The first is for dominant blues (not minor). Play 3 & 7.

On the IV chord, drop each

finger a half tone, so you're playing 7 & 3. You can extend this trick by going a
half step up on both fingers (from the I chord) for the V chord. Yeah, it's a lot
of parallel fifths so don't overdo it, but especially for slow blues using a clear
flutey tone (e.g., 800005005), it provides a nice continuity under the more dynamic
guitar parts.

The other is the same trick I use more on piano, which is to take the standard 7-3-
5 voicing for a dominant chord, and walk it up and down the scale 2 steps (3 chords
altogether). Also, omitting the middle of the three notes.

Experiment with legato voicing changes between the I-IV-V chords. (The first trick
above is the simplest case of that.)
For example going from 7-3-5 voicing on the I to 5-7-3 voicing on the IV. When you
have the triads worked out, try omitting a note (especially the middle note).

Another nice one on I is to play a 6 chord (1-3-6 voicing) well after the 1 beat
and resolve by dropping the triad down a whole tone to the VII6, essentially
playing 7-2-5 in the I chord framework. For example, in C: CEA to BbDG. On the IV
chord, you can play that first 6 chord but dropping the middle note: CEbA.

Keyboards can get away with playing solo-like stuff behind the other instruments
quite a bit, as long as it's BEHIND. That is, using a muted tone, walking lines
between the chords, and lead-like lick but only highlighting when it complements
what else is going on. It's *really easy* to overdo this -- filling every hole, for
example. A song needs the right amount of holes, so don't fill them all. Leave more
holes at the start, and fill them more towards crescendos.

Of course, what I've said above applies equally to piano. But on organ, especially
with legato lines, there's a bit more room for walking melodic lines, compared to
the more percussive and outspoken piano.

A fun thing to do, especially if you're playing with a good soloist, is to remember
melodic themes and "pre-echo" them before the solo.

And the most important thing is to LISTEN to the band and make it your goal to only
do what makes them sound better, whatever they're doing. I'm not a very skilled
player, but folks enjoy playing blues with me because I listen and I'm delighted to
let the others shine. Sometimes I even sit out a whole verse. It's hard to do! But
it really adds by subtracting; when the organ does come in for the next verse or a
chorus, it adds to the drama without stealing anyone's thunder.

My weakness is solos. Once I've played both my licks .