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LATTE E MIELE

Rock Progressivo Italiano • Italy


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Latte e Miele biography
Another group from Genova, this young three-piece was one of the Italian bands with the strongest classical influences. They were formed in 1971 by guitarist Dellacasa, that had collaborated with I GIGANTI in their « Terra In Bocca », with the drummer Vitanza only 16 year old! A keyboards trio in the same style as ELP or Le ORME in Italy, their first album was « Passio secundum Mattheum », with Bach-inspired music and lyrics on the Gospel. An ambitious work, it has its moments but can be boring at times. The band members had a good technique but their keyboard/bass/drums formula was repetitive and mixed with a melodic voice with a result that's not too convincing.

A second album, « Papillon », came the following year in a similar style, but the production was much better. The album contains two side-long tracks with the Beethoven's derived Patetica on most of side two being a nice example of their style. An english version of it was also recorded but only saw the light in 1992 on CD.

The band had a good live activity, and even supported VAN DER GRAAF GENERATOR in one of their italian tours. A good 1974 registrazione live was made available by Mellow with their « Latte e Miele Live CD ». After a couple of singles in 1974, the last of which was melodic and far from the albums' level, the group disbanded, and was reformed in 1976 by drummer Vitanza with three new recruits. The new line-up released an album for Magma, « Aquile E Scoiattoli », a very good album, maybe their best and most original work, containing a rendition of Beethoven and the nice Pavana, also released as a single (but curiously this appeared on Grog label).

The band kept playing until 1980 with an always more commercial sound but the singles released were not successful. Their last single from 1980, « Ritagli Di Luce », even took them to the Sanremo Italian song contest. An album recorded in 1979 was not released until it was released on CD by Mellow in 1992. Called « Vampyrs », and played by the three-piece line-up of Gori, Poltini and Vitanza, it's mostly pop-rock and not comparable with the band's previous works.

Drummer Alfio Vitanza has collaborated with Vittorio De Scalzi in a revised NEW TROLLS' line-up at the end of the 90's and is still playing nowadays with the recent De Scalzi's New Trolls incarnation called « La Storia dei New Trolls ». He is planning to reform the original LATTE E MIELE three-piece line-up for a one-off CD.

A commercial single...
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Papillon [Colored Vinyl]Papillon [Colored Vinyl]
Limited Edition
AMS/Cinevox 2014
Vinyl$28.49
Passio Secundum Mattheum - The Complete WorkPassio Secundum Mattheum - The Complete Work
Import
Imports 2014
Audio CD$22.98
$34.96 (used)
Passio Secundum Mattheum (Shm-CD)Passio Secundum Mattheum (Shm-CD)
Import
PID 2010
Audio CD$39.99
$33.44 (used)
Passio Secundum MattheumPassio Secundum Mattheum
Import
Polydor Italy 1999
Audio CD$8.64
$8.65 (used)
Aquile E ScoiattoliAquile E Scoiattoli
Import
2009
Audio CD$139.99
$50.00 (used)
PAILLON +1PAILLON +1
UNIVERSAL MUSIC JAPAN
Audio CD$32.39 (used)
Live TastingLive Tasting
Import
Aerostella 2008
Audio CD$42.99
$46.26 (used)
Passio SecundumPassio Secundum
Import
Audio CD$47.93 (used)
PapillionPapillion
Limited Edition · Import
Polygram Int'l 2002
Audio CD$39.99
$28.02 (used)
Passio Secundum MattheumPassio Secundum Mattheum
Import
Imports 2014
Audio CD$51.99
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LATTE E MIELE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LATTE E MIELE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.90 | 110 ratings
Passio Secundum Mattheum
1972
3.51 | 70 ratings
Papillon
1973
3.51 | 45 ratings
Aquile e Scoiattoli
1976
2.00 | 2 ratings
Vampyrs
1994
3.87 | 33 ratings
Marco Polo Sogni E Viaggi
2009
4.51 | 24 ratings
Passio Secundum Mattheum: The Complete Work
2014

LATTE E MIELE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 2 ratings
Live
1992
4.04 | 4 ratings
Live Tasting
2008

LATTE E MIELE Videos (DVD, Blu-ray, VHS etc)

LATTE E MIELE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.50 | 2 ratings
Trilogy: The Complete Works (4CD)
2003

LATTE E MIELE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 1 ratings
Mese di maggio
1974

LATTE E MIELE Reviews


Showing last 10 reviews only
 Passio Secundum Mattheum: The Complete Work by LATTE E MIELE album cover Studio Album, 2014
4.51 | 24 ratings

