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Volume 2: Blame

by Nubdug Ensemble

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1.
Blues 02:48
My dearest sir, I write to you this message A matter of some great concern My empty handed messenger has arrived, bearing no ingots And he told me thus upon return: You told him, told him with such contempt "Ingots, fine copper ingots If you want them now, there they are I say Take them, why don't you take them? If you do not want them, then just go away" How could you treat me with such contempt? How could you treat me so badly for that trifling matter of silver Withhold my money and try to pass off such poor quality ingots I will not accept ingots from you sir, one who treats me with contempt Refund my money now and treat me with respect! How dare you treat me with such contempt!
2.
Bluff 01:51
Poom poom poom poom Churn of the piston in the groove Mechanical phenomenon Every moment spent and gone The silence is never too soon Ping ping ping ping Cog wheel heats, tocsin starts to ring Conduction and dynamic flow Ratio of specific temperature The entropy too near, too soon
3.
Bloom 01:36
4.
Bleep 02:53
In a field on its side in Pennsylvania Economy economy Pennsylvania In a field on its side Two ping pong eyes Formaldehyde, formaldehyde Who is missing, who is not missed, who could this one be Who could this one be I don't know, I don't know Who is missing, who could this one be
5.
Blood 02:21
6.
Blaze 03:50
7.
Block 04:52
No, does not compute Particle, wave Seems to me that the question is moot A spinning coin... Two or more variables change the score Only real when it's observed Quantum minotaur

about

The highly dynamic second release by Nubdug Ensemble, the new recording venture from Vacuum Tree Head co-founder Jason Berry! Thrill to some bold new directions in music... is it prog rock? Is it funky blues? Modal jazz? Sure, all of that and more, more, more!

"Every couple of years, Bay area keyboardist Jason Berry sends us discs from his ongoing band called Vacuum Tree Head. Sometimes I recognize the revolving personnel like Ron Anderson (from the Molecules & Pak) or Gino Robair (from the Splatter Trio). Many of their discs are short (around 20 minutes) and unpredictable in direction. We just got two new discs from Mr. Berry last week with similar personnel although the band name here is the Nudbug Ensemble. Hmmmmm. Again, I recognize a few of the musicians here: Steve Adams (from Rova), Myles Boisen (from the Splatter Trio) and G Calvin Weston (Philly based drum great who has worked with Ornette Coleman, Blood Ulmer & Marc Ribot).
Four of the seven songs here have vocals by Jill Rogers. The opening song is called “Blues” and it has a melody which is similar to the blues standard, “Sitting On Top of the World” (covered by Cream & the Dead). The lyrics sound like they were written by someone from an older (Renaissance?) era. A tongue-in cheek blues?!? Rova saxist Steve Adams takes a swell, sort of inside solo. The music on “Bluff” is rather progish without any showing off, the lyrics are odd yet sound like they were written by a computer program. “Bloom” is a cool, Zappa-like instrumental which doesn’t take itself too seriously. “Bleep” was co-written by keyboardist Amanda Chaudhary, who also has a new disc with shared personnel to this disc and who favors seventies sounding keyboards like electric piano & ancient synths. “Blood” is another nifty prog-like song, rather charming in a Canterburyesque way. “Blaze” features a strong trio of two electric keyboards with Calvin Weston’s drumming interspersed between several righteous synth sections. What year was this recorded? Mid-seventies, before fusion & prog turned sour & predictable? The last piece here, “Block”, has a rather funky bass groove at the center with some great greasy guitar and funky horns. If your sense of humor isn’t buried too deep your sarcastic soul, then you should add some of this silly but cool medicine to your diet. Ya dig?!?"
- Bruce Gallanter, Downtown Music Gallery

