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>> and by contributions to your pbs stations from viewers like you. thank you. tavis: when wayne shorter was studying music in the 1950s, he beer -- he first confused and then him pressed his professors by combining classical music with jazz. thatbegan his insistence musical barriers needed to be broken. his new cd is called "without a net." there are so many clips i can share with you about history career, but i decided to pick this one from 1967. ♪ ♪ tavis: congrats on the's 80 years sir. >> thank you. tavis: what do you make of this 80-year journey so far? i said at my birthday party the other day that i'm eight. that same feeling that i had when i was eight years old, i'm collecting all of these statuettes of captain marvel and one woman. [laughter] tavis: let me ask it another way. still have feel to the pipes to do what you do at 80? >> a lot less oxygen now. one reason it helps not to have rehearsals and read music that is written because you have to play long lines with a lot of wind. tavis: right. >> so i have to find another way to express written improvisation improvisationwith pros a stati n and let the others have some voice, too. tavis: you made me think of alan iris and. -- alan iversen. practice? does that mean now that you don't spend as much time rehearsing? that is about improvisation on the stage? >> it is mostly about improvisation. how do you rehearse the future? how do you rehearse the unknown? say, when, he used to you practice something, you will go on stage and do variations of what you practiced. it's no surprise. the unknown, the unexpected is a reflection for me musically of what is happening in the world today. people are learning how to dialogue with each other without any past strategy or any kind of formula. tavis: for young person watching this, you are not suggesting that they don't have to spend time getting in the practice to become a wayne shorter when they. you can do this now. you could have done this 80 years ago. chris geyer foundation together. practice a lot of -- >> get your foundation together. practice a lot of skills and things like that. one student said to charlie parker, i have to learn all of these keys and scales/ -- and scales? and charlie parker said, yes. then forget it. tavis: [laughter] are you still learning new stuff? >> i am still learning. i am learning more about life when i'm playing, too. and writing music. i'm learning more about life, the connections. what we are doing is not disconnected from our human behavior. sometimes, you can fool people and be one way, like really negative in your human behavior. i want to erase the contradictions that have arisen too many times in the world. tavis: how does what you are learning about life even at 80 show up in your performance? how does that translate? >> when i am learning about life and when i hit the stage, the first thing i'm actually thinking about and other musicians, we are thinking about, ok, let's put away all of our credentials, our musical potential, grammys, wards, and -- awards, and keep the ego handcuffed and go out on the stage vulnerable. go out on the stage as a human being. showt be afraid to struggle in your music. there is struggle in life. there is struggle and victory in another victory and struggle. not going up there like you know it all and i'm perfect, like this is a perfect performance. that is passé to me. tavis: this is getting good now. i'm glad you went there. that is totally antithetical to the way most artists hit the stage these days. you want a good review so you better be rehearsed. you better be practiced. you better be ready. and now you are saying that the trick is to go on stage and be vulnerable. nobody wants to do that, struggle on stage. gloucester do that? -- wants to do that? what is the new york times good to say about that in the morning? >> to go -- to have the courage to go out there fearless and facing the unknown and how you negotiate the unexpected, these are the all musical lessons that we have. to make, it's like once upon a time. what are you going to say after once upon a time? not the music lessons anymore. the thing is to be more creative. pull out of the depths of our human existence the necessity for creative endeavor to change the world. a jazzwhat has been such artist all these years and working with so many greats -- what has that taught you about the value or the overrating of individuality? value ofow, the individuality comes to me when i used to see miles and coal train. sometimes i saw the many nightclubs playing. they would take their solos one after another. and they would be doing some stuff. silent night, nobody at best of me applauds. it's quite. -- it is quiet. they are not playing for and applause. then a plane for themselves either. when i got to me miles, he said, like, he is playing to get there. to get somewhere, to