Were You I’d Love Me – Timmie Rogers

Boogie Woogie – Jimmy Rushing / Basie

Don’t You Miss Your Baby – Jimmy Rushing / Basie

Baby Don’t Tell on Me – Jimmy Rushing / Basie

Bolero at the Savoy – Helen Humes / Basie

And the Angels Sing – Helen Humes / Basie

Don’t Worry About Me – Helen Humes / Basie

Copper Colored Gal of Mine – Fats Waller

Who’s Afraid of Love – Fats Waller

I Adore You – Fats Waller

Boogie Joogie – Tab Smith

Because of You – Tab Smith

Deejay Special – Tab Smith

Ask Anyone Who Knows – Four Vagabonds

Self Portrait – Meade Lux Lewis

Canoe Song – Paul Robeson

Last Call – Plas Johnson