"A sweet piquant of subliminal pneu(ro)ma(n)tic space-lounge orchestral funk.
Strange machines lurch and sway in a hazy Beat cafe on the forty-second deck of a Moon buoy orbiting Ganymede. An eight-armed Sentient Hologram™ of F. V. Zappa conducts a Stravinski concerto accompanied by Mavis Diles (from the Mancini quadrant) on Polytübophon to a diverse pan-galactic audience bathed in pastel gradients. Several notable figures from the Alien Underground Movement are in attendance, they stand akimbo and consider fractal artifice koans while anthropomorphic felines in sunglasses smoke long cigarettes, awaiting the next Celestial Crawler from the Gamelan sector and the shipment of replicant Mask-trout in its serpentine bowels.
The second outing from Nudbug Ensemble is a strange and up-beat exploration of polyrhythmic extraliminal psychedelia in many various time signatures and modalities. Strange and wildly creative, the vocals of Jill Rogers elevate the bouncing funk and careening jazz foundation of Jason Berry’s (Vacuum Tree Head) latest compositions. Of special interest to this miserable volunteer is the visual art associated with the project rendered by Berry who has continued to explore his bizarre and oblique themes to an increasingly compelling effect."
- WHNGR, KFJC 89.7 FM

"Born from the ashes of Vacuum Tree Head, Nubdug Ensemble is Jason Berry's outlet for all of his creative tendencies. Rather than forming multiple projects to express his vast and varied musical taste he has decided to combine all of them into one. The album draws influence from all over the musical spectrum including modal jazz, blues, funk and progressive rock.
As strange and unusual s this album is, the project's previous album Volume One: The Machines of Zeno was a far more sporadic display of genre blending. In fact the previous album had no two songs that sounded exactly the same and worked in even more styles and sounds. Personally, I feel like this release is a far more focused and refined offering. While maintaining its varied and unpredictable nature it feels like less of a scatter shot and more of an explorative journey. Just as with the last release the vocals on the album we have female led vocals, this time courtesy of Jill Rogers. They switch between being somewhat relaxed and soothing and dramatic and energetic. This shift accompanies the music which really is modal in nature, an aspect that comes from the project's jazz roots.
Accompanying those vocals are an entire ensemble (as the project name suggests) of instruments including various saxophones, flute, keyboards, electric guitar and lap steel guitar, trumpet, synthesizers, bass guitar, fretless bass, electric upright bass, chapman stick, drums, and other various forms of percussion. I list these instruments just to give you an idea of the scale of the song writing and composing involved on the release.
Keep in mind that anyone can throw a lot of instruments together into a blender and churn out an "artsy" album, but it takes true talent to create something that feels truly experimental but remains cohesive. The project's ability to weave together so many elements with the potential to clash with each other and produce something that doesn't feel fractured or disjointed is possibly their greatest strength (alongside their musical proficiency of course)."
- James Sweetlove, cavedwellermusic.net

An excellent review by Simone Rossetti, at Roots! in Italy, may be seen here www.rootsmusic.it/nubdug-ensemble-volume-2-blame/
(The review is in Italian, there is an English translation if you scroll down to the end).

"Zuletzt hat der Programmierer, Keyboarder & Comiczeichner Jason Berry mit “Rhizomi­que” das Kapitel Vacuum Tree Head zu-, aber mit dem NUBDUG ENSEMBLE und “Volume One: The Machines of Zeno” sogleich ein neues aufgeschlagen. In unvermindert verblüf­fender Weirdness und derart allergisch gegen Redundanz, dass 20 Min. ausreichen, um einem den Kopf zu verdrehen. So auch bei Volume 2: Blame(Pest Colors Music 42.NE2), mit der bewährten Crew aus dem Rova-Saxer Steve Adams, Myles Boisen, Mastermind von Guerrilla Recording und Musical Director des Orchestra Nostalgico, an E- und Lap Steel Guitar, Amanda Chaudhary an Keys, Synthi & Electronics, Chris Grady, wie bei Grassy Knoll und den Residents, an Trompete, Brett Warren an Bässen und, kaum zu glauben, Calvin Weston in seiner Prime-Lounge-Hyper-Funkiness an den Drums. Mit 'Blues', 'Bluff', 'Bloom', 'Bleep' und 'Blood', und dennoch keiner Zeit für Blablabla, obwohl das chaudharyesk abgedrehte 'Blaze' (3:50) und 'Block' (4:52) diesmal in hemmungsloses Long-Track-Format ausschweifen. Die Lyrics waren eh noch nie von irgend einer Ratio fassbar, und so singt Jill Rogers einen indignierten Beschwerdebrief an einen 'unver­schämten' Kunden, der sich keine Bronzebarren als Silber hat andrehen lassen. Zwischen Poom Poom Poom und Ping Ping Ping, gibt es allenfalls die ratio of specific temperature / the entropy too near, too soon. Wer kann sich einen Reim machen auf In a field on its side in Pennsylvania / Economy economy in Pennsylvania / In a field on its side, two ping pong eyes / Formaldehyde, formaldehyde...? Und wo sonst springt wie Teilchen oder Welle ein Quantum Minotaur mal so, mal so? Arrangiert in zickiger Progrock-Brainiac-meets-Dr.-Jazz-Lakonie und wieder einer Westcoast-Sophistication am Gegenpool zum Disney-Main­stream und Silicon-Valley-Zynismus. Mit Rogers' kessem Zünglein als Cocktail-Kirsche für einen spritzigen Mix aus Brian Woodbury, Motor Totemist Guild und und und, der zuletzt mit funky pushendem Bass, dennoch ganz schwebendem Gesang und Adams als Tenor­saxhydra nochmal jazzig nubdug-t."
-Rigobert Dittman, Bad Alchemy Magazine

