Privately pressed to LP in 1978 under the name J. Jasmine and made especially for the Ann Arbor Film Festival, with artistic collaboration from the festival’s founder and Once Group artist, George Manupelli, My New Music is the debut album by Jacqueline Humbert and David Rosenboom. Featuring a cast of Mills College personalities like David Behrman and Sam Ashley on backup vocal duties, this song cycle is at every turn boundary-pushing and gender-busting, yet still hilarious, sweet, and genuine, all delivered in a post-genre, art-song, cabaret musical style that happens to boast some serious avant-garde chops, courtesy of Rosenboom. If it weren’t so spot on, you’d swear it was a guilty pleasure. As J. Jasmine writes, My New Music is a collection of personal stories and private desires, exposed, articulated, performed and dedicated to the hope that one person's fantasies can contribute to another person's freedom. Get lost in J. Jasmine’s world for a little long while, and be free.
Cut at Dubplates & Mastering
Bonus Track, "Oasis in the Air"
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"Followers of David Rosenboom's work have learnt to expect the unexpected. In February 1977 he recorded On Being Invisible, a mindstretching encounter between brain signals, touch sensors, hybrid-computerwave analysis and sound synthesis. The following year, on Collaboration In Performance, he teamed up with electronic music pioneer Donald Buchla to explore algorithmic methods for real-time composition. In between, in cahoots with singer Jacqueline Humbert, Rosenboom crafted the song cycle J Jasmine: My New Music. In 1978 it was presented at the Ann Arbor Film Festival and then issued on privately pressed vinyl.
Soon afterwards graphic artist and set designer Humbert took on a key vocal role in Robert Ashley’s operas. Her leanings in the guise of J Jasmine were more towards the melodic melodrama and tenacious hooks of barroom ballads and Off-Broadway show tunes. Part parody, part unapologetic indulgence, her performance is funny and smart. Her lyrics give a series of sly twists to the regular fare of erotic desire, tangled relationships and troubled lives. And while Humbert morphs into a Linda Ronstadt for the avant garde, Rosenboom - playing viola, trumpet and electronic keyboard as well as piano - serves up robust accompaniment peppered with devices that test the elasticity of the song forms." - Julian Cowley, Wire Magazine (May 2018)