AN ACCOMPLISHED WORK OF ART

In 2014 Latte e Miele released on the independent Black Widow label a re-elaborated version their debut album Passio Secundum Mattheum adding some sections and filling some gaps in the narrative parts. The line up featuring Marcello Giancarlo Dellacasa (electric and classical guitar), Oliviero Lacagnina (piano, keyboards), Alfio Vitanza (drums, vocals) and Massimo Gori (bass, vocals) re-recorded the album with the intention to leave the narrative parts to the voice of don Andrea Gallo (18 July 1928 - 22 May 2013), an Italian presbyter, founder and leader of the community of San Benedetto al Porto of Genoa, best known for helping poor and needy people. Unfortunately he passed away before the album was completed and that’s why the album is dedicated to his memory. Eventually, the narrative vocals were provided by some prestigious guests such as Silvana Aliotta (Circus 2000), Paolo Carelli (Pholas Dactylus), Giorgio D’Adamo (New Trolls), Aldo De Scalzi (Picchio dal Pozzo); Sophya Baccini (Presence, Sophya Baccini’s Aradia), Alvaro Fella (Jumbo), Paolo Griguolo (Picchio dal Pozzo), Max Manfredi, Elisa Montaldo (Il Tempio delle Clessidre), Simonluca and Lino Vairetti (Osanna). The new version of the opera features also a string quartet and a choir to add more colours to the musical fabric while the new art work is dedicated to Storm Thorgerson and tries to reflect his style to depict the musical content. In my opinion, this new version is far better than the original one, for many reasons...

Back in 1972, when the original album Passio Secundum Mattheum was released, the instruments of the time, the sound engineers, and the Italian recording studios were certainly not up to par with those of today. Furthermore, the young band had to compromise with their record company and limit the album's running time by cutting some sections. The new version does justice to this complex and intensely beautiful rock opera, recovering what was lost and adding new sounds and nuances. The new version is the fruit of the work of experienced musicians, aware of their abilities and capable of shedding new light on their youthful compositions, bringing them to completion for the listener's delight.

The new version doesn't distort the original plot or introduce any sonic elements that might seem out of place or out of context. It's a work that's extremely respectful of the past, yet looks to the present and modernises sounds and melodies without sacrificing the vintage atmosphere. In fact, for the "Toccata for Organ", a section not included on the original album, an old recording from 1972 was used. The final result is extremely convincing and definitely deserves a place in the collection of any Italian prog enthusiast.

You can listen to the complete album HERE

Latte e Miele: Passio Secundum Mattheum – The Complete Work (2014). Other opinions:

Michael "Aussie-Byrd-Brother": 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... (read the complete review HERE)

BLOODLESS

After the album Aquile e scoiattoli was released in 1976, Latte e Miele kept playing until the beginning of the 80's with an always more commercial sound but the singles they released were not successful. Their last single from 1980, Ritagli di luce, even took them to the Sanremo Italian song contest but was a flop. An album, recorded in 1979, documents this period of the band but it was not released until 1992 when it was picked up by the Mellow Records label. Titled Vampyrs and played by the three-piece line-up of Gori, Poltini and Vitanza, it's not comparable with the band's previous works...

The album opens with “King Of Darkness,” an instrumental halfway between Goblin and the French Rockets. Then come “Master of the Time,” “I Don't Wanna See You,” and “Burnin’ Out”: sung in English, they are melodic pop-rock songs, not particularly brilliant, shyly nodding to the Italo-dance music that was popular at the time. “Life Is Just a Game” is just a whiff of smoke on the water, while “Nobody’s Comin?” is a bland piano ballad that mimics the more commercial New Trolls. The following songs are sung in Italian and are a bit better, but “Stasera” (This Evening) is romantic, light-hearted pop that, while well-played, has nothing to do with prog, just like the other songs, which at times are close to the style of Umberto Tozzi (“Angela” and “Fumetti rosa”) or Pooh (“Dimenticare, ricominciare”). “Immagini di un porto” (Images of a seaport) is a ballad that reminds me a lot of the New Trolls of the eighties, while “Un colpevole mago”, “Rock’n’Roll Star” and “American Time” are, in my opinion, unremarkable melodic-style pieces.

On the whole, an unaccomplished work that perhaps would have been better left in the drawer and very far from essential for a prog collector.

Anyway, you can listen to the complete album HERE and judge for yourselves.

