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Saturday, 2 June 2018

Litto Nebbia (Los Gatos) “Bazar De Los Milagros” 1976 Argentina Prog Jazz Rock


Litto Nebbia (Los Gatos)  “Bazar De Los Milagros” 1976 Argentina Prog Jazz Rock
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Los Gatos 1967

“Bazar de los milagros” marks another soft but beautiful album by Nebbia within the Jazz Rock/Psych Prog genres.Four guests on percussion, bass, electric piano, female vox and Nebbia playing, singing and conducting the team as a true leader to deliver a mix of smooth Jazz Rock and Fusion with electroacoustic textures, jazzy electric piano, nice Moog synthesizer, crystalling female choirs.Long tracks are interesting Jazz Rock with progressive tendencies, shorter ones are combined Psychedelic Rock and Fusion with good keyboard work and spicy electric guitar.One more quality album in the row for this leading Argentinian artist…..by….apps79 …~

Undoubtedly one of the great Argentine contemporary musicians and composers is Litto Nebbia, and the prolific and basal decade of the seventies is full of great records that Litto recorded, among which there are many of the considered “classics”, example “Death in the Cathedral ”, or" Melopea “to mention some obvious ones. However there is a disc somewhat forgotten perhaps by the dazzle that those titles cause and that, however, is a real gem. 

Of course we are referring to this "Bazaar of Miracles”, recorded and originally published in 1976. 

At that time, Nebbia had come to work with the trio “jazzero” formed by Astarita and González, with whom he had published “Fuera del Cielo” (1975), and was preparing “The Seller of Promises” that would be released two years later ( 1977) and was preparing to make a different album in the middle of these, with another sound, giving it a progressive turn (in the framework of the themes, use of synthesizers, etc.) 

He then calls Daniel Homer on guitars, basses, percussion and choirs; Litto himself takes charge of pianos, organ, synthesizers and voices, and a central fact is that the lyrics are in charge of the wonderful pen of Mirtha Defilpo. 

They participate as guests in some part of the album (providing details that embellish it even more), talents such as Manolo Juárez on piano, Jorge González on double bass, Néstor Astarita on percussion, Chany Suárez on choirs and is in charge of the beautiful cover art Niní Bernardello. (The Surrealist cover and reverse, based on the theme “The Fall”) 

The result is a fascinating album, a quasi-work of concept, (which refers to the book “Shop of Miracles” by Jorge Amado) that begins the eight-minute suite by opening the album with a catchy piano and guitar melody attacked by synthesizers , which constitutes the leitmotif of work; then the dark and deep “The New Testament” touching on piano and guitar and an imposing synthesizer closure; the instrumental climate “Bituca” which in reality is a tribute to Milton Nascimento; follows “For Daniel” a song with a beautiful melodic line; then follows a song with composition shared by Nebbia, Homer, Defilpo, an accomplished air of bosa nova called “Transeúntes”, which leads to two suites “La Muerte y La Mirada” and “La Caída” full of changes of rhythms and synthesizers, to finally close with the introspective theme “Reflections on Loneliness”, perfect brooch of a brilliant disc, which has no low parts and that has the intelligent and intricate lyric of Mirtha Defilpo that enhances it more still   (“The dreams of the sleeper, claim to the past: which arms held my body and my head delicate on many stairs that lead to death?” from La Muerte and La Mirada). 

As an added value of this edition of “Mini LP” by Viajero Inmóvil, there are four extra tracks that are the soundtrack of the film “Bobeta, Illusion and Awakening” recorded in 1975 by Nebbia on keyboards and guitar, Jorge González on double bass, Néstor Astarita on drums and Gustavo Moretto (of Alas) on trumpet, in a climatic instrumental line of great beauty as in “Tema de Amor - B”. 
A great work and a great edition finally on compact disc. 
Litto says in the internal envelope of the disc “La Tiende de los Milagros is a painter’s atelier, where the believing people will tell the events and appearances of a miraculous soul, and as an offering they ask the painter to make a picture of the scene that you remember … in an offering similar to this book I wanted to musicalize your purpose, I hope you have achieved it ” 
Undoubtedly Litto you did it…….by….Gustavo Bolasini….~