"The second Nubdug Ensemble release is another 20-minute prog-jazz-pop nugget made up of accessible songs with knotty time signatures. Opener “Blues” has the longest lyric sheet and seems hookier than the other songs, but the lyrics are generally poetic, industrious, and a little philosophical. Amanda Chaudhary’s magic touch is felt on the synth-heavy “Bleep” and “Blaze”. “Blaze” is especially mind-blowing, progressing from an interstellar synth odyssey to a playful jazz-rock fantasia. “Block” shows that the group can put aside tricky time signatures and just lay down a heavy dance groove, with shuffling drums and gargantuan funk bass setting the pace for freewheeling sax solos by Steve Adams of Rova."
-theanswerisinthebeat.net (WCBN 88.3 FM Ann Arbor, MI)

"...From time to time, I like to throw in a curve ball for you lovely lot. Because everyone has their definition of what prog is, was, should be. But, for me, it's purely music without boundaries... Now, if you go back to the 70s, with all the prog greats like Yes, Genesis, Gentle Giant, ELP, yada yada yada, they were all doing things that hadn't been done before. So it was all very fresh, very new, very experimental.
But, over the years, it's got harder to be different, to be experimental... Recently, I was contacted by a guy called Jason Berry, and he very kindly sent me over one of his CDs. It's called Nubdug Ensemble, Volume 2: Blame... and, for me, this is what prog's all about, pushing the boundaries. So you may not think it's what prog is to you, but this is what prog is to ME. A band pushing the boundaries... Very much from the Frank Zappa school of prog."
-Steve Gould, The Lost Art mmhradio.co.uk

"It seems it’s always right before the end of the year when new surprises from Nubdug Ensemble tend to appear, and December 2021 was certainly no different in that respect. Volume 2: Blame is their latest installment of masterful and witty tuneage, not to mention concise and unpredictable, that the group had been working on since February, possibly longer. The album contains seven tracks, each title beginning with a word beginning with “Bl...” roughly split between instrumentals and vocal tunes, the latter pieces featuring new singer Jill Rogers. The group’s leader, conductor and primary composer is Jason Berry, who also provides keyboards, electronics and additional instrumentation, and joining him again following the first album Volume One: The Machines of Zeno are keyboardist / synthesist Amanda Chaudhary, bassist Brett Warren, drummer G. Calvin Weston, and guitarist Myles Boisen. Steve Adams (woodwinds) returns from the final Vacuum Tree Head album Rhizomique, and they are all joined by trumpeter Chris Grady. The set launches with “Blues,” a powerfully percolating jazz tune with hints of Zappa and lyrics concerning the purchase of silver ingots, and Adams’ multi-layered sax solo is definitely the icing on the cake, and it all goes down in under three minutes! “Bluff” offers an even busier paced endeavor with Weston and Boisen at the helm, again with a beautifully arranged horn section and cryptic lyrics delivered by Rogers. A brilliant instrumental composition, “Bloom” is at once heavy and bright, with essential arrangements for every member of the band, all in just over a minute and a half. The keyboard driven “Bleep” thrusts forward with an intense and busy groove, punctuated by the guitar and horn section, and lyrics seemingly strange as ever, no comparison to anything. A bit reminiscent of mid-period Soft Machine, “Blood” has the whole instrumental septet firing on all cylinders. Opening a bit like a group improvisation. “Blaze” makes interesting and effective use of electronics, the horns joining later in a tight instrumental arrangement. “Block” is the groove driven funk piece bolstered by popping fretless bass that closes the album, the lyrics only accounting for about thirty seconds of its five minutes, it’s a showcase for tight band arrangements throughout. While the total playing time of Volume 2: Blame only amounts to something just shy of twenty minutes, not a second is wasted anywhere, rife with superb and precise arrangements, making it seem much longer than it really is."
-Peter Thelen, expose.org


