ABSTRACT: 00:50 Panel introductions 03:02 Roger Lewis explains how he got hooked up playing with Fats, and details his first gig, in Toronto in 1971. Explains that a perk of the gigs with Fats was that he was always welcome back, even when intermittently absent to pursue his work as a founding member of the Dirty Dozen Brass Band. 08:00 Clarence Frog McWilliams relates how he got involved playing with Fats, enabled by Lee Allen to waltz straight from Wilson Pickett’s band, on guitar, into Fats’, on bass. He stuck with Fats for fourteen years. 11:00 Jimmie Moliere explains that he was familiarized with Fats’ music by jamming with his son Antoine, who recommended him after the passing of Fats’ initial guitar player Roy Montrell 12:26 Moliere tries to call out names of who all he played with prior to Fats, settling on “literally just about everybody in New Orleans” 13:24 Reggie Hall recounts his first impressions of Fats, which came when they were teenagers and Fats was dating his sister. Recalls Fats, known to him as Antoine, setting up a snowball stand in his backyard on Caffin Avenue. 16:32 Demonstration “I’m Walkin’” 19:10 Rick Coleman calls out Fats’ original band mates’ names, with some background on each, they being Dave Bartholomew, Earl Palmer, Frank Fields, and Herbert Hardesty, and invites the panelists to reflect on them. Lewis compares Bartholomew to a drill sergeant in terms of his organization, and calls Hardesty one of the nicest people you ever want to meet. He says Allen’s projection was such that mics were near unnecessary. Lewis also adds Walter Kimball to the roster, who was known as the clown. He adds Frederic Kemp as well, who he compares to John Coltrane, and says once did backwards flips standing up with playing his alto, earning the band huge tips. 25:52 Lewis conveys what a great learning experience playing with Fats was for him, including absorbing the power of his stage presence. Reminisces over how Fats bought the subsequent baritone sax player a new horn so that he, like Lewis, could play a low A. 28:30 Hall recounts Fats’ having passed “You Talk Too Much,” on a chart topper he wrote specifically for him. Subsequently the record was sent to Fidel Castro and played at the UN. 29:52 McWilliams reflects on his relationship with Lee Allen and the fact that it was he who got him involved with Fats. He also reflects on Allen, Bartholomew and Hardesty’s individual fame. 33:00 Hall reminisces over Walter Papoose Nelson, Fats’ original guitar player, who he credits with beginning the trend of standing right behind Fats. 34:07 Demonstration “Blueberry Hill” 35:25 Lewis recalls Fats’ habit of sliding the stage at the end of shows, and how he slid a baby grand right to the edge at a gig in Evansville, Indiana, a near-disaster which saved by inadvertently hurling himself over it, leading to his being replaced in the second set by Roy Montrell, something he says he’ll never forget. 37:19 McWilliams calls Fats the sweetest musician of any he ever worked with, and Moliere says working with him was his easiest job. There wasn’t a single rehearsal his first eleven years with the band. 38:10 Hall remembers Fats once gifting and immediately retracting a station wagon, conveys how Fats relied on him. 39:23 Demonstration “When The Saints Go Marching In”