get somewhere. he didn't say at the expense of the audience. when he had his back turned, he was not just being an individual. he was listening closely more to the acoustics of the room. individual, to me, what we need more now is individuals becoming like leaders in life rather than followers. , becomingng that leaders, becoming much more respectful of each other as leader to leader, you have to respect each other and raise their life conditions to the point where we can respect each other. it is happening in the short increments now. small increments that i see popping up in a lot of young people in the classical world and the so-called jazz world. tavis: why did you say so-called jazz world? so-called? question the so-called jazz -- >> the so-called jazz world, the notion that, if it doesn't sound like jazz committees and. but to me, -- if it doesn't sell my jazz, it isn't. but to me, jazz means i dare you. [laughter] tavis: you mentioned leaders and followers and young people. can music teach all of that? as you all know, music is not being taught in schools the way it used to be. i think there's a huge price that are country pays for that -- that our country pays for that. what you think we're missing, what what we are lacking, what we are devoid of why not exposing kids to music in the way that we used to back in the day? >> when i went to nyu, in my last year, my fourth year, this teacher, medina scoville, she asked the whole class, how many of you had a hard time in math through the school and high school? the whole class raise their hand. she said, this is a music composition class. you are doing math now. and that slammed everybody in the face. when i'm writing scores, there is a lot of math involved. there won't be too much meth if you get -- there's not too much math involved if you get into a comfort zone. without music and art in the schools, there is a dummy down, simplistic -- it creates a statistic view of the student body at my simplest of you is being -- a simplest view is being presented. we are taught to go to sleep at the opera. [laughter] tavis: i hear your point. the answer to this question may be one and the same but let me ask anyway. when did wayne shorter know that he was gifted as an artist? and when did you know that this was going to be your life's work? just because you're gifted, doesn't mean you will choose it as your location, your calling, your purpose. when did that happen? >> i was playing hooky in arts high school in newark, new jersey. i skipped classes. tavis: not you. [laughter] >> i skipped a lot of classes. an economy -- and they caught me. the school had an intercom. they called me and the inner, go through all the classrooms. everybody was surprised. what if you do? wayne shorter, report to the principal's office immediately. , myer and father there fortune notes and fictitious doctors names. they said, before we decide what we are going to do with you, where did you go? i said come i went to the theater. they had a stage show and to motion pictures. it was stan kenton, do kelly, does he let's his band. gillespie's band. so you like the stage? he had on his desk three records. class, heay in his said -- he is a disciplinarian, too -- i'm not really thinking about music but how to get out of that class. [laughter] he said, there will be three directions. the first was a singer from peru named him a sumac. latin america. the second one was the right of spring by igor stravinsky. the third one was charlie parker , charles crystal -- charles christopher parker. so i took my final test. this was my third year of high school. and i got up. i was the first one to get up after a hundred questions are so. i thought i did something wrong. the teacher said, when you get up, you have to leave the classroom. she said, class, i want to show you something. she held my paper up. they couldn't see the answers. that she had on the front 100 or an a. she said, i want you to think about this because a lot of them had been studying is it since they were six years old. she said this is a perfect test paper knowing to think about it. i was walking down the hall and i was thinking about it, too. [laughter] tavis: there is a lot in that story that i could unpack, that tickles me and turns me on. the part that i am most moved by is, when you are skipping school iif that happened today, literally just months ago did a primetime special here for pbs called education under arrest. and the whole special is how we are comprising kids in society today. and the people don't really take the time to understand what the challenges, with the problem is, how gifted the child is, why the child might be skipping school -- nobody is asking. before we punish you, where were you going? you arrested me with that part of the story because somebody was interested enough to find out what you were doing, what mattered to you, what you are good at. and