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Passio Secundum Mattheum: The Complete Work
Latte e Miele Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars `Reboot' or `remake' - two words that usually instil a sense of apprehension and dread in most people! Usually associated with the latest lousy Hollywood cash-in riding on the coat-tails of something considered a classic or more special, now even progressive rock is not immune to this fad...but thankfully the results are more consistently worthwhile than the film equivalent! Vintage RPI act Latte e Miele's `Passio Secundum Matthaeum - The Complete Work' sees the legendary Italian band return to their 1972 defining work in a thrilling new interpretation that not only respects the original, but more importantly stands on it's own strengths and merits while also adding and revealing new details never before realized. An adaption of the Passion of Saint Matthew set to music, to many Italian prog fans the original is considered one of the most important vintage RPI releases, as well as a constant personal favourite. Hopefully existing fans will be willing to give this new interpretation a chance, as they can rest easy in the knowledge that it doesn't damage the reputation of the 70's version at all, instead offering new and exciting additions to only enhance the original.

Three founding members, Marcello Giancarlo Dellacasa, Oliviero Lacagnina and Alfio Vitanza, with the addition of bass player Massimo Gori from a later line-up offer this new work. As a special treat this time around, several notable guests from RPI acts both new and old have been brought in to lend their voices to several narrated passages. From the vintage years, some of the guests include Lino Vairetti and Lino Vairetti of Osanna, Alvaro Fella of Jumbo, Silvana Aliotta of Circus 2000, Giorgio D'Adamo of the New Trolls, Paolo Carelli of Pholas Dactylus, as well as Aldo de Scalzi and Paolo Griguolo of Picchio dal Pazzo, Simonluca of L'Enorme Maria and singer/songwriter Max Manfredi. The younger artists are Sophya Baccini of her Aradia project and the dark keyboard queen Elisa Montaldo of Il Tempio delle Clessidre.

For those who don't know what the original or this new version sounds like, it's a bombastic, lush and grandiose classical orchestral based prog work that runs through an exhausting variety of instrumental passages, sombre and striking narration and stirring choral vocals. `The Complete Work' (as was the original) is a work that is initially very overwhelming and confusing, demanding constant replays to discover how carefully arranged the constantly evolving musical passages are, to gather a sense of the dramatic build and perfectly considered flow the overall piece brings. One thing that instantly stands out throughout this new version is a more rich, full and cleaner sound, definitely improving the occasionally flat mix, especially obvious in the choral passages, that sometimes plagued the original work. Classical and rock elements, light and dark moods all blend together in perfect unison, the music growing darker and heavier as it progresses. Electric guitars, organ and keyboards weave seamlessly around emotional strings and nimble piano, delicate acoustic guitar flavours offering thoughtful moments in between wilder rocking passages. So many luxurious and memorable melodies envelope the listener, and by the end, you are left deeply moved by what a victorious, uplifting and fully immersive musical experience this is. Personal highlights for me are the urgent and hypnotic group harmonies alongside duelling Moog spirals, searing electric guitar fire and prancing violin of `I Falsi Testimoni', the gothic symphonic darkness of `Il Rinnegamento...', and the surprisingly jazzy Delirium-like touches around heavy brooding guitars, scratchy Mellotron and uplifting Moog finale in `Il Re Dei Giudei'.

Some listeners may find the constant direction changes and multiple narrated guests initially intimidating and off-putting, but perseverance pays off perfectly for those willing to give this work the necessary amount of plays for it to start making sense. `Passio Secundum Matthaeum - The Complete Work' is a gift for fans who cherish the beloved original, as well as a sumptuous aural treat for newcomers to discover. It's possibly one of the finest modern releases from a vintage Italian act, and comes across as a hugely important and defining progressive rock work in general for 2014. Italian prog doesn't come any more grand, lavish and exquisite than this, and it's certainly one of the most sophisticated works to appear on the Black Widow label to date.

Five stars for a classic Italian progressive rock event.

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 Passio Secundum Mattheum: The Complete Work by LATTE E MIELE album cover Studio Album, 2014
4.51 | 24 ratings

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Passio Secundum Mattheum: The Complete Work
Latte e Miele Rock Progressivo Italiano

Review by Windhawk
Special Collaborator Honorary Collaborator

5 stars Italian band LATTE E MIELE is regarded as one of the classic progressive rock bands from the early 70's, and were one of the bands that were fairly heavily inspired by classical music, at least in their initial phase. By the time the band's activities ebbed out around 1980 they had transformed into more of a generic pop-rock band however, and one not all that popular at that. Latte E Miele reformed back in 2008, and in 2009 they released the critically acclaimed comeback album "Marco Polo Sogni E Viaggi". "Passio Secundum Matthaeum - The Complete Work" is their second full-length production following their comeback, and was released through the Italian label Black Widow Records in 2014.

