Wolverine Blues is not a 'real' blues in the sense of having a 12-bar structure or sad sentiments with many 'blues' notes. According to some sources, Jelly Roll himself had been playing it for quite some time as The Wolverines, so maybe that should be its title.
It usually begins with a bright 4-bar Introduction, establishing the key. Then comes the jaunty Theme A (16 bars, comprising 8 + 8, much moving between the tonic and dominant, and ending with The Sunshine Sequence). This theme is usually played twice. Immediately next comes Theme B (another 16 bars, comprising 8 + 8, but this time using a simple chord sequence of the Sister Kate type). This can also be played twice; and occasionally you come across a band that uses Theme B as a basis for improvisations.
Next comes a 4-bar Bridge (sometimes a chromatic uphill gallop). To lead in smoothly to Theme C, the Bridge needs to end firmly on the Dominant 7th of the key that will be used in Theme C.
Finally is Theme C - familiar to all jazz enthusiasts. It is based on a simple chord progression and consists of 32 bars (16 + 16), It is easy to stick on this theme and improvise upon it, as most bands do.
Generally, to round the performance off, the band plays the final eight bars of Theme C as a coda.
But if your band intends to play Wolverine Blues, you have to agree on certain points before you start. Which keys will you use? Will you omit the Bridge or any Themes?
If you listen to the following eight performances (see the chart below - you can find them easily enough on YouTube), you will notice what variety there can be.