then before they punished you, they put you in that class and that is where the lightbulb goes off. as opposed to just locking you up and throwing away the key, sending you before some judge, getting kicked out of school for truancy -- which i still don't understand. they kick you out of school for skipping school. that doesn't make sense. but somebody cared enough back then to understand that you did have a gift and that your basement needed to include putting you -- that your punishment needed to include putting you where you could flower and flourish. >> when the other classes heard the name to be called to the printable's office, everybody was surprised. they said, you dress well. your mother and father are good people. your quiet and everything. it was industry -- why is he leaving? where did he go? tavis: where -- why were you leaving? itsome of the classes -- was, like, i wanted to go see this movie. i heard about other people doing it. but i went alone, never with a crowd. and some of the classes were -- i guess the word boring. i didn't think of the word boring. i would walk up to the school room, up to the school, walk house the building, turn the corner and go around to the theater. [laughter] to d'amico'st class -- i like his name, a keeley's d'amico. d'amico.es they called him to skinny me in a way they -- they called him tuscanini noa. louisvilleto the orchestra and every weekend. i didn't mind reading subtitles. i was watching all that stuff with all these people. , you know,ted drawing, painting, drawing what i wanted. i even drew the whole science fiction, book called "other worlds." me -- i went on to go to nyu as a music education major. and i met some people there in greenwich village and charlie ,arker would be -- eddie condon the nightclub, he would be sitting there eating sometimes. we got a chance to see ini, the conductor, rehearse sometimes. we could go to bird land with tito rodriguez sand dizzy gillespie's band. i said to myself, all of the stuff is happening and i am going in the army. [laughter] tavis: but when you got back, you made up for lost time. i could do this for hours with you. tell me about "without a net," the new project. >> the first time we played it in the nightclub, it was in san francisco. it was the first time in a long time. there was an actress there that i have known for years. --n enemy he -- and the nana venetta mcgee. we shookd out and hands. and as she was leaving, she said, you know, you guys are playing without a net. and she left. it didn't sink in. the later on, we were at lake forest university in north carolina. we were at a dinner and one scientist said -- we said the words without a net. he said, is that a song on the album? and that was it. that's the title. so mystically between venetta mcgee and this scientist, mystically they connected and it hit. so "without a net." tavis: the new work by wayne shorter is called "without a net." i will save my questions for another night because wayne shorter has brought a very special guest with him tonight and i am delighted to see her walk through the door. i take great pride in saying that my years ago, before the i had esperanza spalding on the show, long before she was a grammy winner for best new artist in 2011. believe it or not, she is sitting right over here. coming up in just a moment for my special performance with wayne shorter. a will be joined by esperance spalding -- esperanza spalding coming up in just a moment/ stay tuned. and now a special performance by wayne shorter joined by special guest artist. she was on this program long before she was honored as best new artist in 2011. wayne shorter joined by s bronze of spalding -- by esperanza spalding. please enjoy "footprints." good night from los angeles and keep the faith. ♪ ♪ ♪ ♪ [applause] >> for more information on today's show, visit tavis smiley at pbs.org. tavis: join me next time for precision about what may be driving the racial disparity and the practice of big business. is next time. we will see you then. >> and by contributions to pbs stations from viewers like you. thank you. >> be more. the following is a co-production of kqed and the center for investigative reporting. >> in california's fields, things are changing. crops are less plentiful. >> we're seeing two-thirds of a reduction in volume out of our southern growing regions. >> insects are more abundant. >> our temperatures have increased by two to three degrees fahrenheit, and that seems to be enough to keep them from being frozen out during the winter. i did end up losing one field -- probably a quarter of a million dollar hit. >> water, already scarce, is now too salty to sustain crops. >> if you don't have enough quality water to farm, then there's limits to what we can do with genetics. >> coming up -- climate change pushes california grower
