Hour One of this week’s Blues Before Sunrise kicks things off with energy, charm, and a strong foundation in swing and early rhythm and blues. It’s a lively opening hour that leans into big band flair, small group interplay, and the kind of rhythmic drive that once filled dance halls and late-night clubs. Right from the start, the tone is upbeat but rooted—music that moves, but never loses its blues feeling.

Timmie Rogers opens the hour with “January & February,” setting a playful and engaging mood. That sense of personality carries straight into a strong run from Cab Calloway, whose tracks—“She’s Tall, She’s Tan, She’s Terrific,” “Mama I Wanna Make Rhythm,” “Hi-De-Ho Romeo,” and “Moon at Sea”—bring theatrical energy and polished band arrangements. Calloway’s presence dominates this stretch, blending humor, rhythm, and showmanship in a way that defined an era.

Slim & Slam take over with a quartet of performances that highlight tight vocal harmonies and rhythmic precision. Tracks like “Flat Foot Susie,” “Chinatown My Chinatown,” “Oh Lady Be Good,” and “Jump Session” are crisp and engaging, combining jazz sensibilities with an accessible, upbeat feel. Their interplay adds a conversational quality to the hour, keeping things lively and dynamic.

The Sweethearts of Rhythm push the momentum even further with “Central Avenue Boogie,” “Jump Children,” and “Tuxedo Junction.” Their contributions bring a strong instrumental focus, showcasing the power and sophistication of an all-female band that could swing as hard as any of their contemporaries. The arrangements here are tight, driving, and full of life.

John Schoolboy Porter shifts the tone slightly with “Walk Heavy” and “Soft Shoulders,” introducing a more grounded blues feel while still maintaining the rhythmic backbone of the hour. These tracks act as a bridge, connecting the high-energy swing numbers with the deeper blues elements that follow.

The Ink Spots’ “My Prayer” slows things down just enough to add emotional contrast. Their smooth harmonies and gentle delivery provide a moment of reflection without losing the hour’s overall flow. Pete Johnson’s “Swanee River Boogie” brings the piano back to the forefront, injecting a dose of boogie-woogie energy that keeps the momentum intact.

Bert Williams’ “You Can’t Trust Nobody” adds a classic vocal performance rooted in earlier traditions, while Buddy Tate’s “The Spot” closes the hour with a confident instrumental finish. Tate’s saxophone work ties everything together, leaving the listener with a sense of completion while still setting the stage for what’s to come.

Hour One works as both an introduction and an invitation. It opens the door with rhythm, swing, and personality, drawing the listener in with accessible, engaging performances. At the same time, it lays the groundwork for the deeper blues explorations that unfold in the hours ahead.

It’s a reminder that before the blues got heavier and more electric, it also knew how to swing.

Playlist – Hour One

January & February – Timmie Rogers

She’s Tall, She’s Tan, She’s Terrific – Cab Calloway

Mama I Wanna Make Rhythm – Cab Calloway

Hi-De-Ho Romeo – Cab Calloway

Moon at Sea – Cab Calloway

Flat Foot Susie – Slim & Slam

Chinatown My Chinatown – Slim & Slam

Oh Lady Be Good – Slim & Slam

Jump Session – Slim & Slam

Central Avenue Boogie – Sweethearts of Rhythm

Jump Children – Sweethearts of Rhythm

Tuxedo Junction – Sweethearts of Rhythm

Walk Heavy – John Schoolboy Porter

Soft Shoulders – John Schoolboy Porter

My Prayer – Ink Spots

Swanee River Boogie – Pete Johnson

You Can’t Trust Nobody – Bert Williams

The Spot – Buddy Tate