For decades now, retired ULL professor Barry Ancelet has written French language poems and lyrics under the pseudonym of Jean Arceneaux. A few have been recorded, such as “Late in Life,” the 1992 CFMA Song of the Year that was co-written with Wayne Toups. The roots of this collaboration began when Ancelet gave Mamou Playboys’ guitarist Broussard some minimalist lyrics that blossomed into the electrifying “Menteur” found on Steve Riley’s 2008 Best Of disc.

This set is a brilliant showcase of Ancelet’s thought-provoking poetry and Broussard’s genius arrangements. Only three tracks feature guest musicians. Broussard played everything else: acoustic, electric and lap steel guitars, fiddles, bass, harmonicas, flutes, saxes and programmed percussion all recorded in his home studio.

Interestingly, for being an account of Amédé Ardoin towards the end of his life, “Une Dernière Chanson” is a surprising steel guitar and fiddle–fueled country two-stepper. The despairing loneliness of “Appuyé Dessus la Barre” is folk-centric and haunting, yet replete with a beautiful, sunny solo.

As Ancelet’s poems vary in subject, Broussard counters with creative arrangements to suit whatever’s on hand, whether it’s a protest rocker (“Trop de Pas”), a wall-rattling bluesy howl (“Le Loup”), or a densely layered, poignant ballad (“Personne Pour Me Recevoir”). While Ancelet and Broussard alternate vocals and occasionally harmonize, Anna Laura Edmiston blows the doors off with her enchanting performance of “Coeur Cassé.”

To break up the vocal content, Broussard tosses in a quasi-orchestral instrumental—“Pour Qui?”—that’s simultaneously jazzy and cinematic. A rare recording that gets deeper with each and every listen.