Latte E Miele's remake of their debut album "Passio Secundum Matthaeum" is an impressive production through and through, a tasteful and sophisticated album that has been assembled with a lot of care and affection and what appears to be a minute attention to details. A certain taste for material inspired by liturgical classical music is probably needed to truly enjoy all the qualities of this CD, but if you have a general taste for symphonic progressive rock of the kind that has a fairly close relation to classical music then this is an album that is easily and highly recommended.

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 Aquile e Scoiattoli  by LATTE E MIELE album cover Studio Album, 1976
3.51 | 45 ratings

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Aquile e Scoiattoli
Latte e Miele Rock Progressivo Italiano

Review by Roberto A.

5 stars I am surprised to see the rating of this album and compare it with the others released by this fantastic band. All of their albums are nice (except the commercial one) but in my opinion this album is their best work and one of the most beautiful RPI album. If you compare "Aquile e scoiattoli" with the previous two works you can see (and listen) many differences. "Passio" and "Papillon" are nice album but they are not complete: something is missed in both of them, I mean in the musical side and technical side. This is their most mature album (more than "Marco Polo") and here you can find everything: great vocals and instrumental melodies, nice lyrics, solos at the right moments, fantastic orchestration, a lot of different sounds, rock, jazzy, classic and space musical passages. In this album every single note is in the right place and in the right moment. Moreover, compare with the previous two album, the quality of the record is very good and much better and it helps the listener in a better listening. Last but not least the last track of the album, "Pavana". This song, alone, worth the cost of the album. It is simply fantastic, there are no other words to describe it. In conclusion, for me this is a masterpiece and, of course, their best album until now, I have hundreds of records and this is one of the album that I listen more often. A must have album.

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 Passio Secundum Mattheum: The Complete Work by LATTE E MIELE album cover Studio Album, 2014
4.51 | 24 ratings

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Passio Secundum Mattheum: The Complete Work
Latte e Miele Rock Progressivo Italiano

Review by Todd
Special Collaborator Rock Progressivo Italiano!

5 stars A new version of Passio! (Posted Easter week 2014)

A new interpretation of a classic RPI title! This is quite an undertaking, but it comes off in an outstanding way, giving new life to old friends. In contrast to so many reworkings of old pieces that I've heard in recent years, this one does not leave me only wishing to listen to the original. Rather, the new work stands well on its own, not only helping me listen to the original with new ears, but also bringing new insights and experience.

In 1972, Latte e Miele released their debut, an incredibly ambitious work based on the Passion of St. Matthew, "Passio Secundum Mattheum." This is one of the seminal titles of 1970s RPI and has rightfully stood the test of time. The band would never equal this album, although the subsequent title, "Papillon", came close. After that the band broke up for a time, until drummer Alfio Vitanza reformed the band, with new members including bassist Massimo Gori. Their only album, "Aquile e Scoiattoli", has its moments but is inferior to the first two, and the band disbanded a few years later after moving toward more commercial music.

In 2008 the band reformed, including all three original members (Vitanza and songwriter/keyboardist Oliviero Lacagnina, as well as guitarist Marcello Giancarlo Dellacasa) and Massimo Gori, bassist from the second generation of the band. The quartet released "Live Tasting", an excellent live album that portended of the good to come. Their time together also produced a wonderful new album, "Marco Polo: Sogni e Viaggi" in 2009.

Over the years, Lacagnina never stopped composing his masterpiece, his "Passio". Now the quartet has recorded anew their masterpiece, adding those "new" compositions into the narrative. For example, "Il Pane e il Sangue dell'Alleanza" has been inserted right after "Ultima Cena", and "Il Rinnegamento di Pietro" and "Il Prezzo del Sangue" between "Il Pianto" and "Giuda". Also, the ending has been fleshed out significantly, with four new songs, and the final song, "Come un Ruscello che..." includes the final themes previously entitled "Il Dono della Vita". Also of note, a solo organ piece entitled "Toccata per organo" is placed just before "Calvario"--this is special, as it is an original take from 1972!

