LITTO NEBBIA

But on this album, Nebbia has returned to form. There is more than a hint of Canterbury styled jazz rock fusion here, and even a piano solo that seems to look to good old Keith Emerson for inspiration.

These are finely executed pieces, with changing themes, time signature play, and and well crafted solos. I particularly like the keyboard sounds he uses. They evoke the classic Todd Rundgren albums in my ears.

There are a few songs that captured my attention, however. The opener and title track, Bazar de los Milagros, while simple instructure has some nice solos. And Bituca, the only truly prog track from the original release, is as fine a somg as I've heard from Nebbia. And it also includes an excellent guitar solo.

My copy has some bonus tracks. While these are short and more experimental than anything on the original album, they all have an unfinished feel to them.

With ''Muerte en la catedral'',released in 1973 on RCA,Nebbia begins to add different elements from the growing progressive rock scene in his music,without leaving his psychedelic and folk roots behind.The album is quited dated I have to say with today's standards,but it contains some good moments of music.Helped by several musicians,Nebbia offers a work somewhat split between acoustic folk/psych and lightweighted prog with plenty of vocals.The acoustic material is in the typical Nebbia style,simple tunes with sensitive vocals,nothing trully exceptional.The most intricate side of the album delivers a slightly complicated sound with rich instrumentation,featuring clavinet,glockenspiel,synths,trumpets and electric guitars and tracks drawing influences from symphonic rock,horn rock and chamber music.These ones won't definitely satisfy the average progger,but they are good examples of what Nebbia was able for.

''Muerte en la catedral'' didn't grow very well through time,on the other hand it is a respectful psych/folk/rock album with a good amount of progressive influences and possibly a future purchase at a reasonable price for anyone wanting to broaden his psych/prog collection.

Of course, being from Argentina, there must also be some Spanish guitar, and even accordion (well, actually bandoneon, if you must be technical). And it all works well.

That said, for what this is, there is nothing that leaps out of the music and grabs me. No noticable standout performances or unusually great compositions. So I can only give this three stars.