"It’s only been a year since Jason Berry, formerly of Vacuum Tree Head of which he was a founder, introduced his new band Nubdug Ensemble. While he still retained the progressive and avantgarde tendencies of that band, he decidedly went into a more jazz oriented direction, with lots of wind instruments to emphasise that point.
Coming exactly one year after the debut, Volume 2: Blame is yet another short record, with seven tracks that just make it to twenty minutes. Just like the album title, the songs are also all five letter words starting with "bl". The opener Blues turns out to be a blues song, with added elements of funk and soul, which doesn’t surprise considering the line-up: Steve Adams plays all kinds of saxophones and flutes, guitarist Myles Boisen played in the past with Tom Waits and John Zorn, trumpetist Chris Grady performed with The Residents, G. Calvin Weston can even claim to have drummed for Ornette Coleman and Lounge Lizards. Vocalist Jill Rogers has a distinctive voice with a sharp intonation that you won’t forget anytime soon. Keyboard player Amanda Chaudhary, who also recently released an album under her own name, offers her distinguished skills, just like bass player Brett Waren. And then there is Jason Barry, composer, keyboard player, electronics and programming. Bluff is a shorter track with a more direct approach. It maybe doesn’t have the depth of the opener, but it’s still impressive how the song delivers in just under two minutes. Bloom is even shorter, instrumental and comes with an avantgarde jazz touch. Bleep surprises with manic vocals and an authentic gangster movie atmosphere. Blood is another short instrumental which sounds like a funky jazz approach to the English Canterbury sound of the seventies. Blaze is at nearly four minutes one of the record’s longest tracks, but to be fair, its first half is mostly electronic noises that are nonetheless quite entertaining. The album ends with Block, at five minutes the magnum opus of this short album. It sums up everything that preceded.
Just like last time, Nubdug Ensemble come up with a fun hodgepodge of jazz, blues, funk, avantgarde and progressive rock. Often too many people involved spoil the final result, but this eight-piece outfit truly works like a tight ensemble, which is a testimony to the decades long experience of Jason Berry and his musicians. If you like jazz rock, fun music like Mr. Bungle and the streetwise ruminations of a Tom Waits or the Lounge Lizards, this spicy cocktail will hit you in the head and your guts alike."
-Pascal Thiel, disagreement.net (Luxembourg)

