ABSTRACT: 06:32 Demonstration, “Tipitina” 09:01 Cleary explains that with the benefit of hindsight one can see that Professor Longhair was a “unique musical brain,” sounding a way that no one before him did, including due to his propensity for Afro-Caribbean rhythms. 11:40 Roberts reveals that Fess liked Perez Prado’s band, a big Latin American dance band, which he believes to have influenced him. They, on congas and keyboard, had a great musical rapport, and never had to rehearse. He says they “got along like brothers.” He then gets into his time playing bongos for Chris Owens, who dubbed him Jamaica Joe. He reveals that part of his familiarity with Fess came from his music playing in a bar in his neighborhood when he was a kid. 14:37 Demonstration “Go To The Mardi Gras” 17:23 Scanlan explains that he also heard Fess’ music as a kid, his standards being “part of your Mardi Gras experience.” He knew Fess’ manager, who after repeatedly saying he ought to play with Fess invited him over to jam. Two weeks later, Scanlan was told the bass player had left and was invited into the band. He considers his time with Fess the most important section of his development. He explains that given Fess’ propulsive left hand on the keys, his job on bass was to get underneath and support him, and to know when not to play. He tells how generous Fess was with experimentation, and that his ample power was immediately evident. 22:26 Byrd speaks to her father’s sense of humor, and how lovingly bizarre she found him. She emphasizes how often he told his band to pay attention, and illustrates his ability to do the same with an anecdote from Piano Players Rarely Ever Play Together. She says he taught her the importance of respecting others, even when they’re wrong, and speaks to his indefatigability, stating that he cannot be imitated or duplicated. While she says she’s heard musicians approximate his rhythm, none can nail “the wiggle,” stating, “if you wasn’t born with it, you’re not gonna get it.” 27:58 Byrd explains all she’s gone through to honor her parents’ wishes that their house not be sold, in which she now runs what she calls rooms of memories, which are free and open to the public. 32:41 Byrd shares the anecdote of her father’s green chair, in which he built a remote to control all his gadgets, as getting up repeatedly was difficult for him. Eventually, as presaged by Dr. John, all the wiring caught the chair on fire. 36:44 Waring explains how Piano Players came to be, born from her late husband’s musical passions and interest in getting to know musicians. Allen Toussaint led them to Fess and Tuts Washington, and Waring took the opportunity of Fess’ centennial this year to re-issue the film on DVD and include further interview footage of Fess. 41:55 Byrd gets into her parents’ participation in the New Orleans Civil Defense Unit, speculating that her dad saw it as a way to give back to his fans. 43:39 Waring reveals that there is a forthcoming documentary on Allen Toussaint, being finished by her husband’s editor. She confesses to having thought about what to do with all the Tuts Washington footage that didn’t make it into Piano Players. Fess told her that while Tuts could reach an octave just by laying his hands down, Fess, with shorter fingers, had to jump. 45:53 Roberts tells that he met Fess at a house party, and shares their touring tradition of going out to find him his favorite breakfast of red gravy, grits, and a round steak. 47:04 Demonstration, “Big Chief”