EAGLES AND PREYS

Aquile e scoiattoli is the third studio album by Latte e Miele and was released in 1976 on the independent Magma label with a renewed line up featuring Alfio Vitanza (drums, percussion, 12 string guitar, vocals), Massimo Gori (bass, electric and acoustic guitar, vocals), Luciano Poltini (Hammond, Moog, clavinet, piano, vocals) and Mimmo Damiani (piano, solina, eminent, guitar, vocals) plus some prestigious guest musicians such as Vittorio De Scalzi (flute - from I New Trolls), Leonardo Lagorio (sax - from Celeste), Aldo De Scalzi (sax - from Picchio dal Pozzo), Divo Gori (violin) and Giorgio Karaghiosoff (flute - from Picchio dal Pozzo). Despite the line-up changes, the quality of the music remains high and anchored to the symphonic prog of their early days. The album cover, provided by Maria Vitanza, almost seems to assert the right to a certain underlying naiveté, at least when listening to music in a social context like that of Italy during the Years of Lead, a time of turmoil and rampant violence...

The album opens with the title track, "Aquile e scoiattoli" (Eagles and Squirrels), a brilliant and well-structured, if short, piece. The music and lyrics paint the image of a beautiful forest after a storm. The protagonist can sense the squirrels hidden in the bushes trembling, while eagles circle overhead, ready to snatch their prey. This leads to a comparison with everyday city life, where, metaphorically, vigilant eagles ensure that no one can ever choose between sleep and freedom, where life is scheduled and there's no room for novelty or variation, where you have to run, work, eat, consume the products offered to you, and go to bed early to then resume your daily routine the next morning: if you slip up, sooner or later an eagle will get you...

“Le vacche sacre – Il falso menestrello” (The holy cows – The false minstrel) is a caustic critique of hippie ideals and of those seeking a better world in Indian culture and philosophy. The music and lyrics evoke a person who, upon returning from a journey to India, locks himself into his house and opens a closet of memories, memories provoking a profound disappointment when confronted with the truth of everyday life. The protagonist is then invited to look at himself in the mirror and face the real world. It's clear that life is difficult, which is why he tried to escape, but telling fairy tales doesn't change the situation. The protagonist thinks he's a poet, but he's merely a prophet of falsehood, responsible for those who believe in him. Sacred cows, incense, and necklaces are not what people need; you have to fight for your bread, and it's not right to deceive people by renting artificial paradises...

“Menestrello” (Minstrel) begins with a calm, dreamy atmosphere. The music and lyrics portray a lonely minstrel singing his songs to the moon, trapped by old hopes and past joys that can never return. Then someone urges him not to open his childish eyes, so that if his truth lies in dreams, no one can disturb his inner peace. In the central instrumental section the pace accelerates and a beautiful electric guitar solo intertwined with synthesisers conveys a sense of mysterious unease. At the end, the pace slackens, and the figure of the dreaming minstrel from the beginning of the song reappears...

“Opera 21” closes the first side of the album and is a cheerful instrumental piece that reworks part of Beethoven's First Symphony while the second side of the original LP is entirely occupied by a long and complex instrumental piece of classical inspiration, "Pavana" (Pavane). The pavane is a slow processional dance common in Europe during the 16th century (Renaissance), in slow duple time with a long -short - short pulse, perhaps taking its name from Paduan (Padovana) associations (quote from The New Penguin Dictionary Of Music, London, 2004). In any case, despite starting from classical inspiration, the band here does not limit itself to reworking classical forms and effectively presents its own musical ideas, characterised by great technique and taste, blending classical music with rock and a touch of jazz...

On the whole, an excellent work that deserves to be listened to and which at the time would have deserved more success.

You can listen to the complete album HERE

Latte e Miele: Aquile e scoiattoli (1976). Other opinions:

Jim Russell: 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... (You can read the complete review HERE)

THE DEVIL'S VIOLINIST

Paganini Experience, the third studio album after the new millennium reunion by Latte e Miele, was released in 2019 on the independent label Black Widow Records. Since in the band there are no founder members left, it was wisely released under the name Lattemiele 2.0 with a line up featuring along with historic members Massimo Gori (bass, guitar, vocals) and Luciano Poltini (piano, organ, keyboards, backing vocals) the fresh energies of Elena Aiello (violin) and Marco Biggi (drums, percussion). What they deliver here is a concept album inspired by Genoese composer and virtuoso Niccolò Paganini where you can find a really good blend of classical influences and progressive rock in the best Italian tradition from the seventies but with an updated sound quality. The excellent art work and the graphic project of the rich, colourful booklet by Gino Andrea Carosini and Marco Mastroianni help to understand the concept...

