LUTUNN NOZ

I have the impression that "Lutunn Noz" is the most highly regarded work of BERNARD BENOIT's career, based on its relatively early appearance, availability, and internet "hits" relative to his many other releases. While "Guitare Celtique" from several years earlier was a promising first cut at sculpting acoustic guitar as a lead instrument in traditional styled performances, this sophomore effort permits the less timid participation of bombarde and pipes which serve to ignite the arrangements. Not surprisingly, while Benoit's peerless picking hath its own charms the highlights here are the tunes in which accompanist Philippe Le Balp attains equal footing.

At times "Lutunn Tuz" seems content to be relegated to the background, especially on the first few cuts, but the lively "Fidandoue kernevad" changes all that with its vivacious accordion passages and leads into the miraculous "Jenovefa rustefan", with one of the most heartwarming melodies I have heard from Brittany. Benoit weaves some flamenco stylings before bombarde assumes the mantle, a pattern we see throughout the disk. The title cut is enhanced by Benoit's vocalizations, as is "Theme de la folle de Toujane" by those of Jenika Gaelle, whose highs, while more subdued, approximate those of a contemporaneous ANNIE HASLAM. "L'Heritiere de keroulaz" begins with delicate plucking by BENOIT, sounding as much like harp as guitar, carrying well into the latter half before the bombarde falls in and hoists the already stately tune to its climax. The album closer possesses all the delicacy of ALAN STIVELL's early "Renaissance of the Celtic Harp" and matches it for atmospherics as well.

This is a gentle, dignified and timeless album that can be appreciated on multiple levels, but don't expect it to club you over the head and drag you to its lair. It's more of a sultrily wholesome companion for a cherished quiet Friday night.

Primarly a folk guitarist, Bernard Benoit came from Frehel in the Bretagne area and his early career finds him in the line-up of the Folk band Diaouled Ar Menez, at a time when he had already released a first solo effort entitled ''Guitare Celtique''.His experience with Diaouled Ar Menez lasted a couple of years, before pursuing a personal career and in 1975 he returned with a second album on Arion, ''Lutunn Noz''.Benoit plays the guitars and he is accompanied also by Didier De Calan, Tanguis Le Dore and Philippe Le Balp on folk instruments and bass (the last two coming from Diaouled Ar Menez) and Jenika Gaelle on female voices.

The music of Benoit hasn't changed from his early years and, while this album circulates as a Prog Folk release, it is 100% a Breton Folk effort with a very relaxing mood and a generally melancholic instrumental approach.There are lot of acoustic crescendos by the French guitarist with hardly any instrument supporting in a very minimalistic and pastoral enviroment and the style gets soon quite repetitive and boring.Of course there are some better moments with the lovely sound of bombarde, the dreamy bagpipes and the accordeon here and there in richer and more optimistic Celtic-influenced soundscapes, but the overall sound does not actually change any level of energy.Some sporadic female choirs make ''Lutunn Noz'' an even more ethereal listening and propably a great choice for background music.But the album suffers from a similar atmosphere all the way, while the lack of a wider instrumental palette makes it a bit of a sterile effort.

End of story.No Prog Folk here.''Lutunn Noz'' is a crystal-clear, calm and atmospheric, all instrumental Breton Folk work with some things to offer for fans of the style, but nothing more that would make it escape the limited circle of Breton Folk lovers.