Latte E Miele
Passio Secundum Mattheum

Many are familiar with the renowned Genoese singer-songwriter school. Less known, but equally valid, is the progressive rock circuit that developed in the Ligurian capital at the beginning of the '70s, thanks to bands like New Trolls, Gleemen (later Garybaldi), Picchio dal Pozzo, Delirium, Osage Tribe, Duello Madre, J.e.t., Nuova Idea, Ibis, and Latte e Miele. It is these latter artists who are the creators of the album I am going to talk about.

Latte e Miele were formed in 1971, thanks also to the interest of Nico di Palo from New Trolls, and they settled as a trio, modeled after ELP and Orme, around Marcello Giancarlo Dellacasa (acoustic and electric guitar, violin, bass, vocals), Oliviero Lacagnina (piano, organ, mellotron, harpsichord, celeste, Moog, vocals), and the very young Alfio Vitanza (drums, bongos, timpani, various percussion, flute, vocals).
The following year saw the release of their first work, an ambitious concept album on the Passion of Christ according to the evangelist Matthew, with a complete transposition of the original texts in the narration and an adaptation of the same in the song (it is worth noting that a "Christian" theme is also handled in "La Bibbia" by Rovescio della medaglia).

Less evident, yet present, is the influence of Bach's inherent work, if only for the baroque arrangements, which together with constant jazz touches, medieval folk inlays, and an Emersonian rock component, make this work a small symphonic prog jewel, courageous and unique.
The album, in its 13 tracks, narrates the events of Jesus from the Last Supper to the ascent to Golgotha, although due to the fragmentary nature of the tracks and the absence of progressive suites in the common sense of the term, it suffers from a lack of homogeneity and thins out the adhesive thread of a concept; some instrumental fillers, as in "I testimoni", are unfortunately comparable to most of the Italian prog scene of the time.

However, there are noteworthy moments, like the jazz section that closes the first side and opens the second, the emphatic ecclesiastical choirs (where the hand of the trio's producer, a former opera singer, is certainly evident), the union of heavy instrumentation/jazz singing in "Giuda", interesting guitar cues, organ fugues that denote a certain technical prowess ("Il Calvario", inspired by ELP's "The Three Fates"), and a considered use of the recording studio.
The concluding "Mese di Maggio" is a bonus track slightly more pop compared to the rest of the album.
"Passio secundum Mattheum" was also presented at the Pontifical Oratory Theater of St. Peter in the Vatican in 1973.

If one is not puritanical and does not wrinkle their nose at these contaminations of sacred and profane, the album will prove to be very pleasant.