01:50 John Wirt introduces the panelists 04:02 “Indian Red” recording by the Golden Eagles 05:09 Jeff Place explains how the track placement for the five-CD Jazz Fest box set was conceived, mimicking a day at the Fairgrounds, including ambient sounds like the welcome announcement by Larry McKinley 07:01 Michael Murphy describes how he got to the Smithsonian to pitch his idea for the box set 08:14 Place describes meeting Murphy, and how a Jazz Fest idea was already in the ether in the form of a suggestion of a tribute to George Wein 08:49 Murphy relates the sequence of events in planning the set, as he remembers them 09:29 Dave Ankers explains how he got involved in the project, and what his contributions looked like 11:01 Murphy tells how he came to accumulate a huge collection of Jazz Fest footage 12:20: Ankers speaks to WWOZ’s trove of Jazz Fest recordings, collected dating back to their first live broadcast in 1993; describes the process of whittling down the material, “an embarrassment of riches” 13:58 Place weighs in on the process, explaining how they knew what number of which sort of songs they wanted 15:02 Murphy reflects on the production experience; explains how his material from 1987-1989 was lost due to brittle cassettes 17:49 Ankers explains how a variety of obstacles could prevent certain tracks, but that an aim of the set was also representing less readily available music, as opposed to worldwide hit makers such as Fats Domino 18:56 Murphy reflects on John Campbell, a more obscure artist he included a track from, along with Ankers, who explains how he represents a mission of the set: to show that there are undiscovered pockets for discovery at Jazz Fest 20:18 Place underscores the set’s emphasis on Louisiana heritage, and Murphy speaks to the relief of a project, particularly in contrast to most television broadcasting, that didn’t put much stake in headliners 23:06 Recording, Champion Jack Dupree and Allen Toussaint 23:33 Ankers explains how Allen Toussaint’s accompaniment on the Champion Jack track was discovered accidentally 25:13 Ankers discusses Bonnie Raitt’s musical contributions on an Allen Toussaint track, and Murphy reflects on her relationship with Toussaint 26:30 Murphy relates how pleased he was that the Smithsonian folks wanted to focus on authentic New Orleans and Louisiana culture and talent 27:35 Ankers confirms that the project was conceived as one of live recordings; Place explains how he pulled some recordings before 1990 from a series of NPR shows 28:53 Place explains how he listened through all the tapes from a benefit concert for Professor Longhair after his house caught fire; Ankers tells how things came together perfectly, as the archive had the tapes, which had recently been digitized 30:23 Professor Longhair, “Big Chief” 30:25 Panelists discuss Longhair’s “Big Chief,” where he’s backed by the Meters and playing at breakneck speed; Ankers describes playing excerpts from the box set on air at WWOZ and what a hit it was, partly because there’s so little new Professor Longhair to discover 31:33 Ankers confirms that the fire benefit tracks are the oldest of those on the set, and that Big Freedia’s “N. o. Bounce” is the newest, from 2016, and reflects on the continuum of music Jazz Fest provides. Murphy underscores this sentiment, explaining how he’s decided to include Freedia in an upcoming feature on the city 34:28 Big Freedia, “N.O. Bounce” 35:24 The panelists describe how the government shutdown impacted production 37:10 The panelists affirm their pride in their work 37:21 Place details how much time he spent on the set, it having dominated his weeks from May though the end of February 37:51 Place explains that their wish list totaled a hundred and forty tracks, which would make issuing another set easy 38:21 Rachel Lyons point out some Folkways staff in the audience, and relays how much George Porter, pictured on the cover, enjoyed his copy of the book 39:40 Huib Schippers explains that Folkways is in “the forever business,” so the box set exists digitally; he also explains some drama surrounding the binding of the book 41:14 Place ruminates over his favorite tracks that didn’t make it onto the set 41:35 Ankers lists his three favorite tracks from the set 42:14 Murphy names John Campbell as his favorite track of the set 42:45 Place selects the Wild Magnolias as his favorite 43:20 Place and Ankers explain why there’s no Eddie Bo on the set, and the story behind the George Wein track “Back Home in Indiana” 44:12 Interview ends