The instrumentation is true to the spirit of the 1972 piece, although with an updated sound. Ditto the choir, which sometimes on the 1972 version is muted and thin--here the choir parts are strong, lush, and vibrant. The majority of the pieces that were rerecorded for this edition also maintain their compositional structure, although there are a few changes inserted (notably in "I Falsi Testimoni", the new version of "I Testimoni" parts 1 and 2). There is nothing that violates that spirit of the original work, though it is impossible to duplicate its wonderful innocence.

Another unique feature of this album is the presence of several prominent figures from RPI providing the spoken Evangelist parts. These include Alvaro Fella (Jumbo), Lino Vairetti (Osanna), Silvana Aliotta (Circus 2000), Paolo Carelli (Pholas Dactylus), Aldo de Scalzi (Picchio dal Pozzo), Sophya Baccini, Elisa Montaldo (Il Tempio delle Clessidre), Giorgio D'Adamo (New Trolls), Max Manfredi, Simonluca, and Paolo Griguolo (Picchio dal Pazzo). It's a nice touch that really rounds out the album.

The CD comes in a jewel case with a lyric booklet. I'm told that the pending Japanese version will contain a newly recorded composition as a bonus track. But don't wait for that one--go out and grab this one. You won't be disappointed. Four plus stars (Gnosis 13/15).

Edit: I can't stop listening to this! Though it's not quite as good as the original, it's very close. I'm bumping it up to Gnosis 14/15, which is five stars on PA.

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 Aquile e Scoiattoli  by LATTE E MIELE album cover Studio Album, 1976
3.51 | 45 ratings

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Aquile e Scoiattoli
Latte e Miele Rock Progressivo Italiano

Review by Finnforest
Special Collaborator Honorary Collaborator

2 stars Complete line-up overhaul

Latte e Miele (Milk and Honey) are one of the classic Italian groups who were not a "one-shot", instead releasing three albums in the 70s as well as a respectable comeback a few years ago. Born in Genova around 1971, the band was acclaimed for an ELP/Orme style of progressive rock fused to classical music. Examples can be heard on their first two albums, the majestic "Passio secundum Mattheum" and follow-up "Papillon." After this they did some serious gigging including a stint with VDGG before being dropped by their label and splitting up in 1974. In 1976 drummer Alfio Vitanza put the band together again with three new members for their third album "Acquile e Scoiattoli".

The third album has a somewhat slicker feel to the production and the material, and while ambitious, lacks the strange baroque-dark feel of the debut in particular. The tracks are structured like Meddle with the first side being unrelated short tracks and the second side featuring an epic side-long suite. The opening title track has a pleasant, light-hearted feel until the mid section kicks into a great dramatic chorus. In that moment they had me on the line! "Menestrello" has a full-on rock feel almost like heavier Alan Parsons or Supertramp, aside from the vocal it has a more international sound. Next is a spirited ode to Beethoven with "Opera 21". The keyboard jamming and drumming is crisp and tight-all of this is pretty cool but quite disjointed in terms of side flow. So side two is where I had to look to find something memorable and I'm afraid it didn't cut it. Long, impressive on paper, and with all of the symphonic glory you might expect "Pavana" just does not excite me. I appreciate the tight rhythm section and some of the arrangements, but the bulk of the keyboard-centric piece sails for over 20 minutes and the only passion aroused in me is frankly to put something else on. Despite the very good sound quality and fine performance, it feels like a prog keyboard exercise that goes on far too long while hitting very few of my musical pleasure receptors. I'm truly surprised by this as I enjoy Basso's "Voci" and certainly tons of albums that are not so far in style from this. I urge RPI and symphonic prog fans to check out this album for themselves because many other like it a lot, some like it more than their two earlier albums. Just not my cup of tea, or rather not my glass of vino.

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 Marco Polo Sogni E Viaggi by LATTE E MIELE album cover Studio Album, 2009
3.87 | 33 ratings

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Marco Polo Sogni E Viaggi
Latte e Miele Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

3 stars This is the big come back album for LATTE E MIELE released in 2009. There seems to be quite a few Italian bands who have reformed and recorded albums the last few years and for me it's been a hit and miss affair.This would be a miss. Honestly I just don't think this compares to their first two albums at all. I have struggled through this album every single time i've heard it. It's just not my style with the orchestration and at times "musical" vibe both of which are usually turn offs in my world. A matter of taste of course.

"San Marco" has a powerful intro with organ that I like then the guitar takes the lead as it blends into "Carnival" as the instrumental music continues. A calm with violin arrives before 2 1/2 minutes.