The beautiful opener “Inno” (Hymn) starts by a violin solo passage, then the keyboards and the rhythm section take over for an adventurous, fantasy ride. According to the liner notes, this is a hymn to the music that doesn’t know limits of space, time nor genre and in the meantime a way to pay homage to the late Keith Emerson who passed away in the days when this piece was composed.

The soft, melancholic “Via del Colle” evokes bitter-sweet memories from Paganini’s childhood and conjures up his ghost complaining about the greediness of the businessmen who demolished the house where he was born. In fact, the title of this piece refers to a street in Genoa located in the Molo district, an area that in the early seventies of the twentieth century was subject to demolitions that affected also the native house of the famous musician (portrayed in the booklet).

 

“L’ora delle tenebre” (The hour of darkness) starts with a flamboyant piano solo pattern, then organ and rhythm section bring a change of atmosphere. This piece depicts a city at dusk, when darkness falls down like a web upon streets and houses. It’s the hour of the lost souls but also a time of secret rites and obscure symbolism on the border between good and evil... The music and lyrics here refer to the diabolic aura that surrounded Paganini but also to his devotion to art and music and to his links with Freemasonry, an influential semi-secret force in Italian politics that promoted universal values.

Inspired by Paganini’s music, “Cantabile 2019” is a dreamy instrumental track featuring the elaborated harmony vocals of the Genoese vocal group Clusters and their perfect interaction with the violin lines. Every now and again it could recall the New Trolls from Concerto Grosso...

The nocturnal “Porto di notte” (Port by night) describes a walk under the moonlight through the narrow alleys of Genoa port district. The ships seem like monstrous, silent giants with their white sails resting in the port, sheltered from the blowing winds. A lantern shines like a distant star showing the way to thirsty sailors, artists, gamblers and other people looking for fun. Under that light, in a hazy tavern you can find alcohol drinks and unashamed ballerinas ready to heat your night as the fog of the port hugs you like a mother hugs her child. Maybe it’s right here that you’ll meet a damned artist like Paganini...

The short instrumental “Charlotte” is a dreamy, romantic piece that refers to a famous Paganini’s love affair with a young singer, Charlotte Watson, a romance that was also narrated in The Devil's Violinist, a 2013 film directed by Bernard Rose and starring David Garrett and Jared Harris... Anyway, here there’s nothing but the beautiful music to suggest the plot.
 

“Danza di luce” (Dance of light) is another excellent instrumental track divided into two movimenti. According to the liner notes, it draws a kind of winding path leading from the solemnity of a cathedral to an imaginary jam session between Paganini and a rock band. It includes some variations on Paganini’s Capriccio N. 24 and a contribute of the guest musician Aldo De Scalzi (from Picchio dal Pozzo).

“Angel” is a cover of a piece by Jimi Hendrix and was included on the album to mark the parallelism between the extravagant violin virtuoso and the famous guitar hero. Of course, in Latte e Miele’s version the role of violin is prominent, but you can always imagine a duet between the two stars...
 

The last track, “Cantabile 1835”, is a piece by Paganini for solo piano and violin interpreted by Elena Aiello in perfect classical style, as close as possible to the way the maestro would have played it in his times...

On the whole, a beautiful album full of classical contaminations...

You can listen to the complete album HERE

 

More info:

https://www.facebook.com/lattemiele2.0/ 

A PUPPET'S TALE

Papillon is the second studio album by Latte e Miele and was released in 1973 on the Polydor label with a consolidated line up featuring Marcello Giancarlo Dellacasa (guitars, violin, bass, lead vocals), Oliviero Lacagnina (keyboards, vocals) and Alfio Vitanza (drums). It’s another attempt to blend classical influences with rock, pop and jazz but, in my opinion, this time the result is not completely convincing and I think that this work in some way marks half step back for the band. According to an interview with the band, the project began as a fairy tale aimed at children, then some moral issues were incorporated into the story including that of the discrimination of the different. Well, despite the great musicianship and some excellent instrumental parts, I don’t like very much the childish vocal sections even if these parts have a specific purpose...

