Colombian jazz-folk singer-composer Gomez has achieved a charming synthesis of old and new, past and present. Her compositions are a travelogue of South and Central American, Caribbean and European influences. She moves fluidly between Peruvian lando, Argentinean chamame and Cuban son, weaving African-derived rhythms and percussions over the plaintive melodies of indigenous peoples or descended from Spanish conquistadores, whose own songs incorporated Sephardic Jewish and Moorish sounds. Recorded at New York’s Saint Peter’s Church, which is equally famous for its jazz ministry and warm acoustics, her clear, crooning mezzo-soprano is supported by an intimate combo of strings, woodwinds and percussion, plus an occasional accordion. In such a setting and in the hands of such talented performers, the special timbre of each instrument is appreciated anew and even handclaps take on an almost orchestral importance. One delightful stand-out is a Mexican ranchera-infused treatment of "Cielito Lindo." A chestnut if there ever was one, Gomez’ tender interpretation reflects love for her mother (whose name is Cielo -- "Cielito" is the diminutive) and a sense that even familiar things may harbor unexpected surprises. --Christina Roden