This week on Blues Before Sunrise, Steve Cushing presents a program built around the remarkable piano work of Will Ezell, the celebrated pianist who became an important part of the Paramount Records sound during the label’s historic run in the 1920s and early 1930s. Although Ezell made more than a dozen recordings under his own name, his importance to the Paramount catalog extends far beyond those solo titles. As one of the label’s house pianists, Ezell provided the accompaniment behind a remarkable roster of blues singers, helping create the musical foundation for many of the recordings that have become essential documents of classic blues.

The program opens with a wide-ranging collection of music that establishes the atmosphere before moving into the central focus on Ezell. Dorothy Dandridge gets things moving with “Jig in the Jungle,” followed by several selections from Cab Calloway. Joe Carroll contributes a substantial sequence, including “Pennie from Heaven,” “Two Wrongs Won’t Make a Right,” “I Was in the Mood,” “Got a Penny Benny,” and “Rhythm of the Rhythm Band,” with the latter featuring the Tramp Band. Ella Fitzgerald follows with “Preview” and “My One & Only Love,” while the Mills Brothers offer “Nobody’s Sweetheart” and “Tiger Rag.” The first hour also moves through the wartime-era sound of the Four Vagabonds, Dan Burley’s “Boogie in D,” a fascinating Ma Rainey selection, and Willie Jackson’s “Blow Jackson Blow.”

The second hour broadens the musical landscape with recordings from Tiny Grimes, Ray Charles, Pigmeat Markham and Amos Milburn. Ray Charles is represented by several early sides, including “Just a Little Lovin’,” “Roll with My Baby,” “Heartbreaker,” and “The Sun’s Gonna Shine Again.” Amos Milburn brings his distinctive piano-driven approach to “My Baby’s Boogeyin’” and “Chickenshack Boogie.” Walter Roland, Josie Miles, Mandy Lee and Kansas City Kitty continue the blues journey, followed by gospel performances from the Silverleaf Quartet, Reverend A.W. Nix and the Pace Jubilee Singers.

The heart of the program arrives in the third hour, when the spotlight turns squarely toward Will Ezell’s work as an accompanist. Lucille Bogan leads off with “Doggone Wicked Blues” and “Oklahoma Blues,” giving listeners a chance to hear Ezell supporting one of the most powerful and distinctive female blues voices of the Paramount era. Sam Tarpley follows with “Alabama Hustler Blues” and “Try Some of That,” before the Paramount All-Stars present “Hometown Skiffle Blues, Parts I & II.”

The program then continues with several singers whose recordings demonstrate just how frequently Ezell’s piano appeared behind Paramount artists. Elzadie Robinson is heard on “Wicked Daddy Blues” and “It’s Too Late Now.” Side-Wheel Sally Duffy contributes “Bunker Hill Blues” and “Plantation Blues,” while Bertha Henderson appears with “Black Bordered Letter” and “Six Thirty Blues.” These recordings offer a particularly revealing look at Ezell’s role: rather than standing in the spotlight, his piano supports the singers, establishes the rhythm and responds to their voices.

The third hour continues with Blind Roosevelt Graves, Blanche Johnson, Marie Bradley and Ora Brown, creating a fascinating sequence of lesser-known blues and gospel-related performances. For listeners interested in the Paramount catalog, these selections provide a glimpse into the depth of the label’s recording activity and the enormous variety of performers who passed through its studios.

Hour four moves into the postwar blues world with Melvin Daniels, T-Bone Walker and Lowell Fulson. Walker is represented by three energetic performances, including “T-Bone Jumps Again” and “She’s Going to Ruin Me.” Fulson follows with “My Baby Can’t Be Found,” “Mama Bring Your Clothes Back Home” and “Midnight & Day.” Lester Williams, Buster Pickens, Peppermint Harris and Frankie Lee Simms keep the blues moving before the program reaches Mance Lipscomb and the Big Three Trio. Johnny Fuller, King Solomon and Al King round out the hour.

The final hour takes the listener through an eclectic collection of recordings featuring the Ravens, Wes Montgomery, Joe Williams, Betty Carter and Shirley Scott. Jimmy Reed contributes “Ain’t That Lovin’ You” and “I Wanna Be Loved,” followed by Willie Mabon and Jimmy Rogers. Howlin’ Wolf brings the raw intensity of “Back Door Man” and “I’m Leaving You,” while Magic Sam contributes “Magic Rocker.” Rickey Allen, Leroy Carr and Fleetwood Mac complete the journey.

Taken as a whole, this week’s Blues Before Sunrise is both a tribute to Will Ezell and an exploration of the extraordinary musicians who surrounded him. Ezell’s own recordings tell only part of his story. His work behind Lucille Bogan, Elzadie Robinson, Bertha Henderson, Side-Wheel Sally Duffy and other Paramount artists reveals a pianist whose contributions were woven deeply into the fabric of classic blues recording. His playing could support, punctuate and propel a performance without overwhelming the singer, making him an essential part of the Paramount sound.

From the early blues of Paramount to the electric blues, jazz, gospel and rhythm-and-blues recordings that fill the remainder of the program, this week’s show demonstrates the remarkable connections between generations of American music. Blues Before Sunrise celebrates Will Ezell not simply as a recording artist, but as an accompanist whose piano helped bring the voices of an extraordinary group of blues singers to life.