 

 

The title-track is a long suite divided into eight parts (an overture and seven other sections called quadri) that tells the story of a puppet of wood called Papillon (who has nothing to share with the protagonist of the famous Henri Charrière's novel). The plot draws on Carlo Collodi’s Pinocchio and Igor Stravinsky’s Petrushka and the excellent instrumental overture sets the atmosphere... Then music and lyrics begin to tell the story. The first quadro, entitled “La fuga” (The escape), depicts the puppet running away from the booths of a travelling show where he entertains the public to explore the world of men. After the escape, Papillon arrives in the market place of a village (second quadro - "Il mercato") where he meets a little girl who "stirs" his feelings (third quadro - "L'incontro"). The people of the village think that he wants to harm the girl and put him under arrest (fourth quadro - "L'arresto"). Then they put him on trial and Papillon is sentenced to death (fifth quadro - "Il verdetto"). Just before the execution he begins to cry and turns into a little boy (sixth quadro - "La trasformazione"). Finally, he runs away (seventh quadro - "Corri nel mondo"). The vocal parts every now and again sound like a kind of nursery rhyme intertwined with good instrumental breaks, but I find some melodic lines rather weak... Then the short instrumental “Divertimento” closes the first side of the LP with a good mix of classical influences and jazz.

 

The complex "Patetica" is another long suite and opens the B side. It’s a kind of fantasia trying to mix classical music with rock and jazz and it's divided into three parts. The first and second part (where you can easily recognize an excerpt from Vivaldi's Four Seasons melting into jazz rock) are excellent, while the third part in my opinion is not at the same level and to my ears seems just a weak effort to mix classical influences with melodic pop (and uninspired lyrics about romantic, sunny memories coming back in a rainy day). The sparkling instrumental "Strutture" (Structures) then closes the album with another good blending of jazz rock and classical music. 

 

On the whole, Papillon is not a bad album, but it's uneven and with many ups and downs.

You can listen to the complete album HERE

 

An English version of Latte e Miele’s album Papillon was recorded in 1973 but it was released for the first time only in 1992 and re-released in 2010 as part of the CD box set Progressive Italia – Gli Anni ‘70 Vol. 7 on the Universal label. The English lyrics translate and reflect the original versions but, in my opinion, the English accent of the singers is not impeccable and in some way ruins the final result. All in all, perhaps it is not by chance that this version was kept in the closet for so long... If you want a copy of this album, in my opinion you’ve better going for the original Italian version and leave this one to die-hard fans and collectors.

Latte e Miele: Papillon (1973). Other opinons: 

Jim Russell: It's interesting that we rate Latte Miele's first album much higher than Papillon on average, to this date I found no less than four different sources exclaiming that this one is superior to the first. Well, I'm with our PA reviewers in that I prefer the debut album with its youthful exuberance to this more laid back album. This isn't a bad album by any means but it lacks the bite of the first... (Read the complete review HERE)

 

TIME OF PASSION

Latte e Miele began life in Genoa in 1971 with a first line-up featuring Giancarlo Marcello Della Casa (electric and acoustic guitar, violin, bass, lead vocals), Oliviero Lacagnina (piano, organ, harpsichord, moog, mellotron, celesta, vocals) and Alfio Vitanza (drums, cymbals, bells, flute, vocals). In 1971 guitarist Giancarlo Marcello Della Casa also took part, with other guest musicians, in the recording sessions of I Giganti’s album “Terra in bocca”. This experience seems to have influenced also Latte e Miele’s debut album, “Passio Secundum Mattheum”, a concept work where clear classical influences blend with rock, classical music and beautiful melodies. Well, “Passio Secundum Mattheum” is also the title of a classical work by J.S. Bach, but this album is not its “rock version”. The lyrics drew inspiration from the Gospel according to St. Matthew and they are absolutely “politically correct”, you can’t find here the boldness and the poetical inventions of “Terra in bocca” (an album completely “built upon the lyrics”) or of Fabrizio De Andrè’s album “La buona novella” (a conceptual work inspired by the apocryphal gospels). Here the lyrics seem to be just a feeble thread binding together a good musical patchwork, but the result is not always convincing. By the way, Latte e Miele were the very first rock band to perform in the Vatican City in front of the Pope, no wonder then if the narrative parts every now and again seem just to come out from a “Catholic mass”...

