In this piece, you don't get that slowed-down, drawn-out flow of incomplete emotions, where the piano solos sound rambling, cold and unattached to the melodic parts. Instead, it is all of one piece, filled with life and honesty, bustling forward with the times. And, you can hear the Ravel influence. And the interest in chaos that was common in art back then, tandemly influencing performers into the 1980's.
As far as feeling the blues in this piece, it is easy, as it is coherent with the whole Dixieland, ragtime spirit and feel. Compared to other versions, this one is like 17th century folk music compared to lumbering, insulated classical; or like early 1900's roots jazz bands compared to Glenn Miller, or Offenbach compared to Barry Manolo. It's got that 'heart and soul', as well as youthful rambunctiousness.
Michael Tilson Thomas, and the Columbia Jazz Band, recorded this during an another positive time, 1976, by featuring Gershwin's 1924 piano roll, with accompaniment and a few tweaks. I am including a few dif youtube pages. (One day, I'll go back and find the best one).