"Another Holiday Season has passed us by, and another Nubdug Ensemble disc has arrived! Leader Jason Berry continues his musical quest towards tightly constructed, thoughtful, swinging American Music! Volume 2: Blame brings these elements together in fresh ways, and Disaster Amnesiac has pretty well marveled at it since it showed up in my mailbox. Berry clearly didn't rest on his laurels after 2020's The Machines of Zeno. Not that I can hear anyway. Recalling Varese's quote, "the modern composer refuses to die", Jason's music lives in all kinds of exciting ways.
Blame starts off with two vocal tracks, Blues and Bluff. On the former, bassist Brett Warren blazes the path with drummer G Calvin Weston; his flows really move the listener into the song. When Steve Adams and Chris Grady supply the horn harmonies, one can hear the astuteness of Berry's writing, all juicy and jumpin' in ways that are pleasing. Jill Rogers has a powerful alto voice that delivers the lyrics, seemingly about shady financial transactions, with clear articulation. More Jazz than Blues, really, but it works. On the latter, Weston's big tom tom sounds push Amanda Chaudhary's keyboard lines, Rogers hits a bit higher note, and the horns again showcase a sophistication in Berry's writing. Disaster Amnesiac can't stress this enough: Jason Berry writes charts that are MORE THAN GOOD. Look out Gil, stay sharp Carla, you've got some competition.
Again with those horns on Bloom! Dear reader, are you picking up on a theme here? Clocking in at under two minutes, this song has had Disaster Amnesiac pondering, and then more deeply appreciating, the ways in which Jason Berry can compact a ton of musical information into a tiny bit of time, and not lose any interest. As I've listened, I've thought about an interview with Black Flag from the early 1980's when they defended their songs' brevity as having all of the elements of a "normal" song, but just compressed with energy. It seems to me that the same applies to much of Berry's writing. He gets so many elements packed in, but doesn't lose the idea's thread.
Moving on, Bleep gets a righteous push from Chaudhary, Weston, and Warren before Jason introduces noir soundtrack elements and the Adams/Grady team again evokes the classic Jones/Lewis wing of Big Band awesomeness. Rogers' clipped delivery breathes life into the surreal lyrics. What mystery is being addressed here? And how does this film for the ears give so much in its 2:54 duration?
The next two cuts, Blood, followed by Blaze, return to the purely instrumental zone. Blood pumps with lovely flute from Adams over a casual ostinato from Chaudhary, with the solid beats of Weston, then cracks into bright trumpet sounds from Grady. It roils and pops throughout its duration, leading into futuristic synthesizer and drum pairings on Blaze. Much like their work together on Chaudhary's Meow Meow Band disc, Amanda and Grant get all sorts of bizarre going within their interaction. Weston's double bass riffing is great, and Chaudhary pulls out the battery of gizmo-delic whatzis, then, suddenly, you're within a straight 4/4 post-Bop rampage, with the cutting guitar of Myles Boisen leading the charge. Great solo there, Myles! Bet you thought Disaster Amnesiac hadn't noticed you!
Myles shines again on album closer Block. This one's got a street Funk swagger that pulls from the Harmelodic side, made legit obviously from Ornette's star student of such, Weston. Surely Coleman would've smiled at those computer game lyrics, too. Adams is again hella sharp, Warren's bumpin' bass shakes the low end, and you're going to feel pretty happy yourself as well, unless rhythm isn't your bag. Can this dance spark the revolution? What would this revolution entail? Would it be particle or wave? Choose wisely, and be sure to move that ass. It's good for the heart.
As Disaster Amnesiac sits here, it's 322 days until Christmas. That's plenty of time in which to familiarize myself and re-visit Nubdug Ensemble's Volume 2: Blame. Rest assured, that will happen. Just like I said last year, anyone desiring tightly focused, well constructed Fusion music should find a way to connect with Jason Berry and then look forward to his Yuletide greetings. He's putting them out there, are you going to receive or what?"
-Mark Pino, disasteramnesiac.blogspot.com

"The Nubdug Ensemble came out of the blue for me when we first received some of their work for review at Vital Weekly. I learned that this ensemble is led by Jason Berry, who worked for decades with his companion Michael de la Cuesta under the moniker of Vacuum Tree Head. In 2019 their collaboration ended, and Jason Berry started his Nubdug Ensemble. Like the surprising debut album, this new album is again a mini-album of various very profiled and well-defined compositions delivered in a well-crafted and spirited performance...
The album contains seven compositions, all carrying one-word titles starting with letters ‘Bl..’ Together, they make a lovely eclectic ride, reminding me of Fibonaccis (‘Bleep’) and a lot, lot more. Aspects of blues, jazz, prog rock, avant-pop and -rock pass by in this kaleidoscopic journey. ‘Blaze’ starts with strange sounds and movements on synth before a jazzy interplay takes over. ‘Block’ is a funky tune with great bass played by Warren. They make intelligent use of the idiomatic material and construct catchy and accessible tunes, with much attention for instrumentation and arrangements."
-Dolf Mulder, vitalweekly.net (Netherlands)

