The Matthew Herbert Big Band

If you're a dance music fan, it might be time to dig out those swing get-ups again: Big-band jazz is coming back with a vengeance. From Chicago, the U.S. capital of house music, for instance, artists like Greens Keepers and Mike Dixon are pioneering a subgenre called "swing house," infusing electronic dance music with hot horn licks and cool drum shuffling. And from across the Atlantic, Matthew Herbert, one of electronica's most iconoclastic figures, has gone one further, releasing an album of original big-band jazz, carefully tweaked using digital post-processing.

Related Content

• Anthony Bourdain Whines, Baby Dolphins are Adorable, and the World's Best Spaghetti Sauce!
  October 21, 2011
• Odd Bird
  June 16, 2010
• Gypsy Jazz, Masked Punks, Crafts and Beers, Doom Metal, Grease, and Free World Music
  June 18, 2010
• Jamie Lidell Visits SF in Sept.
  August 6, 2008
• Jamie Lidell sings from the heart, riffs on the absurd
  May 21, 2008

More About

• Matthew Herbert
• Jamie Lidell
• Mike Dixon
• Big Band and Swing
• Electronic Music

Like this Story?

Sign up for the Music Newsletter: Keep your thumb on the local music scene with music features, additional online music listings and show picks. We'll also send special ticket offers and music promotions available only to our Music Newsletter subscribers.

Privacy Policy Cancel Continue

Herbert -- aka Radio Boy and Doctor Rockit -- has long been a leader of electronica's royal opposition, attacking the laziness inherent in most sample-based music and pushing himself to try new techniques. He even penned a manifesto in the style of film pioneers Dogme 95, a "Personal Contract for the Composition of Music," to keep himself on his toes. (Point 3 is key: "The sampling of other people's music is strictly forbidden.") Goodbye Swingtime is his most ambitious work to date. Written according to the terms of the decree, the album presents 10 sweeping compositions scored for the traditional setup of four trumpets, four trombones, four saxophones, piano, stand-up bass, and drums. The record is hardly traditionalist, though. The vocals -- courtesy of singers like Arto Lindsay, Super_Collider's Jamie Lidell, and Herbert's frequent collaborator Dani Siciliano -- reflect the performers' distinctive styles. Lidell's anachronistic contribution, for instance, lends a weepy R&B croon to a tune otherwise solidly grounded in the '40s.

What, exactly, makes this "electronic music"? The question might never even occur to some listeners, so subtle is Herbert's touch. On "Misprints," what sounds at first like a particularly agitated, staccato piano line turns out to be a stuttering sample; the rest of the combo plays on as though unaware of the robot on the bandstand. On tunes like "Fiction" and "The Many and the Few," however, Herbert has broken down the original arrangement and built it back up in rickety, pixel-shaped building blocks, blurring the line between the original and the remix. What makes Goodbye Swingtime so compelling is how gracefully it sidesteps old oppositions between "programmed" and "played." After all, it don't mean a thing if it ain't got that swing; and with this collection of lush, melodic numbers, Herbert proves he's got it.