Monika Herzig’s Sheroes: “All In Good Time” (2024) CD Review

Next week we should be celebrating the inauguration of this country’s first female president (actually, that should have happened in 2017). But half of this population would rather have a convicted felon in the White House than a woman. We are a sick, sick nation. One area, however, where women are celebrated is music. Keyboardist and composer Monika Herzig put together a band called Sheroes that is made up entirely of fantastic female musicians. The group’s latest release, All In Good Time, features mostly original material. Women wrote the songs; women are playing the instruments. The band is made up of Monika Herzig on piano and keyboards, Jamie Baum on flute, Reut Regev on trombone, Camille Thurman on tenor saxophone and vocals, Leni Stern on guitar, Gina Schwarz on bass, and Rosa Avila on drums.

The album opens with its title track, which begins with a good groove, in kind of a mellow place. It soon grows from there, rising in energy and even getting into some funky areas. This track has such a great bass line and cool beat, while the saxophone gets a chance to explore the mood a bit. This, for me, is when the track really takes hold. The track’s title, “All In Good Time,” is interesting, because it could refer to the track’s tempo or perhaps to the good time we’ll have listening to the music, while of course there is the regular meaning of the phrase, suggesting we be patient, that the results we desire will happen eventually. When I think of the political situation in this country, I’m not sure I feel that sort of optimism any longer. This piece was composed by Monika Herzig, who delivers some nice work on electric piano. Then the trombone leads us into “Parade Of Sadness,” almost immediately accompanied by the bass. There is a freedom to the movement here, which is exciting. We get the sense something is about to happen. And indeed, something does, and we suddenly find ourselves in an interesting variation of the New Orleans landscape, particularly in that great beat. Things become even more interesting from there, especially in the way the flute becomes an integral part of the proceedings. This track was also written by Monika Herzig, and it is one of my personal favorites.

While most of the original compositions on this album are by Monika Herzig, there are two that were written by Gina Schwarz. The first is titled “Behind.” It eases in, but soon takes off in an interesting direction, partly propelled by Camille Thurman’s vocal work (though without any lyrics). This is another dramatic and intriguing track. Nearly two minutes into it, the drums begin to take it along another path, joined by the trombone, a fantastic moment. And it builds in intensity from there, until it relaxes somewhat for a good lead on bass. I love the way it builds and then releases tension, while moving forward. The vocal work is a prominent component again just before the end of the track. “Behind”is followed by “Right Now.” The flute guides our journey here, and before long the trombone joins it. There is also a wonderful lead on keys that at times lifts us up, at other times takes us into near-magical territory, and then offers a soothing warmth. The flute then takes over again, flying and zooming along, supported by some stellar work on bass and drums. Onward and forward, the music tells us and takes us, and without hesitation. Right now, indeed! Even as it relaxes somewhat toward the end, we still feel that sense of needing to keep moving.

The album’s only cover is a song called “Run The World (Girls)” by Beyoncé Knowles (it was included on her 2011 album 4). Women could run this country if they wanted to (after all, there are more women than men, so more female voters, and they are obviously capable), but so many women voted for the rapist, which is completely crazy. Sorry, I am trying to refrain from giving any more thought to that creep, but the whole thing is infuriating and depressing. I really don’t understand people anymore. Anyway, this is an interesting choice of songs to cover in a jazz context. But it makes some sense, particularly for this group, and Beyoncé is an influential artist. This rendition gets pretty wild and delicious, with that great beat. I love that work on saxophone. I was surprised by how much I love this track. That’s followed by “PC,” the initials in this case not standing for “politically correct” or “personal computer,” but rather “post-Covid.” There is a relaxed vibe to this piece, and a beauty. I’m not sure we are yet in a post-Covid world – I caught it for the second time only a couple of months ago – but I suppose the question is, what have we learned from it? And also, what changes have we made as a result? Some of us took a new look at our priorities, though I suspect many people learned nothing at all (that is, everyone who voted Republican in this last election). This track gets livelier in its second half, especially toward the end, a section that features some great drumming. That in turn is followed by “Palermo Chico” (another “PC,” right?), the other tune composed by Gina Schwarz. This one begins to drive forward with a solid energy, featuring strong work on keys and bass. It feels like it moves with determination up a hill. There is an intensity to this piece. The flute and trombone work together for a time in the middle, and again later, that second time engaging in an exciting interaction.

The album’s remaining three tracks were all written by Monika Herzig. “Make It Count” features a wonderful lead on piano, which feels like the heart of the piece. This track also includes a really cool guitar lead that I wish went on a bit longer, as there seemed to be more opportunity for exploration. This is a compelling piece. And once again, there is some really good stuff on drums. It is followed by “Arrival In Forever,” which was composed in tribute to Chick Corea, who died in 2021, the title a reference to Corea’s band Return To Forever. This track features some nice work on flute. The album concludes with “Jamie’s Song.” Monika Herzig begins this one in a contemplative place, and as the piece grows, there remains something reflective about its vibe. As you might expect from its title, this track features some excellent work by Jamie Baum on flute. There is also some great stuff on piano. And maybe I’m crazy, but there are two moments that remind me a bit of Cat Stevens’ “Matthew And Son.”

CD Track List

1. All In Good Time
2. Parade Of Sadness
3. Behind
4. Right Now
5. Run The World (Girls)
6. PC
7. Palermo Chico
8. Make It Count
9. Arrival In Forever
10. Jamie’s Song

All In Good Time was released on July 19, 2024.