United-statesNew-yorkNew-jerseyNorth-carolinaGreenwich-villageCaliforniaHollywoodPeruNewarkSan-franciscoAmericaA-spalding-esperanza this is the moment we have ♪ dreamed of all our lives we'll be the change ♪ we wish from others we'll stand tall for what is ♪ right and in my heart ♪ there'll be no doubt the arms of the world will come ♪ reaching out and embrace me to be all ♪ i can be now nothing can stop me ♪ i believe in the power that comes from a world brought ♪ together as one i believe together we'll fly ♪ i believe in the power of you and i ♪ i believe the time is right now ♪ stand tall and make the world proud ♪ i believe together we'll fly i believe in the power of ♪ you and i i believe in the power of ♪ you and i i believe, i believe ♪ i believe in i believe, i believe in ♪ i believe, i believe ♪ i believe in i believe, i believe in i believe in you i believe, i believe in ♪ i believe, i believe i believe in you i believe, i believe in you ♪ i believe together we'll fly i believe in the power of ♪ you and i i believe the time is right now ♪ stand tall and make the world proud ♪ i believe together we'll fly i believe in the power of you and i ♪ i believe in the power of you and i ♪ i believe together well fly i believe in the power of ♪ you and i. ♪ >> i was blessed to be able to fulfill my dream. to sing and perform all over the world ( singing in hebrew ) ( singing in hebrew ) but there are so many children who are not fortunate and i try to use my music to be their voice and speak for them. >> ♪ i don't know where to find you ♪ i don't know how to reach you i hear your voice in the wind ♪ i feel you under my skin within my heart and my soul ♪ i wait for you adagio ♪ all of these nights without you ♪ all of my dreams surround you i see and i touch your face ♪ i fall into your embrace when the time is right, i'll know ♪ you'll be in my arms adagio ♪ i close my eyes and i find a way ♪ no need for me to pray i've walked so far ♪ i've fought so hard nothing more to explain ♪ i know all that remains is a piano that plays ♪ if you know where to find me if you know how to reach me ♪ before this light fades away before i run out of faith ♪ be the only man to say that you'll hear my heart ♪ that you'll give your life forever you'll stay ♪ don't let this light fade away no, no, no, no, no, no ♪ don't let me run out of faith be the only man to say ♪ that you believe make me believe ♪ you won't let go adagio (applause) ♪ i've heard there was a secret chord that david played ♪ and it pleased the lord but you don't really care for music, do you ♪ it goes like this the fourth, the fifth ♪ the minor fall, the major lift the baffled king composing ♪ hallelujah hallelujah, hallelujah ♪ hallelujah, hallelujah i did my best, it wasn't much ♪ i couldn't feel, so i tried to touch ♪ i've told the truth, i didn't come to fool you ♪ and even though it all went wrong ♪ i'll stand before the lord of song ♪ with nothing on my tongue but hallelujah ♪ hallelujah, hallelujah hallelujah, hallelujah ♪ hallelujah, hallelujah hallelujah, hallelujah. ♪ >> i pray that my generation will put a stop to this hatred. we'll find a way to forgive and forget and start a new beginning. ♪ hallelujah, hallelujah hallelujah, hallelujah >> one year ago a very close friend of mine was murdered in a terror attack. it made me realize the pain and the suffer that every family who lost someone they loved has to deal with. i'm sure there are children on the other side just like us that all they wish is to live in a safe world to live in a place without war. i don't think that children so young should even know what war is all about. they should have fun they should be happy and not worry conflicts and wars. ♪ there comes a time when we heed a certain call ♪ when the world must come together as one ♪ there are people dying and it's time to lend a hand to life ♪ the greatest gift of all we can't go on pretending day by day ♪ that someone, somehow will soon make a change ♪ we are all a part of god's great big family ♪ and the truth, you know love is all we need ♪ we are the world, we are the children ♪ we are the ones who make a brighter day ♪ so let's start giving there's a choice we're making ♪ we're saving our own lives it's true we'll make a better day ♪ just you and me send them your heart ♪ so they'll know that someone cares ♪ and their lives will be stronger and free ♪ as god has shown us by turning stones to bread ♪ so we all must lend a helping hand ♪ we are the world, we are the children ♪ we are the ones who make a brighter day ♪ so let's start giving there's a choice we're making ♪ we're saving our own lives it's true we'll make a better day ♪ just you and me ♪ we are the ones who make a brighter day ♪ so let's start giving there's a choice we're making ♪ we're saving our own lives it's true we'll make a better day ♪ just you and me it's true we'll make a better day ♪ just you and me. ♪ ( applause ) captioning sponsored by wpbt marshall: hello, i'm peter