Pine performs a program of blues-influenced classical works for solo violin and violin and piano by Black composers of the 20th and 21st centuries. Each track relates to early blues giants, but the pieces are not limited to conventional 12-bar blues progressions. Compositions include quotes of American fiddle tunes, gospel hymns and spirituals, boogie-woogie dance tunes, and in Roumain’s work, signal processing of electronic dance music. Pine has collected >900 works by >350 Black composers from the 18th-21st centuries and is making this material available online and in print (see musicbyblackcomposers.org). Baker’s work is a gospel-blues hybrid. Perkinson’s piece opens with shifts between major and minor keys; mvmt II is sad; mvmt III a jig. Still’s Suite is inspired by visual works; mvmt I opens majestically and then balances lyricism and rhythm; mvmt II expresses acceptance and comfort of mother and child; mvmt III conveys optimism and energy with boogie-woogie rhythms. Da Costa’s Dance Tunes are derived from an 1883 collection, and quote the tune before exploring rhythmic, register, and melodic changes. White’s Levee Dance is based on “Go Down Moses” and was one of violinist Jascha Heifetz’s favorite encores. Logan embellished Ellington’s dreamy love tune, inspired by Stravinsky’s Firebird Suite, with a variety of 20th century experiments in concert music. White’s piece draws on blues improvisation and on compositional models of Bartók, Stravinsky, Ginastera and Thelonius Monk, melding upbeat blues, jazz and classicism. Wallen’s playful piece updates boogie-woogie to a rock ‘n’ roll feel. Childs’ work is a haunting, upsetting, and sad tone poem describing a police officer’s 2016 killing of a Black man in Minnesota. Brown’s song is gospel-blues inspired.