This week’s Blues Before Sunrise (4/19/26) centers on a powerful and often underappreciated force in blues history—the postwar piano player. Drawing inspiration from an earlier 2005 playlist, this updated edition revisits and expands the idea, shining a light on the singer-pianists who helped define the sound of blues in the years following World War II. While the piano takes center stage during Hours Three and Four, the entire five-hour journey builds context around that core, moving through jazz, rhythm and blues, gospel, and soul.

Hour One opens with a polished blend of jazz and blues-influenced vocals. Billy Eckstine leads with a series of smooth, expressive recordings that bring sophistication and phrasing rooted in jazz tradition. Lurlean Hunter follows with warmth and subtlety, her voice offering a softer, more intimate counterpoint. Annisteen Allen adds a touch of rhythm and personality, while Tiny Grimes’ guitar-driven instrumentals provide a shift in texture. The hour closes with a mix of vocal harmony and piano roots, setting the stage for what’s to come.

Hour Two moves more firmly into rhythm and blues. Nappy Brown and Charles Brown establish a grounded, bluesy tone, while Bull Moose Jackson and Ruth Brown inject energy and vocal strength. Dave Bartholomew’s contributions highlight the New Orleans influence, adding rhythmic drive and a sense of movement. The hour also revisits earlier blues styles through Crippled Clarence and Ethel Waters, whose recordings bridge generations. As is often the case, the set transitions into gospel toward the end, reinforcing the deep spiritual connection that runs alongside the blues.

Hours Three and Four form the heart of the program—the Postwar Piano Roster. These hours highlight the importance of the piano as both a rhythmic and melodic engine in blues music. Big Maceo opens Hour Three with commanding performances that showcase his influence on Chicago blues piano. Sunnyland Slim and Memphis Slim follow, each bringing their own style—one more raw and direct, the other more polished and expressive. Otis Spann’s contributions stand out for their emotional depth and technical skill, while Eddie Boyd adds a strong narrative voice to the mix. The inclusion of James Beale Street Clark reflects the show’s effort to revisit artists who were less accessible in earlier years but are essential to the story.

Hour Four continues the piano focus with Willie Mabon and Little Johnny Jones, both of whom helped shape the postwar Chicago sound. Blind John Davis and Henry Gray carry the tradition forward, blending boogie-woogie roots with evolving blues structures. Curtis Jones adds a smoother, more reflective style, while Willie “Long-Time” Smith brings a rare and valuable perspective—his recordings representing a piece of the blues puzzle that has only become more visible over time.

Hour Five eases out of the piano spotlight and into a late-night blend of jazz, blues, and early soul. The Ravens and Wes Montgomery open with a relaxed, atmospheric feel, while Joe Williams and Betty Carter maintain a refined vocal presence. As the hour progresses, the music leans deeper into blues with Jimmy Reed, Jimmy Rogers, and Howling Wolf, before closing with a mix of electric blues and early rock influences. As always, the program ends with “Albatross,” providing a calm and reflective finish.

This episode stands as both a tribute and a reminder. The piano was not just an accompaniment in postwar blues—it was a driving force, shaping rhythm, structure, and emotion. By revisiting these artists, Blues Before Sunrise brings that legacy back into focus, where it belongs.