TASHA SMITH GODINEZ: A New Day

A New Day, the latest CD drop from harpist Tasha Smith Godinez, features nine tracks of original compositions. Her accompanying musicians are Domenico Hueso on viola and bass, Christopher Garcia on percussion, with vocalist Leonard Patton joining the festivities on two of the tracks. The project was recorded at Studio West with Cedrick Courtois at the controls.

A clear departure from the mostly avant-garde compositions that were stocked with an abundance of atonality from her 2022 CD, Out of the Desert, A New Day showcases Godinez’s rich musical compositions flowing eloquently amid a variety of more traditional chordal and rhythmic backdrops, all beautifully expressive pieces throughout.

The opening gypsy flavored track, “Passion Flower,” captures the listener’s attention right away with lovely counterpoint motifs between Godinez and Hueso on viola, supported by Garcia’s nifty syncopated percussion work, followed by “Synergy,” a mesmerizing polytonal showcase of Godinez’s effortless ease on her harp with flurries of cascading tones set against an austere ostinato bass figure.

The title track, “A New Day,” opens with Godinez’s free-time phrases that slowly morph into a catchy calypso rhythm backing the melody, not to be outdone by Godinez riffing on the bluesy track “The Least of These” in modal raga rhythm fashion fueled by Garcia’s percussion amid ominous ostinato bass figures.

The meditative track, “When the Word Began His Work,” has Godinez’s executing flawless series of dreamy arpeggios eventually building toward a musical conversation of motifs with Hueso’s masterful viola work.

All of a sudden, the album takes a 180 degree turn on the track, “Look Up,” with vocalist Leonard Patton injecting some soul against a rhythm & blues groove. “Look up before you look in, he’s the one who made the stars in the sky, he turns midnight to dawn.”

Random spoken universal voices in different languages deliver the opening messages of love on the track, “Love Is…,” with Patton adding in vocal improvs and scatting against a pulsating Brazilian rhythm.

Godinez flashes her flawless technique on harp in the showcase piece “After Here,” with perfectly placed darting melodies in tandem with flowing bass note arpeggios.

The closing track, “Lament (for a world right-side up)” is a perfect composition for a movie score or documentary, a lovely counterpoint melody duet with Hueso and Godinez exhibiting their virtuoso technique and tone.

It’s a splendid album, filled with compositional surprises from free form to diverse rhythmic grooves that will capture your heart with elegant melodies and improvisational brilliance. Bravo!