Grace note vs swing

"Swing" is about the way the notes within a beat divide the beat up (first half longer, second half shorter). "Grace notes" include many different types of ornaments, and it's important to check how a particular notation was understood by the time and place in which it was used. In most modern-era practice, though, a small note with a slash is an "acciaccatura," a quick note played before the beat (see this question).It's a little hard to tell behind the voice, but this performance seems to play notes only on the beat, perhaps trying making the grace note so very short that it winds up being simultaneous with the main note.

But it's important to interpret notation in light of its context. Hop Scop Blues was published by George Washington Thomas in 1916. Thomas is credited in this "ragpiano.com" bio as "a father of, or at least major contributor to, the piano style that would evolve into boogie-woogie." Boogie-woogie is characterized especially by its arpeggiated bass lines, like this section of the song. The ragpiano.com article singles out Hop Scop Blues in particular:

In 1916, George issued his first rendition of The New Orleans Hop Scop Blues. It was part of the breed of twelve-bar blues that had been in print for several years now. However, in the third section, an articulated left hand was notated using grace notes for the lower tone. This created a pseudo boogie bass. Some music historians consider this to be the origins of the boogie sound, and ultimately boogie-woogie. While George did not invent this paradigm, and had possibly heard it some years prior in a tent show, he was able to notate a version of it.

The earliest recording is by Sara Martin in 1923 (here are some details on the recording), but her pianist was Clarence Williams, and I have no idea how similar Williams' performance would have been to Thomas's (though Williams was also a New Orleans-area pianist) :

In this section of the song, in most of its repetitions, Williams seems to simply play the left hand on the beat, and to fill in a swung (shuffle) subdivision of the beat with the right hand. But on the next-to-last time through (2:04 in the video), he switches to a conspicuous pattern of straight eighths alternating octaves (that is, interpreting the printed pattern of graces and quarters as straight eighth notes). This may well be the proto-boogie-woogie sound that Thomas was highlighting here.

The more popular 1930 recording by Bessie Smith also seems to feature these straight eighths:

Edit: I need to step away for a bit, and will resume this answer later

As I said in my comment, I think the question is being misinterpreted because it was not written clearly. I believe you want to know if the grace notes themselves are played as typical instantaneous grace notes or if the grace notes themselves are swung. Please correct me if I’m wrong.

The first thing you have to do is take the recording you posted in your question with a grain of salt because it is generated and played mechanically with no feel or interpretation.

The answer posted by @AndyBonner has some great information and references so I would like to just add a few thoughts.

Using Andy’s audio examples as references, both recordings do contain elements of both straight and swung phrasing in general, sometimes even within a very short span of a measure or two. This was pretty common of the music of that era. I believe this was because back then they “felt” everything as having swing even when they were playing straight 8th notes, so the line between straight and swing was much more blurred than it is today.

As for the grace notes, whenever they are being played, (regardless of the overall feel) it does sound as if those grace notes are being played as off beat swung notes, similar to the up-beats of a shuffle rhythm.

Certainly not swing! But I can't discern the grace notes being played, it sounds like straight four in the bar for the left hand. It's supposed to be octave 'bounces' for the bass line, according to the dots.