The short instrumental opener “Introduzione” (Introduction) sets the atmosphere starting with a church-like choir, then shy echoes of Bolero come in leading to a beautiful crescendo featuring a good electric guitar solo. Next comes “Il giorno degli azzimi” (The first day of the Feast of Unleavened Bread) and “Ultima cena” (The last supper), closely bound together. An acoustic guitar arpeggio and a dreamy mood are the background for narrative vocals and sung parts where the band interacts with an operatic choir... “On the first day of the Feast of Unleavened Bread the disciples and Jesus prepared the Passover...”. The lead vocals and choir interpret the voices of the disciples and Jesus while a narrator is in charge of the spoken parts... While they were eating, Jesus took bread, gave thanks and broke it, and gave it to his disciples... “The bread you will break will be your body shared for us / The wine you will pour will be your blood spilled for us...”. When evening came, Jesus was reclining at the table with the Twelve. And while they were eating, he said... “One of you will betray me...”. The disciples were very sad and began to say to him one after the other... “Surely not I, Lord?”. The voices of the disciples seem to come from an opera, there’s surprise and brio, then the rhythm calms down...

Judas, the one who would betray him, said “Surely not I, Rabbi?”. It’s the beginning of “Getzemani” (Gethsemane) a beautiful and melodic “aria”. Jesus’ soul is overwhelmed with sorrow to the point of death and his voice soars in a prayer... “My Father, if it is not possible for this cup to be taken away unless I drink it, may your will be done...”. Judas said, “Greetings, Rabbi!” and kissed him. Jesus was arrested and put on trial. The short “Il processo” (The trial) features amazing operatic vocals... “Now, My Lord you’ll go on trial for the world’s sake / This way you will save us...”.

The next track “I testimoni” (The witnesses) is divided in two parts and features reminiscences of Latin rock “à la Carlos Santana”. Those who had arrested Jesus took him to Caiaphas, the high priest, where the teachers of the law and the elders had assembled. The chief priests and the whole Sanhedrin were looking for false evidence against Jesus so that they could put him to death. Finally two came forward and declared... “This fellow said, ‘I am able to destroy the temple of God and rebuild it in three days...”.

“Il pianto” (The crying) is a short acoustic and melodic track, an “aria” full of mercy and admiration for the man who is going to die for the world’s sake... “You don’t speak my brother / Silently you are going to die for me... A mother is crying for her son who’s going to die...”.

“Giuda” (Judas) is another short track. It’s more aggressive and features hard rock guitar riffs and swing passages... When Judas, who had betrayed him, saw that Jesus was condemned, he was seized with remorse and returned the thirty silver coins to the chief priests and the elders. Judas threw the money into the temple and left. Then he went away and hanged himself. His fate was to betray because of jealousy... “A tableau is hanging / It makes you understand...”.

“Il re dei Giudei” (The king of Jews) is solemn and dramatic. Jesus was brought to trial in front of Pilate, the Roman procurator. The governor asked him, - Are you the king of the Jews? - Jesus replied - Yes, it is as you say. When he was accused by the chief priests and the elders, he gave no answer... “Jesus was silent in front of Pilate / He said nothing but – I’m the king of Jews...”.

“Il calvario” (Golgotha) opens with operatic vocals shouting “Barabbas!”. It was the governor’s custom at the Feast to release a prisoner chosen by the crowd. At that time they had a notorious prisoner, called Barabbas. So when the crowd had gathered, Pilate asked them, - Which one do you want me to release to you: Barabbas, or Jesus who is called Christ?... The crowd chose Barabbas and Jesus was condemned! The roaring answer of the crowd then gives way to the organ and choir describing in music the Via Crucis... His cross carried by Simon the Cyrenian, Jesus is led to Golgotha for crucifixion. The executioners fix a sign to the cross: “This is Jesus: the King of the Jews”. From the sixth hour until the ninth hour darkness came over all the land. About the ninth hour Jesus cried out in a loud voice “My God, my God, why have you forsaken me?”. And when Jesus had cried out again in a loud voice, he gave up his spirit...

The conclusive “aria”, “Il dono della vita” (The gift of life), is a reflection full of mercy and hope where the lead vocals and choir interact. “Like a stream which wants to wet the sand / You will be my brother... Your life is so great to be called never ending...”.

The re-release on CD also features a bonus track, “Mese di maggio” (May). It’s just a melodic pop song that contrasts with the rest of the album and adds nothing to this work...

From the book Rock Progressivo Italiano: an introduction to Italian Progressive Rock

You can listen in streaming to the complete album HERE

The band have recently completely re-recorded the whole album with new versions of the old pieces and some unreleased tracks...

More info:

https://www.facebook.com/pages/LATTE-E-MIELE/316295138804