On link #2, this was taken at the last Mardi Gras in Eunice with the Mamou Playboys. His name is Briggs Brown... Wow!

I think he is a pro. In fact, he's just had a CD come out.

He's on the Swamp and Roll TV link below. So for all of us old guys, think about this. I've been playing for more years than he's been on this earth and he's already a gazillion times better than I'll ever be. I hate that kid!!!! LOL
Seriously, that man can play and it's not just the notes. He's got the feel and that's where it's all at.

It was about 5 years ago I met young Briggs.
Was eating lunch one day and I noticed him sorta watching me from another table, all the while he was whispering to his mom and dad and doing they pointing thing (as kids do).

A few minutes later he wandered over and asked me if I would help him sell some of his first release CD's.

"Sit down here son, lets talk" We introduced ourselves to one another. "Tell me about yourself Briggs, where ya going with your music?" We chatted a good while, and it was clear to me (then), that this youngster was on track and influenced by some dynamic instruction (back then). After 10 minutes or so, over comes the mom and dad. Great folks which are very supportive of his goals and objectives musically. A pleasure meeting them as well.

The UTUBE thing on young Briggs brought a dandy smile to me, realizing that the hope of the music and the ability to put it on the line, it's alive and well with some of our youth.

I hear a bunch of S.R. style riffs instilled in this youngster. Briggs, yep he's dandy for all of us.

So how old would he be now? Who is/are his mentor(s)?

Maz, I am guessing he's about 14 or 15 now.
When I met him, he was around 10 years old, and appeared destined for some good stuff in the years ahead. An all american figety boy seemingly as comfortable in building a tree house or grabbing a fishing pole, as well as building a musical foundation for the years ahead (my first take on Briggs). I dont always manage to follow up and keep tabs on folks I chance to meet, so the subject of Briggs was a fine mention on this board.

How do they become influenced musically?
For one, I believe there continues to be competitive display of accomplishment for accordion players within La.
Future stars come out of these competitive arenas that show case talents and expose some of these youngsters to the mass public. One of the people on this board "Chris Miller and possibly Ganey" may be able to best describe these competitions and how it promotes the continuance of French music and the cultural awareness. I would guess young Briggs is working within that realm of competition at his age now, as he was a scholarship recipient of Augusta at a very early age.

Though I have not attended the music camps (Augusta & Balfa) for a number of years, I still give to the scholarship of Augusta (behind the scenes). In this small way, I am hopefull that youngsters such as Briggs, uses this opportunity (dontations from many) for self progression and furthering to keep this music alive in and out of La. in a positive humble way.

So, who are the mentors ?
Lord, knows it could be a vast many.
I am sure Steve Riley is in that picture somewhere. Perhaps many others, such as Ed poullard and Jesse, and (some of the old dog masters teaching the pups), it could even well be Chris Miller himself (just guessing). Youngsters like Briggs tend draw positive attention from many master musicians for his advancement potential, being where he's at and all. It is part of the "give back" for opportunities they themselves recieved at some point in time, returned to others. That's right and that's good.

Here's an interesting photo for you history buffs:

http://www.helenboudreaux.org/wof1999.htm

R!CK

What I have experienced, Nonc, is probably affecting the culture and music more in a negative manner than positive. At least in my neck of the woods.

There is a huge amount of competitiveness among young players. What I see more and more is a move away from the very fluid melodic type playing to a more "rockin' " type playing filled with hot licks. Contests, in my opinion, perpetuate this. They completely ignore the rich history of Cajun music and zone in on the hot hits of today. Check out the guy on YouTube jamming out on the tailgate of a truck playing the great traditional song "empty glass."

I have participated in two contests in my life. The first was the one Chris won his accordion in. Chris won the professional division beating out players like Jesse Lege', August Broussard and Reggie Matte. I was in the amateur division and took 1st runner up. I was fairly beat by a 13 year old Sean Vidrine who happened to be a Chris Miller student and played my accordion.

Years later, at the urging of a couple of CFMA members, I entered the professional division to "balance out" the competition. Whatever that meant??? Of course, I didn't place.

At the Mulate's Accordion Festival, I witnessed August Broussard take first place and a 9 year old Kira Viator take second playing "J'ai passe' devant ta porte" without playing the bass side.

In recent years, the Accordion Shootout has illustrated this point, as well. Several players who can't maintain the bass side of the accordion for an entire song have placed, or even won.

Over the years, I have taken on students who wanted to learn to play because it is cool. After a couple of lessons, I realized that they can't name five tunes, or tell me what they want to learn, so I stop. My friend is experiencing the same thing, right now, with a fiddle student.

That's along the lines of something I've noticed in some younger players, they play awesome, technically, very fast, but lack emotion. And that is a large part of the appeal of cajun music to me. Without any emotion or feeling, the song just aint right, no matter how good he's playing. Of course, this doesnt apply to all, but just what I've noticed about many.