Hour One of Blues Before Sunrise (01/25/26) sets the tone for the entire broadcast by easing listeners into a world where blues, jazz, and rhythm overlap freely. This is the front porch of the show — welcoming, stylish, and just loose enough to promise surprises ahead. The selections here balance humor, sophistication, and emotional depth, reminding us that the blues has always been as much about pleasure and personality as it is about pain.
The hour opens with Sammy Price’s “The Dirty Dozen,” a piano-driven romp that immediately establishes a playful, swinging atmosphere. Price’s touch is light but authoritative, a perfect invitation into the night. That sense of humor carries straight into Louis Jordan’s trio of sides — “Pettin’ & Pokin’,” “Chicky-Mo Craney-Crow,” and “Old Man Mose.” Jordan was a master entertainer, and these tracks show why. His ability to combine novelty lyrics, sharp rhythm, and undeniable swing makes these records feel effortless, even decades later.
Sarah Vaughan follows, and the mood shifts smoothly from playful to polished. “Cool Baby,” “I Ain’t Hurtin’,” and “The Thrill Is Gone” highlight Vaughan’s extraordinary control and emotional nuance. She doesn’t oversing these performances; instead, she lets phrasing and tone do the heavy lifting. Her presence here elevates the hour, showing how blues feeling could live comfortably inside jazz sophistication.
Jack McVea’s run of “Open the Door Richard,” “The Key Was in the Mailbox,” and “Richard Gets Hitched” brings the show back to earth with infectious R&B humor. These are records made for crowded rooms, laughter spilling over drinks, and call-and-response energy. McVea’s arrangements straddle jump blues and early rock ’n’ roll, giving the hour a jolt of momentum without losing its relaxed pacing.
The spotlight then turns instrumental with Morris Lane’s trio of “Turn Table,” “Moon Ray,” and “Poinciana.” These sides glide rather than swing, offering a dreamy, late-night feel that encourages listening rather than dancing. Lane’s work acts as a palate cleanser — a moment to lean back and let the sound wash over you.
The Ink Spots’ “Swing Hi Swing Low” adds romantic warmth, their harmonies instantly recognizable and deeply comforting. Pete Johnson’s “B&O Blues” shifts things again, grounding the hour with barrelhouse piano grit and rhythmic insistence. Johnson reminds us that beneath all the polish and humor, the blues’ heartbeat never stops.
“Waiting for the Evening Mail” by Sissle & Blake connects the show to the vaudeville and Broadway tradition, blending wit with melody in a way that feels timeless. Earl Bostic’s “Off Shore” closes the hour on a smooth, atmospheric note, his horn floating rather than shouting — a perfect transition point into the deeper emotional territory that follows in later hours.
Hour One works because it doesn’t try to define the blues too narrowly. Instead, it celebrates the genre’s openness — its ability to absorb jazz, humor, pop, and elegance without losing its soul. This is music meant to welcome listeners in, loosen their shoulders, and prepare them for the longer journey ahead.
By the time the hour ends, the listener isn’t just tuned in — they’re settled in, exactly where Blues Before Sunrise wants them to be.
Hour One Playlist
THE DIRTY DOZEN – Sammy Price
PETTIN’ & POKIN’ – Louis Jordan
CHICKY-MO CRANEY-CROW – Louis Jordan
OLD MAN MOSE – Louis Jordan
COOL BABY – Sarah Vaughan
I AIN’T HURTIN’ – Sarah Vaughan
THE THRILL IS GONE – Sarah Vaughan
OPEN THE DOOR RICHARD – Jack McVea
THE KEY WAS IN THE MAILBOX – Jack McVea
RICHARD GETS HITCHED – Jack McVea
TURN TABLE – Morris Lane
MOON RAY – Morris Lane
POINCIANA – Morris Lane
SWING HI SWING LOW – Ink Spots
B&O BLUES – Pete Johnson
WAITING FOR THE EVENING MAIL – Sissle & Blake
OFF SHORE – Earl Bostic