"Nubdug Ensemble is the brainchild of Jason Berry. Last year, this flamboyant company released their first volume The Machines Of Zero, a collection of randomly-fired, short compositions manoeuvring boundlessly in a matrix of free-jazz, avant-garde, experimentation and prog (?). Volume 2: Blame expands and bends this surrealistically-shaped universe further, with an eclectic array of structural ingenuity, weird attractiveness, lyrical confusion and funky fab-ness.
Led by the letter B and with each musician a master of their trade, the music boasts through a multitude of alternate realities, calling upon ingeniously-driven, jazzy avant-garde with uplifting psychedelics in Bluff, and handing out a letter of complaint in the Rhythm and Blues-inspired frolics of Blues. Shortly drifting on intoxicating sax, the odd-signatures and fruitful strangeness of Bloom then adds a subtle, swinging swagger, persuading one to take the "Red" pill of the propulsive psychedelics in Bleep.
Crashing on Gordian-knotted structures and driving bass, this inventive composition accelerates in peculiar Zappa-formation with triumphant trumpets and marvelling guitar gymnastics. After this the melodies slowly permeate the nerve system in Blood.
Revving-up with bashing drums that settle in atmospheric galaxies of experimental drift, the song's swing-jazz extravaganza hurdles on with lush piano, surprising breaks, poly-rhythms and asymmetric King Crimson guitars; all the while spurred on by unbridled bass.
Finally, it is Block's smooth, enticing up-funk jazz that blocks every prog-nerve in its path with infectiously beating Parliament-Funkadelic inhibitors.
Less quirky and more coherent than Volume 1 this turns out to be another bewildering musical ride that on occasion strikes the prog-imagination. Interesting to "c" what lies in store next."
-Jan Buddenberg, dprp.net (Dutch Progressive Rock Page, Netherlands)


A great, well-written by Lori Stratton on Nubdug Ensemble and Amanda Chaudhary can be seen here, please do check it out! strattonsetlist.com/2022/07/15/nubdug-ensemble-jason-berry-amanda-chaudhary-albums/

"...Here are Nubdug Ensemble with Volume 2: Blame (PEST COLORS MUSIC 42.NE2), seven short songs and tunes played by Berry with his fellow Bay Area jazz-rock geniuses, including Steve Adams (from ROVA saxophone quartet), Myles Boisen, Chris Gray, Amanda Chaudhary, Brett Warren and G Calvin Weston. Singer Jill Rogers is showcased on four songs with their semi-nonsensical lyrics making great use of multisyllabic words – it’s not often we hear the word ‘formaldehyde’ repeated in a song – and alluding, on ‘Bluff’ to such unexpected material as “ratio of specific temperature”. As before, what I enjoy here is the taut and concise arrangements of a very original form of poppy jazz-rock, clearly executed with much intelligence and sophistication, many complex Zappa-like melodies on keyboards, and difficult time signatures and cross-rhythms performed with ease, not to mention the luscious chord charts. I’m always worried that a listener might mistake all this for a certain kind of anonymous West Coast slickness, but there’s real heart, enthusiasm, and passion at work here. The playful science-fiction comic strip illustrations are also by Berry. A delight."
- Ed Pinsent, thesoundprojector.com

"Song titles that all start with BL, all titles contain five characters, and the title matches the naming convention of the songs. So, what in the world do we have here? I can guarantee a unique experience when you put this into your player, it’s Jazzy, noisy, funky, intricate, and at times catchy. And this all happens in a short 21 minutes.
Musically there are moments that blow me away. I am finding myself more attracted to varied instrumentation and how much a horn or vibes can add an arrangement. The Nubdug Ensemble has a lot of options to choose from, Saxophones, Flute, Trumpet, vibes (that might be done on keyboards) and they use it to great effect. Artsy Zappa-esque influences are scattered about and bring a smile to my face."
- Eric Porter, seaoftranquility.org

credits

released December 15, 2021

Steve Adams - soprano, tenor, and baritone saxophones, flute
Jason Berry - programming, keyboards, electronic sounds, etc.
Myles Boisen - electric guitar and lap steel guitar
Amanda Chaudhary - keyboards, synthesizers, and electronics
Chris Grady - trumpet
Jill Rogers - voice
Brett Warren - bass guitar, fretless bass, electric upright bass, chapman stick
G Calvin Weston - drums and percussion

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Nubdug Ensemble San Francisco, California

Nubdug Ensemble is the "band name and brand name" of Jason Berry, co-founder of the band Vacuum Tree Head.

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