This week’s Blues Before Sunrise (4/26/26) unfolds as a wide-ranging journey through the evolution of blues and its many offshoots, moving from classic vocal blues and jazz stylings into deep prewar traditions, and ultimately landing in the electrified world of early rock ’n’ roll and Chicago blues. With no single artist or narrow theme guiding the show, the strength lies in its flow—each hour building naturally on the last, tracing the music’s lineage across decades.

Hour One sets the tone with a polished blend of blues and jazz vocals. Marion Abernathy opens with a grounded, emotional performance before Joe Williams steps in with a commanding series of recordings, including “Everyday I Have the Blues” and “Shake, Rattle & Roll.” His delivery bridges big band blues and early R&B, offering both power and sophistication. Dinah Washington follows with a run of tracks that highlight her versatility—equally at home with blues phrasing and pop-influenced material. Louis Armstrong then anchors the hour with a mix of heartfelt vocals and signature trumpet work, reinforcing the deep jazz roots that underpin the entire program. The hour rounds out with small group and instrumental contributions, keeping the rhythm lively while maintaining a refined feel.

Hour Two leans further into rhythm and blues, opening with Buddy and Ella Johnson’s band-driven sound. Ella Johnson’s vocals bring both warmth and strength, while Pigmeat Markham adds a dose of humor and personality. Camille Howard’s piano-driven tracks inject energy, pushing the hour forward before Ethel Waters takes over with a substantial set. Her recordings span emotional blues, jazz standards, and narrative-driven songs, tying together multiple eras of Black music. As the hour closes, gospel selections provide a spiritual counterbalance, grounding the music in its deeper cultural roots.

Hour Three shifts the focus backward in time, diving into prewar blues and country blues traditions. Lonnie Johnson opens with refined guitar work, followed by the raw, stripped-down sounds of Black Ace and Cryin’ Sam Collins. Bessie Smith, Rosa Henderson, and Bessie Brown bring the classic blues queen presence—powerful, expressive, and deeply rooted in storytelling. The inclusion of Robert Johnson marks a pivotal moment, his recordings representing a bridge between rural blues and the modern electric sound that would follow. The hour closes with a range of lesser-known but equally vital artists, painting a broad picture of early blues diversity.

Hour Four brings the music forward again into the electric era, with Chuck Berry leading the charge. His recordings—alongside Bo Diddley, Muddy Waters, and Howling Wolf—capture the moment when blues evolved into rock ’n’ roll. The energy increases, the rhythms sharpen, and the guitar takes center stage. B.B. King adds a more melodic, expressive touch, while artists like Earl Gaines and Christine Kittrell round out the hour with strong vocal performances rooted in R&B and soul.

Hour Five eases the intensity, offering a late-night blend of jazz, blues, and soul. The Charioteers and Milt Jackson open with a smooth, relaxed tone, followed by Johnny Hartman’s rich vocal delivery. As the hour progresses, the music gradually returns to blues with Junior Wells, George “Harmonica” Smith, and Smokey Smothers, before settling into a reflective close. As always, “Albatross” provides the final word—a calm, instrumental fade that lets the entire five-hour journey settle.

This episode works as a full-circle experience—moving from polished vocal blues through raw origins, into electric transformation, and back down into late-night reflection. It’s not just a playlist—it’s a timeline.