"Il Sogno" is upbeat with keys as the vocals arrive for the first time on the album. Backing vocals and operatic vocals don't do much for me here. "Via Siva" has these light keys and fragile vocals. Disney World is coming to mind.

"Crochti" is led by piano before 1 1/2 minutes as it settles.Vocals are back before 3 minutes then it kicks in after 4 minutes. A calm after 6 minutes then the vocals return before it kicks back in late.

"Il Deserto Del Gobi" has an exotic flavour to it early on. It picks up 2 minutes in and vocals follow. "Il Matri Mono Dei Bimbi Nel Vento" is mellow with reserved vocals, strings and more.

"Pechino" builds slowly then it kicks in at 1 1/2 minutes with the guitar leading. It settles with vocals a minute later then it picks back up when the vocals stop. "Kubilai Kan" has guitar and an orchestral section that will come and go.

"L'ultimo Unicorno" opens with piano as reserved vocals join in.It does get fuller. Not a fan. "La battaglia Di Curtolo" has these marching styled drums to start with keyboards that build. Guitar and drums before a minute. Nice. Best section of the album right here along with the album's intro. The tempo will change throughout.

"La Prigione" opens with piano and strings as reserved vocals join in. It picks up after 2 minutes with guitar. Not a fan of this as it's a little too sweet.

"Sogno Incrociato" has a classical vibe with vocals. Not a fan. "Ritorno A San Marco" ends it with a good instrumental.

A low 3 stars for me.

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 Papillon by LATTE E MIELE album cover Studio Album, 1973
3.51 | 70 ratings

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Papillon
Latte e Miele Rock Progressivo Italiano

Review by Mellotron Storm
Prog Reviewer

4 stars Like the first album this too has a concept to it but apparently only on the opening side long suite this time. ELP's debut came to mind quite often especially with those powerful, upfront vintage keyboards. A strong Classical and Jazz flavour is mixed in with the Prog Rock. I like the fact that their first two albums have split the fan base as to which one is better. I'm not going to say yet which I prefer because it's so close for me but both are definte 4 star albums in my book.

"Papillon" is the almost 20 minute side long suite and it's divided into eight sections. Love the intro with those powerful ELP-like keyboards then it turns mellow on part two as the fragile vocals come in. It kicks back in with drums then turns mellow again with reserved vocals to start part three. It kicks in again as these themes continue with the laid back vocals usually opening a new section then it turns heavier. Check out the slicing violin on part five. An excellent suite and i'm glad I have the italian version as i've heard the English version isn't that great because of the strong accent.

"Divertimenzo" is orchestral-like then it turns jazzy with piano, bass and drums.These contrasts continue.

"Patetica" is divided into three parts and is over 16 1/2 minutes long. Piano only until the drums and organ kick in at 1 1/2 minutes. Piano follows then the organ returns. Part two begins with violin and is quite orchestral sounding.Then the drums and keyboards kick in after 1 1/2 minutes. Nice.The tempo picks up a minute later. Love the drum work before 3 1/2 minutes then it settles into a jazzy mode before 5 minutes. Part three is mellow and the vocals arrive 1 1/2 minutes in then drums.

"Strutture" has such a great sound to it. Jazzy stuff.

Certainly anyone who is seeking to know about RPI needs to check this band out, and you can't go wrong with either of their first two albums.

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 Passio Secundum Mattheum  by LATTE E MIELE album cover Studio Album, 1972
3.90 | 110 ratings

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Passio Secundum Mattheum
Latte e Miele Rock Progressivo Italiano

Review by Warthur
Prog Reviewer

4 stars It would be easy to write Latte E Miele as an ELP clone at this stage of their career based on their guitarist-keyboardist-percussionist lineup and their quoting from Bach (at points they even borrow the exact same bits from Bach that ELP do!), but there's a bit more to them than that. Drummer Alfio also whips out a mean flute from time to time, and guitarist Marcello is a bit more diverse than Greg Lake, branching out into the violin on occasion. Musically, the group also draw on inspiration from Genesis for their quieter, more acoustic and pastoral sections, and also include some properly operatic vocals here and there. The result is a synthesis which is entirely unlike anything ELP ever did, and makes their adaptation of Christ's Passion (as told in the Gospel of Matthew) one of the better early concept albums from the RPI scene - though not quite on the divine tier occupied by Banco, PFM and Le Orme's works from 1972.

