Mumbo Gumbo 7 Ruby Records by Scott Snidow

Often we have heard it said that if we could package some element of existence and sell it, we could make a fortune. How much truer then, would that be for the person who could find a way to package a party and sell it? Well, Mumbo Gumbo is the test of that theory. I had no idea what I would find as I pulled the shrink-wrap off of their newest CD 7. What I did find was a party in a jewel case, the musical makings of the next fiesta or carnival. My discerning critic's ear was certain that it could place the origins of the band from the very first note of the CD. This band was, no doubt, from none other than New Orleans. Digging further for supporting evidence and artists bios, imagine the shock I felt when I discovered that they are in fact from San Francisco Bay Area. That would be California. Whipping out my trusty Guide to American History for Journalists and Other Know It Alls, I looked for anything that I could find about the movement of the Acadiens to California, and finding none, decided that somewhere somebody must be in error. What I was hearing in this first track was no doubt zydeco. Well performed zydeco at that. And everyone knows that zydeco comes from the bayou areas of Louisiana, not the Bay Area of California. Perplexed, I listened further. The next track contained elements of jazz, with a soulful bass line. The third track was pure rhythm and blues, not unlike the stuff that Marcia Ball is performing. This band just had to be from New Orleans. However, the production credits at last convinced me that it was I that was in error. The recording of 7 took place during March and April of this year in Sacramento. Mumbo Gumbo is seven extremely talented musicians, five male and two female. The ladies, Tracy Walton and Chris Webster, do the majority of vocals as well as write the lion's share of the songs. Tracy also plays rhythm guitar while Chris displays her talents on such asundry items as washboard, pennywhistle, alto sax and acoustic guitar. The gentlemen that round out the rest of the band are Jon Wood on guitar, Reggy Marks on tenor and soprano saxophones and flute, the multi-talented Steve Stizzo on accordion, banjo, trumpet and Hammond B-3, and one of the more capable rhythm sections that I have heard in a long while, Lynn Michael Palmer on bass and Rick Lotter on drums and other percussion. Lotter can do some damn fine second line sounding percussion, which you can hear on 7, adding yet further to the argument that this is a misplaced New Orleans band. Obviously, there is a heavy New Orleans flavor to this record. However, further listening revealed a multi-cultural, global influence. There are elements of Tex-Mex, West Indian, and African music. There is some rock, some folksy sounding ballads, and some killer rhythm and blues. In short, their sound can best be defined as a musical gumbo, combining many global elements into one auditory stew. Adding the seasoning to this auditory gumbo is some fantastically understated instrumental parts, beautiful harmonies, and some just plain superb melodies. Listening to 7 is not unlike taking a stroll through the French Quarter during Carnival, passing by the bars and clubs and hearing a different style of music pouring out of each one, or passing the various restaurants with their various smells spilling out onto the street. Each track is an independent musical study, yet somehow, like the blend of smells and music in the Quarter, it all goes together perfectly, almost expectedly. One quick perusal of the first five tracks demonstrates this well; 7 opens with a zydeco number entitled "Long Way Home," which is followed by saxophone driven "Little Moon," the humorous and bluesy "Fizz" follows, leading into the soulful "Little Birds," topped off by the Caribbean sounding "Don't Cry." This is only the first third of the album. Lyrically Mumbo Gumbo, especially Walton and Webster, have shown that they can turn quite the colorful, and often humorous, phrase. It was hard to choose any one or two examples to cite, as the album is filled with exquisite illustrations that would serve well as a Songwriting 101. There is the bawdy "Julio," which tells the story of a playful holiday tryst. The humorous "Take A Number" tackles the issue of a woman faced with yet another suitor. "Superman Blue" confronts us with many of our cultural icons, while the beautiful "Bells in the Harbor" presents the listener with a coming of age tale. Or, for pure humor value, "Fizz" makes use of the cliché: You always get my attention, when you open up that pretty mouth. So many pretty words float like pretty birds, But I'm afraid they're all heading south. Tell me, is there any shimmer to your valentine? Or are you all sparkle, and no shine? 7 is one of those albums, much like the band Mumbo Gumbo itself, that no matter how hard you try not to, you are bound to like. You can start out with your mind dead set against it, and try though you may to stay that way, they will win you over eventually. After all, it is really hard to not absolutely love the band that found a way to package a party in a box. With the holidays and then carnival season just around the corner, get on over to www.mumbogumbo.com to get all the musical makings for your next party, whether it be for one or one hundred. While you are there you can learn all about this talented band, and even learn why they consider themselves a musical enigma.   You can contact Scott Snidow at: scott-at-rockzilla.net

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