Gino Amato goes for a wild, party-like atmosphere with the playful “Latin Crossroads.” Nods to many genres appear within the fringes of the sound – from Bossa Nova to pop and 70s-era rock, a golden era mining occurs within the work. Vocals rest right in the center of the entire experience. Instrumentally, he incorporates flute, piano, drum talent, and some fantastic horn work found throughout. Plenty of layers are thrown into the fray, resulting in gorgeous bursts of color. Everything works perfectly, and Gino delivers a lightness to the sound, downplaying the earnest talent on display within the scope of work.
“Blackbird” starts the album strong, with a blast of sound and a fantastic, overpowering rhythm section. Flutes and honeyed vocals adorn the retro-flavored spirit of “On The Street Where You Live,” where there’s a strong fondness for Burt Bacharach’s easy-going demeanor. “Shower The People” is gracious, executed with flawless precision, and even incorporates inspired choices like the string section, adding to the stately presence. Avoiding vocals entirely is the exploratory quality of “Aranjuez.” Vibraphone gives “Bad Things” a seductive spirit, down to the vocals that further sell this flirtatious quality. “Round Midnight” has a taut groove with impeccable rising and falling tension. Layer upon layer emerges on the ornate tapestry of “Romeo & Juliet.” Punctuated by spry percussion is the unexpected chamber classical of “Green Flower Street,” which vividly covers Donald Fagen’s work.
“Latin Crossroads” shows off Gino Amato’s homage to a classic sound, something timeless and genuinely intimate.
