Anson Funderburgh & Mark Hummel Concert Review
Opening was Ventura’s best, the Ray Jaurique Trio, performing sweet soul blues as described on their website (RayJaurique.com). Typically, musical trios are thought of as each member competing for supremacy of ability on one’s instrument. Here, each member contributes to the greater whole as a song board. They understand their primary mission of getting the crowd onto the dance floor, done in great fashion. Good mixture of original material with a splash of standards.
The latest iteration of Mark Hummel’s touring show involves a partnership with grand guitar hipster Anson Funderburgh. They’ve worked together many times, and some of their recorded work is on the albums Golden State Blues and Golden State Lone Star Blues Revue.
Funderburgh, although is known for being a frontman, here he is a frontline sideman. His solo on Little Walter’s “Who” played right into Hummel's solo fitting like a glove. Loveable were Hummel’s clear and melodic vocals.
Blues music has a long history of using idioms, icons, and motifs. However, blues reflects current society trends and norms. Hummel’s “Ghosted” uses its high-tech definition to inflect his frustration of no replies from emails and texts he sends to promoters and club owners.
“Jackknifed” co-written with R.W. Grigsby, summarizes the tough life of a traveling musician, from club owners refusing to pay for gigs, staying in poor accommodations, and getting run off the road by crazy drivers. (For details, check out his book, Big Road Blues: 12 Bars on I-80, an eye-opener on the UNglamorous life of touring). However, Hummel told the audience despite the obstacles, including the pandemic, what keeps him touring is, "We're playing for you."
Bob Welsh did double duty carrying out on guitar and keyboards. He gave a magical solo on “Heading for a Heartache,” and his playing underscored Hummel's lyrics. A dedication to Nick Gravenites’ recent passing was "Double Trouble" which he wrote and produced for Otis Rush. Funderburgh captured Gravenites’ and Rush's spirits such that you can feel them calling. Additional capturing came courtesy of J.R. Roy on upright bass and Ed Mann (whose credits include working as a Mighty Flyer for Rod Piazza) on drums.
Songs played were “Stop Messin' Around,” written by Peter Green of Fleetwood Mac where Hummel gave the song a hard kick, and Welsh's solo on keyboards was as hard edged as Hummel’s. Welsh produced Elvin Bishop’s “What the Hell” and Hummel and Funderburgh added it to their set list. As a result, Welsh played lead and solos, giving it a working man's treatment. Then Anson gave a solo with his native Texas twang.
Welsh and Funderburgh led the band on the ever familiar “Sidetracked” during a short break for Hummel. Loved Welsh's solo with his flair coupled with the song's spirit. Funderburgh played blood, sweat, and tears into his solo before bringing it back to the main theme.
Although written by Hummel and the late Carroll Peery 35 years ago, “Mr. Two/Thirds,” is more appropriate today, pointing out people's selfish ways and rudeness.
Lovely is “Broken Heart” where Funderburgh gave a blistering start, then Welsh nailing with a glass full of cocktail blues on piano. Anson showed a red faced expression, baring his soul. Welsh returned a totally focused poignant solo, partly barrelhouse. Hummel’s harmonica expressed the sadness and pain of a lonely man.
Finishing the evening was drummer Rena Beavers and Ray Jaurique sitting in on the last number, a T-Bone Walker song. Here, Jaurique played guitar in a different light, kicking butt while standing alongside Anson. Welsh poured it on, striking hard but was thought provoking. Funderburgh gave a succinctly and efficient condensed solo, and Hummel bought it home.
Why Mark Hummel is highly regarded is that his ability to work with high level musicians in a complementary way while maintaining his style. Now, wouldn’t be nice for both gentlemen to record an album again as they last recorded in 2016.