marshall. nick clooney: and i'm nick clooney and it is only because of your pledges and your support that we are able to be back again with another edition of my music from the glorious big band era. peter marshall: you're so right, nick, and this time, we're gonna focus on the great singers, and remember the songs that they made famous, music that is timeless it's my music: the big band vocalists, and it starts right now, right here on pbs. narrator: next, pbs brings back the best of the big band era. your favorite vocalists sing their greatest songs on pbs. [singing] peter marshall: this darling lady started out with the artie shaw band, it was 1938 she followed billie holiday on the band with great success incidentally then she moved over to the benny goodman band. nick clooney: and then it was harry james. peter marshall: and you know why? nick clooney: of course, she had a terrible crush on him. peter marshall: that's right. he didn't have any money to pay her but she could have cared less. in fact, with the harry james band she became a household name with hits like "i don't want to walk without you." nick clooney: and "i heard you cried last night." peter marshall: and here she is, helen forrest with "i had the craziest dream." [music playing] helen forrest: ♪in a dream the strangest and the oddest things appear. and what insane and silly things we do. here is what i see before me. vividly and clear. as i recall it, you were in it, too. i had the craziest dream, last night. yes, i did. i never dreamt it could be. yet there you were in love with me. i found your lips close to mine so i kissed you. and you didn't mind it at all. when i'm awake such a break never happens. how long can a gal go on dreaming? if there's a chance that you care. then please, say you do, baby. say it and make my craziest dream come true.♪ [music playing] peter marshall: now we think this is the earliest footage of peggy lee with a big band it's from 1942. nick clooney: and it's a song that she would then sing for the rest of her life. peter marshall: well it's a, it's a great piece of film it's her big break with the benny goodman band and it's a, "why don't you do right?" nick clooney: like some other men do. peter marshall: you got it. man: here's something for the cats. i'm going to bring you a cranky bra by a sharpie who plays a licorice stick that's out of this world. the guy who knocked them off their seats and drove them into a groove benny goodman. [music playing] peggy lee: ♪you had plenty money, 1922. you let other women make a fool of you. why don't you do right? like some other men do. get out of here and get me some money too. [music playing] peggy lee: if you had prepared twenty years ago. you wouldn't be a wandering now from door to door. why don't you do right? like some other men do. get out of here and get me some money too. [music playing] peggy lee: why don't you do right? like some other men do. like some other men do.♪ peter marshall: when i was 14, believe it or not, i was an usher at the great paramount theatre in new york city and i saw all the great bands. but i'll never forget the day i saw frank sinatra walk out on stage wearing this beautiful blue jacket, standing next to a white piano and he sang "night & day." this cole porter classic was one of his earliest hits. i guess that's why they called him "the voice" here he is the best frank sinatra. [music playing] frank sinatra: ♪night and day. you are the one. only you beneath the moon and under the sun. whether near to me or far. it's no matter, darling, where you are. i think of you day and night. night and day. why is it so? that this longing for you follows wherever i go? in the roarin' traffic's boom. or in the silence of my lonely room. i think of you day and night. night and day. under the hide of me. there's an oh, such a hungry yearning, burning inside of me. and its torment won't be through. 'til you let me spend my life making love to you. day and night night and day. night and day. under the hide of me. there's an oh, such a hungry yearning, burning way down inside of me. and its torment won't be through. 'til you let me spend my life making love to you. day and night night and day.♪ nick clooney: after the boswell sisters blazed the trail, the andrews sisters patty maxene and laverne, were the biggest female singing trio of all time and here's one of their most beloved tunes, "don't sit under the apple tree with anyone else but me." but now wait a minute, i know you love this trio look closely in this clip, you're going to see shemp howard of the three stooges. take a look. man: in this part i am supposed to introduce the andrews sisters, but that won't be necessary i found out that they knew each other. i should have stood in bed. [music playing] andrew sisters: ♪i wrote my mother. i wrote my father. and now i'm writing you too. i'm sure of mother. i'm sure of father. and now i want to be sure very, very sure of you. don't sit under the apple tree with anyone else but me. anyone else but me. anyone else but me, no, no, no. don't sit under the apple tree with anyone else but me. 