The guitar playing of Litto Nebbia (born Felix Francisco Nebbia Corbacho) has played an important role in the evolution of rock in Argentina. The leader of pioneer Argentinean tango rock band Los Gatos in the early ‘60s, Nebbia has continued to explore a variety of musical genres, both as a soloist and member of experimental music group Huinca in the early '70s and his own jazz band, the Litto Nebbia Trio. 
Nebbia’s first success outside of Los Gatos came in 1967, when he teamed with Argentinean multi-instrumentalist and vocalist Tanquito to record the dance tune “La Balsa.” A major hit in Argentina, the single sold an unprecedented 200,000 copies. 
Shortly after the song’s release, Nebbia left Los Gatos to focus on his solo career. A self-titled debut solo album, released in 1969, included the hit single “El Extracto De Pelo Largo” (The Stranger With Long Hair). 
Beginning in 1971, Nebbia increasingly fused the folkloric music of Argentina with Western rock influences. This gave his music a very distinct sound. 
Although he moved to Mexico during the military dictatorship in Argentina, he returned in the early '80s. In May 1983, he performed a reunion concert with former Los Gatos bandmates Juan Carlos Baglietto, Silvina Garre, Fito Paez, and Jorge Fandermote. 
Nebbia has continued to make his presence felt in his homeland. A CD-ROM, Paginas De Vida, featuring a biography of Nebbia and a historical account of his bands, was released in 1997. The following year, he recorded Nebbia Canta Cadicamo, an album of tangos composed by Enrique Cadicamo. A concert of these songs was performed at the Theater General San Martin. ~ Craig Harris…..~

The album is laid back with a jazzy/blues feel and flows well. It has a distinct bass throughout with guitar (acoustic and electric) and keys. The album has with nothing to disturb the flow or jolt the listener. I’ve found it to be a good album to get lost in and relax with. 
It would seem that Litto and Daniel worked well together with no instrument dominating for too long, this isn’t the keys driven album that I honestly expected. Far from it, there is some serious guitar expertise as well. The instruments are played with a satisfying light/delicate touch for most of the time. 
The vocals are well worthy of some credit with some tracks being song based and others where the voice is predominantly used in an instrumental sense. The singing is all in Spanish and this fits perfectly with the romantically driven music. Transeúntes and La Muerte Y La Miranda are good showcases for the strength of the singers who harmonise very well. 
After spending some time listening to this album, I’ve come to the conclusion that its a pity that Litto Nebbia isn’t more widely recognised within the progressive community. When you need to relax away from the neo and metal…. or even life itself, try this album….by…Tina….~ 

Litto Nebbia (born July 21, 1948) is a singer, songwriter and producer prominent in the development of Argentine rock.
Félix Francisco Nebbia was born in Rosario, Santa Fe to Martha and Félix Nebbia, in 1948. His parents were struggling musicians, though during his early teens, Litto left secondary school to join a friend, keyboardist Ciro Fogliatta, in a band ("Wild Cats"). The duo moved to Buenos Aires in 1963, and lived hand-to-mouth in a Balvanera ward tenement. They appeared in a television show, Escala Musical, a number of times, and became regulars at a popular neighborhood recital hall, La Cueva.
Nebbia and Fogliatta formed "Los Gatos" in 1966. The group became known for their all-night performances, and composed most of their own songs, many in the well-known neighborhood café, "La Perla del Once" (facing Plaza Miserere). One such composition, La balsa (The Raft), was written at that location by Nebbia and the ill-fated songwriter Tanguito on May 2, 1967, and following its release on the RCA Victor label on July 3, sold over 250,000 copies
The album, which also included Moris Birabent's Ayer nomás (Just Yesterday) was the first local rock production to outsell either American or British rock titles locally, and the milestone became known as the birth of Argentine rock.[3] The Argentine edition of Rolling Stone Magazine, in a 2007 retrospective, named the melancholy La balsa number one in the list of the 100 best albums in Argentine rock.[4] Commercially, the album rescued the struggling group. Invited to perform the hit on television following its release, the group could only see themselves when the show aired at the kindness of an appliance store owner, who tuned a window display set to the program at their request
Controversy ensued shortly after the hit's release however. A contentious debate soon arose as to whether Nebbia or Tanguito had contributed more to the composition (particularly after the latter's tragic, 1972 death).[2][5] La balsa also aggravated officials in General Juan Carlos Onganía's conservative dictatorship, who stopped short of banning a song they believed encouraged escapism and drug abuse, but retaliated by shuttering La Cueva, whose stage had become the focal point for local rock groups (including Los Gatos).[6] The band itself began losing cohesion, as well: guitarist Kay Galiffi relocated to Brazil, and Nebbia left the group in 1969; by 1970, Los Gatos had dissolved
Nebbia began a solo career with RCA Records, and his first album, Litto Nebbia, benefited from having a number of its tracks included in local filmmaker Julio Porter's El extraño de pelo largo (The Long Haired Stranger). His work drew from the folklorical Chacarera genre in 1971 and 1972, and in 1973, he founded the Litto Nebbia Trio, whose repertoire centered on jazz. Nebbia produced folk rock duo Pastoral's En el hospicio (In the Hospice) in 1975, enjoying success in his first foray into record production. 

