Hour Four continues the deep dive into postwar blues piano, building on the foundation laid in Hour Three while expanding the roster to include a wider range of styles and personalities. If the previous hour established the importance of the piano in shaping the postwar sound, this one reinforces it—showing just how versatile and influential these players were as the blues moved further into the electric era.

Willie Mabon opens the hour with “I Don’t Know,” “Monday Woman,” and “Poison Ivy,” bringing a confident, groove-oriented style that blends blues with early R&B. His playing is less about flash and more about feel—locking into a rhythm that supports his vocals while still driving the song forward. It’s a sound that helped define Chicago blues in the 1950s.

Little Johnny Jones follows with “Hoy-Hoy,” “Wait Baby,” and “Do the Best I Can,” carrying a similar energy but with a slightly looser, more expressive approach. His piano work leans into boogie-woogie traditions while adapting to the evolving electric band format, showing how older styles continued to shape newer sounds.

Blind John Davis takes the spotlight next with “My Red,” “No Mail Today,” and “Telegram to My Baby.” Davis brings a more refined, technically precise style, reflecting his deep roots in both blues and jazz. His playing is fluid and controlled, adding a layer of sophistication to the hour without losing the emotional core of the music.

Henry Gray continues the Chicago connection with “That Ain’t Right,” “You Messed Up,” and “Watch Yourself.” His piano work is steady and grounded, often working in tandem with guitar-driven arrangements. Gray represents the working backbone of the blues scene—less flashy, but absolutely essential.

Curtis Jones shifts the tone slightly with “Wrong Blues,” “Cool Playing Blues,” and “Flaming Blues.” His approach is more melodic and reflective, offering a contrast to the driving rhythms heard earlier in the hour. There’s a sense of space in his playing, allowing the songs to breathe and unfold at their own pace.

The hour closes with a rare and valuable set from Willie “Long-Time” Smith—“Devilment on My Mind,” “Due Respects to You,” and “No Special Rider.” These recordings provide a glimpse into a lesser-documented corner of the blues world. Smith’s style is raw and direct, capturing the spirit of the postwar era without the polish of more widely recorded artists. His inclusion here underscores the purpose of the show: not just to revisit the well-known names, but to bring overlooked voices back into the conversation.

Hour Four reinforces the central theme of the program. The piano wasn’t just an accompaniment in postwar blues—it was a driving force, shaping rhythm, structure, and mood. From Mabon’s groove to Davis’ precision to Smith’s raw edge, this hour showcases the full range of what blues piano could be.

Playlist – Hour Four

I Don’t Know – Willie Mabon
Monday Woman – Willie Mabon
Poison Ivy – Willie Mabon
Hoy-Hoy – Little Johnny Jones
Wait Baby – Little Johnny Jones
Do the Best I Can – Little Johnny Jones
My Red – Blind John Davis
No Mail Today – Blind John Davis
Telegram to My Baby – Blind John Davis
That Ain’t Right – Henry Gray
You Messed Up – Henry Gray
Watch Yourself – Henry Gray
Wrong Blues – Curtis Jones
Cool Playing Blues – Curtis Jones
Flaming Blues – Curtis Jones
Devilment on My Mind – Willie “Long-Time” Smith
Due Respects to You – Willie “Long-Time” Smith
No Special Rider – Willie “Long-Time” Smith