The major 3rd takes advantage of the major/minor ambiguity that exists in a I-IV-V Blues progression. This unique sound really adds some spice to the rhythm sound. It is possible to use the major 3rd as a passing note while the majority of your soloing and tonality rests in the minor Blues scale. The secret to making it work is moderation. If the major 3rd is overused it loses its effect. Try soloing with the following scale spelling: 1-3-4-5-b7. It gets chromatic pretty quick if you throw in your b5 (better known as the "blue note"). It can really burn when thrown in on top of the minor pentatonic. For our example, the emphasis is on creating an intriguing rhythm sound. Check out the animation below to see the major 3rd in action with the IV and V triads.

Here's the breakdown:

[Please Note, the following discussion refers to two different keys ("D" and "Amin") because they are relative major and minor keys in this example.]
Start with the A/D triad inversion which is the V in the key of "D". Then, fret a G/C triad inversion which is the IV in "D". All that is left is to do now is hammer-on the major 3rd (note in red) which is a C# in "Amin". In the audio example, this riff can be heard with an occasional droning open "A" in between to keep the minor tonality in mind.

Click on the ear to hear for yourself...

 

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