The advent of a new dictatorship in 1976, and his subsequent intimidation and detainment, forced Nebbia to seek exile in Mexico, however. He remained creatively productive in exile, and released some of his most successful albums during this era, including Canciones para cada uno (Songs for Each of You) in 1978, and Sólo se trata de vivir (It's Only About Living), in 1981. Expecting a daughter, Miranda, and heartened by an improving civil liberties climate, Nebbia returned to Argentina in 1982.
His return was followed by the Rosariazo, a May 1983 concert in which he was joined by Silvina Garré, Juan Carlos Baglietto, and Fito Páez, among others; his 1986 release, Demasiadas maneras de no saber nada (Too Many Ways to Know Nothing), was his fiftieth. Martha Nebbia, his mother, had recently converted a former Villa Urquiza shoe store into her new residence, and invited her son to install a recording booth there. Reunited with Salvador Barresi, the recording engineer from his days with Los Gatos, they improved and equipped the ad hoc space, which was opened as a recording studio in 1988, and which Barresi named El Nuevo Mundo ("The New World").

El Nuevo Mundo Studios led to Nebbia's 1989 establishment of Melopea Records, which he named after both the Ancient Greek music theory, and his own, 1974 album of that name. Melopea Records became known for discovering and promoting new talent, as well as producing unreleased tango compositions from decades earlier. Some of these latter included works by consular figures in the genre, such as Juan Carlos Cobián, Enrique Cadícamo, and Roberto Goyeneche. Nebbia was named Illustrious Citizen of Buenos Aires in 2002.

Los Gatos, save for drummer Oscar Moro (who had died a year earlier), were reunited for a revival in 2007. Nebbia presented a nine disc anthology of Argentine rock in 2010, and hosted a gathering of fellow Argentine rock greats on 9th of July Avenue as part of official celebrations of the Argentina Bicentennial. Two of the most influential in the genre, Charly García and Luis Alberto Spinetta, acknowledged Nebbia and Los Gatos as inspirations for their own beginnings....wiki....~ 



Line-up / Musicians 
- Litto Nebia / vocals, guitars, piano, keyboards, drums 
- Homer / guitars, bass 
- Defilpo / vocals 
- Chany Suarez / vocals


Tracklist 
A1 Bazar De Los Milagros
A2 El Nuevo Testamento
A3 Transeúntes
A4 La Muerte Y La Mirada
B1 La Caída
B2 Para Daniel
B3 Bituca
B4 Reflexiones Sobre La Soledad 

Discography 
Litto Nebbia, 1969 
Litto Nebbia, Vol. 2: Hijo de America, 1970 
Nebbia's Band, 1971 
Despertemos en America, 1972 
Muerte en La Catedral, 1973 
Melopea, 1974 
Fuera del Cielo, 1975 
Bazar de Los Milagros, 1976 
Cosas Que No Quieren Morir, 1976 
El Vendedor De Promesas. 1977 
Canciones Para Cada Uno, Vol. 1, 1978 
Canciones Para Cada Uno, Vol. 2, 1979 
Toda Cancion Sera Plegaria, 1979 
Creer, 1980 
1981, 1981 
Solo Se Trata De Vivir. 1981 
Solopiano, Vol. 1, 1981 
Tres Noches en la Trastienda, 1981 
Llegamos De Los Barcos, 1982 
Solopiano, Vol. 2, 1982 
Canciones Para Conocernos Mas, 1983 
La Guerra No Sabe, 1983 
1992, 1984 
Con La Banda Sinfonica Nacional, 1984 
Para Que Se Encuentren Los Hombres, 1984 
En Brasil, Aqui Y Ahora, 1985 
Luna Caliente, 1985
Demasiadas Maneras de No Saber Nada, 1986 
Musiquieros, 1987 
Buscando en el Bolsillo del Alma, 1988 
Nostalgias del Harlem Espanol, 1990 
Esperando El Milagro, 1992 
Argentino de America, 1992 
Seguro, 1992 
Paginas de Vida, Vol. 1-4 1994 
Evita: Quien Quiera Oir Que Oiga, 1996 
Homenaje a Gardel Y Le Pera, 1997 
Nebbia Canta Cadícamo, 1997 
El Hombre Que Amaba A Todas Las Mujeres, 1997 
Matar al abuelito, 1998 
Siempre bailan dos, 2000 
El jardín de la esquina, 2001 
Tributo a Brian Wilson, 2002 
Celebración, 2003 
La Noche del Colibri, 2004 
Tango & Nocturno, 2004 
Bazar de los milagros, 2006 
Danza del Corazon, with La Luz, 2007 
El Jardin de La Esquina, 2007 
Península Valdes, with Alfredo Lichter, 2007 
The Blues, 2007 
Bella Madrid, 2008 
Calamaro querido!, 2009 

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