Review as written by Jack Bowers on bigbandjazz.net - I know nothing about the Pennsylvania-based Jump City Jazz Orchestra except the obvious: this is an ensemble whose mission is to entertain, created in the image and following the lead of the storied dance bands of the Swing Era—Miller, Goodman, the Dorsey brothers, Harry James, Charlie Barnet, Ray Anthony and other kindred souls. The question thus becomes, how well does it succeed? The answer, based on this overview of the band’s work, is quite well indeed. In other words, if I were hosting a dance, I’d hire the JCJO without any qualms about receiving full value for the money. The nineteen-piece ensemble (including vocalists Keith Spencer and Karen Wilhelm) is tidy and proficient, and if the music is by and large immediately recognizable, it is at least well-played. I don’t know if these gentlemen (and two ladies) are professional musicians or part-timers, but they play together like pros. Half of the dozen tracks are vocals, three each by Spencer and Wilhelm, and there are bright showcases for trumpeters Bob Wagner (“Take the ‘A’ Train”) and Jay Webb (“Georgia on My Mind”) and the band’s most persuasive soloist, alto saxophonist Vince Lardear (the samba “Little Girl,” Don Schamber‘s definitive arrangement of “Time After Time”). One of Wilhelm’s vehicles, “Perhaps Perhaps Perhaps” (nice work there by the lead trumpet), is used as the theme for a popular British sitcom, Coupling. She’s also heard on Cole Porter’s “Night and Day” and the Gershwins’ “S’wonderful,” Spencer on “Fly Me to the Moon,” “Ain’t That a Kick in the Head” and another Porter favorite, “I’ve Got You Under My Skin.” A delightfully swinging version of “That’s All” precedes a bonus track, Wilhelm’s vocal on “Crazy,” which isn’t listed on the CD’s tray. The JCJO doesn’t tailor its music to suit the staunch jazz aficionado who prefers elaborate contemporary material and lengthy, cerebral solos. But for those who appreciate the bands that laid the groundwork for today’s more resourceful and sophisticated ensembles, there’s a lot to admire and appreciate here.

Review as publised in Big Bands international magazine - August 2006 - posted to web with permission from Robert Robbins... Although this ensemble previously recorded under the name Audubon Jazz Explosion (the moniker derived from the northwestern Philadelphia suburb which was the residence of one of the band’s then-leaders), the Cole Porter classic (one of two on this CD) lends its title very aptly, as the recording displays the breadth of the ensemble’s repertoire. From the library of the late, lamented Tonight Show Band comes Jeff Tyzik’s update of “In the Mood” (including a bridge played by Artie Shaw in an early aircheck but later cut by Glenn Miller in his hit version), plus the Tommy Newsom arrangement of Hoagy Carmichael’s “Georgia on My Mind” (here erroneously credited to the late Ray Charles), in which trumpeter Jay Webb nails Doc Severinsen’s solo. Female singer Karen Wilhelm combines the smoky alto of Diana Krall with the torchy theatricality of Patti LuPone on the title track, the Gershwins’ “S’Wonderful”, and the Mexican “Perhaps, Perhaps, Perhaps”, while male vocalist Keith Spencer brings his polished tenor to two Frank Sinatra stalwarts (“Fly Me to the Moon” and “I’ve Got You Under My Skin”) and the Dean Martin hit “Ain’t That a Kick in the Head”. Altoist Vince Lardear, who has also been featured with Philly’s Phil Giordano Jazz Orchestra, proves the band’s premier jazzman on the Jule Styne/Sammy Cahn “Time After Time”, and the co-leader Bob Wagner (his partner is guitarist and co-founder Mike DiFebbo) brings his trumpet to center stage on “Take the ‘A’ Train”. Expertly recorded by keyboardist Tom Petroski in the auditorium of Plymouth/Whitemarsh High School (where BBI’s Mike Vax and his Stan Kenton alumni band performed some five years ago), Night and Day adds one more outstanding big band to the recorded output from the Philadelphia area. Robert J. Robbins USA Secretary Big Bands International