'til i come marching home. don't go walking down lovers lane with anyone else but me. anyone else but me. anyone else but me no, no, no. don't go walking down lovers lane with anyone else but me. 'til i come marching home. i just got word from a guy who heard. from a guy next door to me. that a girl he met just love to pet. and it fits you to a t. so don't sit under the apple tree with anyone else but me. 'til i come marching home. [music playing] andrews sisters: don't sit under the apple tree with anyone else but me. with anyone else but her. no no, no not a single soul but me. no no, no don't you sit under the apple tree with anyone else but me. not 'til you see me. not until you see me marching home, home home sweet home. don't go walking down lovers lane with anyone else but me. with anyone else but her. no no, no not a single soul but me. no, no, no don't you go walking down lovers lane with anyone else but me. not 'til you see me. not until you see me marching home, home home, home sweet home. just wait 'til i come marching home. [music playing] andrews sisters: so don't go walking down lovers lane. no walking down lovers lane till you see me. when you see me marching home. then we'll go on and on and sit down under the apple tree. baby just you and me when i come marching home.♪ [music playing] nick clooney: now the tommy dorsey band always had the cream of the crop, their vocal group, ah, the pied pipers. now the lead singer became one of the most successful vocalists of all time, her name jo stafford. here she is with "it started all over again." [music playing] jo stafford: ♪it started all. all: over again. the moment i looked in your eyes. jo stafford: it started all. all: over again. the thrill we can never disguise. jo stafford: the day that we parted, so broken hearted. never return again. all: dreams i've delayed. promises made. are starting anew. just for you. jo stafford: it started all. all: over again. the moment i held you so tight. jo stafford: it started all. all: over again. when we kissed away the night, 'til dawn's early light. jo stafford: now we're together. sweethearts forever. we'll build our romance anew. all: it started all over again. jo stafford: the moment i. all: looked at you.♪ peter marshall: you know we've got much more of my music to share with you tonight so stay with us right here on pbs. oh and make a pledge so we can stay here with you. [music playing] nick clooney: you've seen us sitting up here before, talking to you, you know the regimen you understand how it goes. where else are you going to see this, peter? this is what always drives this energy in me to talk about this stuff. there's no place else you're gonna see this on television. peter marshall: that's true, you know. i love that whole era. that's where i came from. and this is the only place it seems that i'm able to present it to people out there who love this music. and the only way we can continue to do this is by pledging. and so, either get on the ameche. nick clooney: the old ameche and if you don't know what that is then you're a lot younger than we are. peter marshall: or through the internet. so pledge here on pbs because we'd like to do a third edition. tj lubinsky: absolutely we want to do a third one. and we can, with your dollars, and your pledge and your support right now. tj lubinsky here and as the guys were telling you, this is the second in a series of big band specials because of those past calls of support we received, we were able to come back and bring you this all new special, which focuses on the big band vocalists. isn't this incredible? great sentimental music, yours to own, by the way and to share. isn't it wonderful pbs is here to share this music? time and again with your family? where else can you hear it except pbs? see it, experience it love it all over again. $120, go to your phone right now. when you do, we're sending you the dvd of the program, plus an extra special dvd of great big band vocalist performances that we couldn't fit into the show. so it's twice the show that you're getting in this great two-dvd package, when you go $120. now if you can increase that pledge to $150, boy, have we got something absolutely amazing for you. this is really special. the all-new, all-new, there's no repeats on this from the previous collection, big band cd set. this is exclusive to members of public television, you will find this nowhere else, call right now, support big band music let us know that you want to keep these incredible songs alive the emotion that you're feeling in your heart. feel, share, experience wherever you are cd playing, great way to listen in the car by the pool, whatever you're doing, what a wonderful