Recorded at Esplanade Studios in New Orleans with a stellar cast of musicians, Judith Owen’s Come On and Get It features sex, drugs and slide trombones in a powerful, joyous homage to some of the trailblazing women from jazz and blues history.

Owen kicks off with a deeply swinging take on Blossom Dearie’s ‘Blossom’s Blues’ ("She's an evil evil woman, but she wants to do a man some good/She's a Gina Lollobrigida, she ain't no Red Riding Hood"). A classic bounce penned in 1944 by Mary Lou Williams at a time when she was performing downtown at Café Society and sitting in uptown at Minton's, ‘Satchel Mouth Baby’ fizzes with energy. Owen dusts down another brace of 1940s songs associated with the Kansas City blues singer and pianist, Julia Lee, her self-penned ‘The Spinach Song’, one of the great songs about weed (“No longer is the stuff on the shelf, ‘cos now I make a pig of myself”), plus the jump blues ‘Snatch And Grab It’, which suffice to say isn’t about seizing the day. The blazing big band treatment of ‘Tess’s Torch Song’, brought to the fore by Dinah Shore in the 1944 film Up In Arms, is a standout, as is Owen’s deliciously slow take on Peggy Lee and Sonny Burke’s ‘He’s A Tramp’. Other highlights include a trio of hits written by singer and pianist Nellie Lutcher, ‘He’s A Real Gone Guy’, ‘Fine Brown Frame’ and ‘Come On And Get It, Honey’, plus two of the greatest double entendre songs from Dinah Washington, a striking big band arrangement of ‘Big Long Slidin’ Thing’ plus an intimate small band take on ‘Long John Blues’.