00:00 - Hadley says that Harry Choates inspired his playing style, but he never got a chance to see Harry play live;
01:00 - Interview permissions;
02:45 - Ryan mentions that not many people are playing music from the "Cajun Swing" era; Lost Bayou Ramblers;
04:15 - "From Country to Cajun" - Panel at New Orleans Jazz Fest that Ryan Moderated
06:20 - What is Cajun Swing? Hadley says that Harry Choates got alot of his Cajun songs from Leo Soileau. Harry's family moved to Texas when he was young and he was exposed to Swing and Jazz Music;
07:30 - Moved back to Louisiana and started recording - he melded Cajun, Swing, and Jazz;
08:30 - Hadley says that the bowing is the most important element of the Cajun Swing style, Harry also used heavy double stops;
10:00 - Discussion about the fiddle that Hadley is playing - purchased in Mallorca, Spain;
11:30 - Hadley demonstrates chords and double stops that Harry used often.
13:25 - Hadley demonstrates a traditional style and a Harry Choates inspired style of "J'ai passé devant ta porte;" Harry's style uses different bowing techniques, more double stops, hammer-ons, triplets, etc;
15:50 - Using "Chère tout tout" to demonstrate different playing styles
18:00 - Ryan asks Hadley to demonstrate some of the walkdowns and slides that Harry would play during leads;
19:45 - Hadley says that Harry Choates was a much better player than Bob Wills;
20:20 - Harry rarely owned a fiddle, didn't practice often, was just a natural musician, his timing was always perfect;
21:25 - Hadley says that Dewey Balfa loved Harry Choates style and definitely learned some licks from him;
22:00 - Dewey Balfa vs. Harry Choates styles - Port Arthur Blues;
24:10 - Hadley says that teaching Harry's style is very difficult
25:15 - Hadley's granddaughter, Sarah Jayde, started taking lessons with Nancy Simon - talks about having Nancy transcribe Harry's version of "Jolie Blonde;"
27:10 - Carl mentions that many people remember the first time they heard Jolie Blonde. Hadley tells his story about hearing it for the first time, says that the juke box stayed playing it;
28:00 - Discussing why Harry's verions of "Jolie Blonde" was such a huge hit - combination of Harry singing it in French and his fiddle style;
30:20 - Avalon Club
31:00 - Harry's influence on other fiddlers - Frenchy Bourque, Doug Kershaw, PeeWee Kershaw, Wade Benson, Floyd "Gib" Gilbeaux;
33:45 - Discussing how difficult it must have been to transcribe Choates' version of "Jolie Blonde," says many of the grace notes and pickup notes coming out of the verses probably weren't documented;
36:45 - Hadley says that he tries to put one of Harry's tunes on each of his albums;
37:25 - La dernière valse;
39:30 - Allons à Lafayette - demonstrates how Harry would start the song with a unisson
41:20 - Hadley says that after he heard Harry play, it changed everything about how he and his friends played the fiddle;
42:00 - Discussing Harry's "crying" lick. Hadley demonstrates it using "Louisiana Waltz"
45:15 - Draggin' the Bow;
48:30 - Ton papa m'a j'eté dehors;
49:30 - Mon bon vieux mari;
50:20 - Ryan says that Harry was supposedly a big Django Reinhardt fan, they discuss some of Harry's licks that may have been inspired by Django;
51:40 - Hadley says that Harry rarely used vibrato;
53:15 - Discussing differences betwee Cajun Swing and Texas Swing;
55:30 - Doc Guidry's fiddling style;
01:00:10 - Chuck Guillory;
01:02:00 - Jolie Blonde was a hit in the entire southern region, not just Louisiana;
01:04:30 - Jay Miller's story about how Harry would drink too much and often pawn his fiddle.