This week on Blues Before Sunrise, the program turns its focus to Chicago blues powerhouse J.B. Hutto—a musician whose slide guitar could slice through steel and whose voice carried the grit of the streets. In all the years of hosting, Steve Cushing has never dedicated a full feature to Hutto, but Hour #4 changes that. Known as the bluesman too raw for Maxwell Street, Hutto was relegated to the alley behind it—and he made that alley his kingdom. The feature captures his unrelenting energy, fierce musicianship, and unapologetic style. Surrounding this tribute is a five-hour mix of blues, jazz, gospel, and R&B, weaving together the wide-reaching story of the blues.

Hour 1 – Big Voices & Velvet Horns

The evening opens with Walter Brown’s “Mary B,” followed by a series of Joe Williams performances blending smooth phrasing with emotional depth. Dinah Washington steps into the spotlight with a set that moves from the hard truths of “It’s a Mean Old Man’s World” to the lush romance of “Flamingo.” Benny Carter’s refined jazz craftsmanship brings elegance to the mix, the Five Red Caps add vocal harmony charm, and Paul Robeson’s deep baritone offers gravitas. Meadelux Lewis injects humor with “Ah Still Suits Me,” and Ernie Freeman closes the set with a stylish instrumental flourish.

Hour 2 – Jump, Shout, and Testify

This hour moves between the club and the church. Little Esther and Billy Wright keep early R&B lively, Nappy Brown swings with “In the Mood,” and Little Willie John blends soul and ache. Ivory Joe Hunter’s smooth delivery contrasts with the rollicking piano work of Blythe & Burton. The gospel segment rises with the Consolers’ harmonies, Rev. J.C. Burnett’s fervent preaching, and the Flying Clouds of Detroit’s heartfelt “Journey to the Sky,” ending with the Echoes of Zion’s spiritual assurance.

Hour 3 – The Roots Run Deep

Rare 78s and pre-war treasures take center stage. Gus Cannon’s “Madison Street Rag” sets a jaunty tone, followed by storytelling classics from Furry Lewis and the Mississippi Sheiks. Walter Vincson and Harry Chatmon keep the rural blues spirit alive, while Hattie McDaniels and Vance Dixon bring theatrical flair. One-String Sam’s “All My Money’s Gone” strips the blues to its rawest form, underscoring that emotion often outweighs polish.

Hour 4 – J.B. Hutto: Slide Guitar in Overdrive

The spotlight hour belongs entirely to J.B. Hutto. From “Pet Cream Man” to “20% Alcohol,” Hutto’s bottleneck slide screams, stomps, and swings with unrelenting intensity. His originals mingle with nods to Elmore James, all delivered with the energy of a man playing for his life. Tracks like “Too Much Alcohol” and “Hip Shakin’” embody his ability to blend humor, danger, and pure drive.

Hour 5 – Blues Without Borders

The final hour stretches the boundaries of the blues. The Ink Spots’ “I Get the Blues When It Rains” opens the set with nostalgic smoothness, Joe Williams and Dinah Washington return with more timeless vocals, and Brother Jack McDuff’s “Hot Barbeque” turns up the heat. Groove Holmes, Dr. Ross, and Woodrow Adams keep it raw before Fleetwood Mac’s “Black Magic Woman” and “Albatross” drift into the night. B.B. King, Guitar Crusher, and others ensure the show closes with authority.