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 Aquile e Scoiattoli  by LATTE E MIELE album cover Studio Album, 1976
3.51 | 45 ratings

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Aquile e Scoiattoli
Latte e Miele Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

4 stars After the very good ''Passio secundum Mattheum'',the good follow-up ''Papillion'' and a couple of singles the LATTE E MIELE trio disbanded to reform just a couple of years later as a quartet and only with drummer Alfio Vitanza from the original line-up.The result of this formation was taped on the new effort ''Aquile e scoiattoli''.

Despite the new-line up the band now seems more tight and the sound more convincing and balanced than ever.With similarities with LE ORME's style and career,''Aquile e scoiattoli'' finds LATTE E MIELE exploring more the synths possibilities and leaving the sound of organ or harpsichord behind.The result is not negative at all,on the opposite it seems this sound is promoting better the band's style.Four short tracks on the first side with symphonic textures,melodic lines and great vocals are followed by the easily-flowing 23-min. opus ''Pavana'' on the flipside,a georgeous melodic arrangement full of Classical references with jazzy bits here and there,comparable with the best of FOCUS and GENESIS,hints of whom can be met throughout the track.Flutes' and saxes' touches give ''Pavana'' an even richer and eclectic character.

The early LATTE E MIELE years close with their best work in my opinion.While the first two albums were good examples of Classical-influenced Italian Prog,''Aquile e scoiattoli'' has nothing less than Classic Prog albums created by giants like LE ORME or BANCO DEL MUTUO SOCCORSO,the album has a superb balanced atmosphere from the first to the last minute and if you want a work of LATTE E MIELE shining among your collection's items,this one is to grab.Highly recommended.

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 Passio Secundum Mattheum  by LATTE E MIELE album cover Studio Album, 1972
3.90 | 110 ratings

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Passio Secundum Mattheum
Latte e Miele Rock Progressivo Italiano

Review by Lizzy

4 stars The Soundtrack of the Passions

In the enticing sphere of Italian Progressive Rock, almost every single subject sees its chance to shine, but like in all realistic establishments, some manage to shine brighter than the others. Latte e Miele saw serendipity strike in prog year of glory - 1972, when they produced a Bach and New Testament inspired Passio Secundum Mattheum. This Genova based band's debut album's magnetism lies primarily in its concept which, as the title suggests, is pertaining to Christ's dramatic last days but only according to a singular source ' the gospel of Saint Matthew, often referred to as the Passions. The beauty behind this concept is that it tells a story in a simple yet heart rending manner, without it being homiletic.

Musically speaking the record explores symphonic dimensions reached not only by ELP, but also by Genesis in tracks like Ultima Cena (the intriguing supper coincidence) or Getzemani which oozes an abundance of influences in terms of keys treatment not only from the above mentioned giants, but also from Deep Purple, Yes and even Eloy for that twist of spaceyness. The jazz influence is another chief constituent of the whole, although at first they may seem slightly disconnected from the main theme. Present in both parts of I Testimoni (the witnesses) via piano and drums, it raises a fairly compelling question regarding its presence: why are there emotionless straight-forward jazz sections in a crucial moment of the plot, where the false witnesses accuse Jesus of having declared that he would destroy the temple and then rebuild it in three days? The answer is that the senselessness of the jazz bits overlaps the duplicate attitude of nonchalance and lack of emotion emitted by the witnesses.

As seen above, the soundscape manages to intertwine effortlessly with the visual thread, emerging into a burst of sentiments. Thus the emotions grow more and more till they reach an overwhelming apex: from the uplifting choir on Introduzione and the rather mellow acoustic guitar and harpsichord driven Il Giorno Degli Azzimi accompanied by the elegant narration of the Passover preparations, to the dynamic operatic choir from The Trial; from the witnesses false statements rendered in a counter-tenor vox, in a very similar vein to some of Annas' bits from Jesus Christ Superstar to the yet again mellow and sweet but at the same time excruciating Il Pianto which displays an absolutely beautiful blend of keys, acoustic guitar and flute; from the surprising Giuda where harsh guitars and drums alternate with a jazz section denoting insolence to Il Calvario featuring dramatic operatic choir, morbid church organ keys, and drums reminiscent of ancient ships where they would set the rowing rhythm of the slaves; all this only to paint one of history's most tragic paintings. But because the Providence had other plans, the end fulminates in a reiterated theme of the heavenly choir present at the very beginning of the record accompanied by the now regulars ' guitar, piano and drums.

All told, Latte e Miele's first effort is a gorgeous journey whether it is on a musical, visual, religious for some, educational for others, or merely a rudimentary emotional level, in which every music lover should engage at least once in a lifetime.

4.5 stars

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