Back in the early 40's, blues and jazz were pretty much synonymous. The big bands were exciting audiences with their new stomping jump blues performances, which Billboard recommended for "hepsters who go for swing and boogie, and beats in a loud, hot unrelenting style." Jump Blues combined the popular boogie-woogie rhythms of the day with gritty swing solos and "playful lyrics laced with jive talk." More than seven decades later, Jump Blues still pulls listeners out of their seats and onto the dance floor with its boogie-woogie grooves and heavy, insistent beats.
…This is another winner for MDG in the sound department. There is a palpable sense of “place”, of being somewhere specific, conveyed by the 2+2+2 sound; it is suitably reverberant but not overwhelming. The piano is realistically distant (no under-the-lid clarity here), and its bass register is rich and strong. But the cornet/trumpet is the star of the show, and Mr. Bauer’s golden tone blooms beautifully in the ample recorded space, wherever that is. A superbly planned and executed recital in perfect sound. What more could you want?
Cult figure, rock & roll legend and music writer, Cub Koda defined jump blues as an up-tempo, jazz-tinged style of blues that first came to prominence in the mid- to late '40s. Usually featuring a vocalist in front of a large, horn-driven orchestra or medium sized combo with multiple horns, the style is earmarked by a driving rhythm, intensely shouted vocals, and honking tenor saxophone solos all of those very elements a precursor to rock & roll. The lyrics are almost always celebratory in nature, full of braggadocio and swagger.