Martin Scorsese introduces each of the seven episodes:

Feel Like Going Home (1/14)
Director Martin Scorsese winds his way from the banks of the Niger River in Mali to the cotton fields and juke joints of the Mississippi Delta, tracing the origins of the blues in a lyrical combination of original performances (including Corey Harris, Willie King, Taj Mahal, Keb' Mo', Otha Turner, Habib Koité, Salif Keita and Ali Farka Touré) and rare archival footage.

The Soul of a Man(1/21)
Director Wim Wenders looks at the dramatic tension in the blues between the sacred and the profane by exploring the music and lives of three of his favorite blues artists: Skip James, Blind Willie Johnson and J.B. Lenoir. Part history, part personal pilgrimage, the film tells the story of these lives in music through an extended fictional film sequence, rare archival footage, present-day documentary scenes and covers of their songs by contemporary musicians such as Shemekia Copeland, Alvin Youngblood Hart, Garland Jeffreys, Chris Thomas King, Cassandra Wilson, Nick Cave, Los Lobos, Eagle Eye Cherry, Vernon Reid, James "Blood" Ulmer, Lou Reed, Bonnie Raitt, Marc Ribot, The Jon Spencer Blues Explosion, Lucinda Williams and T-Bone Burnett.

The Road to Memphis (1/28)
Director Richard Pearce traces the musical odyssey of blues legend B.B. King in a film that pays tribute to the city that gave birth to a new style of blues. Pearce's homage to Memphis features original performances by B.B. King, Bobby Rush, Rosco Gordon and Ike Turner, as well as historical footage of Howlin' Wolf and Rufus Thomas.

Warming by the Devil's Fire (2/4)
Charles Burnett explores his own past as a young boy who was shuttled back and forth between Los Angeles and Mississippi, and who was musically torn between a mother who loved the blues and a grandmother who believed that the blues was the devil's music. Burnett's film boldly mixes fictional storytelling with documentary footage in a tale about a young boy's encounter with his family in Mississippi in 1955, and tensions between the heavenly strains of gospel and the devilish moans of the blues.

Godfathers and Sons (2/11)
In Marc Levin's lively verité-driven film, hip-hop legend Chuck D (of Public Enemy) and Marshall Chess (son of Leonard Chess and heir to the Chess Records legacy) return to Chicago to explore the heyday of Chicago blues as they unite to produce an album that seeks to bring veteran blues players together with contemporary hip-hop musicians such as Common and members of The Roots. Along with never-before-seen archival footage of Howlin' Wolf are original performances by Koko Taylor, Otis Rush, Magic Slim, Ike Turner and Sam Lay.

Red, White and Blues (2/18)
Director Mike Figgis' film examines the circumstances of the vibrant period in the 1960s, when the UK provided the fertile ground for a new kind of blues music - entirely influenced by the authentic black blues of the USA, paying homage to the originators of the music and making a global audience aware of the likes of Robert Johnson, Muddy Waters, Howlin' Wolf, Freddie King, et. al. Figgis himself participated, albeit in a minor way, in this period of history, playing in a blues band with Bryan Ferry, a band that was the nucleus for the first Roxy Music. A series of musical interviews with the key players of the blues movement is augmented with a live session at the famous Abbey Road Beatles studio. Tom Jones, Jeff Beck, Van Morrison and Lulu all improvise around some classic blues standards - accompanied by a superb band made up of younger and not-so-young musicians. The results are electrifying.

Piano Blues (2/25)
Director - and piano player - Clint Eastwood explores his life-long passion for piano blues, using a treasure trove of rare historical acts as well as interviews and performances by such living legends as Ray Charles, Fats Domino, Little Richard and Dr. John.