experience to have this music in your home. this is an all new collection. what we're waiting for right now is you, to pick up the phone, join the station as a member, here's just a sample of some of the great music that will come your way. $150 and keep the big band sounds playing. narrator: share the experience of the great big band sound. pledge at the $150 level, and you'll receive the amazing five cd set featuring over 60 hits from the big band vocalists. [music playing]. ♪ ♪ ♪ ♪ ♪ ♪ this timeless pbs collection includes the greatest vocalists, singers, and songs and even a special disc of hard to find instrumentals of the big band era. [music playing]. keep your music and memories alive here on pbs with your pledge now. [music playing]. peter marshall: now boy that was really fun for me to see, "it started all over again." i hadn't seen that video in, well, i've never seen that video. i remember sinatra doing it, just after the pied pipers but we were discussing earlier about the era of big band music. it was very narrow, really. nick clooney: very short, actually. and what surprises me and gratifies me too is the whole really swing big band era was only about 12 years, that was it. think about that now. rock and roll has been around for 50 years, the waltz era was around for 50 years before and that, think of how absolutely important it's been to music and influential in movies, in television, in radio, everything, so many things have eventuated from that swing era, that short period of time. peter marshall: you know, i get a lot of feedback from our show, people say hey, thank you thank nick and thank you for bringing this music back. it just made my evening or it made my day or it made my week, and the only reason we're able to bring it back is because you out there have pledged and uh, that's what we're doing right now. we're asking for more pledges. you know, pbs is the only place where you can still see and enjoy the wonderful music of the big band era, along with all the terrific singers you and i love. nick clooney: we need your support, now, to show that you want to keep the big band era alive on public television. peter marshall: now if you call the number on your screen, as a thank you gift we will send you an incredible cd, it's a cd collection of the greatest big band songs or on dvd, you can receive the show you're watching now plus a wealth of additional material not seen in the broadcast. more music and memories from the magical big band days. nick clooney: for a pledge of $150, we will send you the cd collection with over 100 big band classics. peter marshall: things like, "my dreams are getting better all the time," doris day and the les brown band "i'll get by," dick haymes and the harry james band. how about martha tilton? nick clooney: i love her. peter marshall: "and the angels sing," the benny goodman band. "i'll be seeing you," sinatra, with the original tommy dorsey band. "don't sit under the apple tree," tex beneke marion hutton, and the glenn miller band. "i've heard that song before," helen forrest with the harry james band, and "i wonder who's kissing her now" perry como and ted weems. oh "why don't you do right?" nick clooney: i will. peter marshall: peggy lee and benny goodman. "moonlight in vermont," with margaret whiting and billy butterfield on the trumpet what a great band that was. how about the original "marie," it wasn't sinatra, it was jack leonard with tommy dorsey's orchestra. we've got that. "i'm beginning to see the light," pretty kitty kallen and harry james band. "racing with the moon," vaughn monroe, "blue skies," with art lund and the benny goodman band. "yes indeed," jo stafford and the tommy dorsey orchestra. "flamingo," herb jeffries, i love herb jeffries, with the ellington band. and "you'll never know," rosemary clooney and harry james. "peg o'my heart," guess who did that. nick clooney: buddy clark. peter marshall: yeah, with who? nick clooney: with the ray noble orchestra. peter marshall: you got it. nick clooney: "indian summer." peter marshall: i love it, my favorite song. ginny simms and the kay kyser band. nick clooney: "cow cow boogie." peter marshall: ella mae morse with freddie slack. "tampico," nick clooney: [singing] from the gulf of mexico. peter marshall: june christy with stan kenton and dozens more of the greatest big band songs ever recorded. [music playing]. narrator: nothing compares to the great big band sound. pledge at the $150 level and you'll receive the amazing cd set, featuring dozens of hits from the big band vocalists on five cds. [music playing]. ♪ ♪ this enduring pbs collection includes the greatest vocalists singers, and songs. plus a special disc of hard to find instrumentals of the big band era. [music playing]. share the experience of the great big band sound. pledge at the $150 level and you'll receive the amazing five cd set featuring over 60 hits from the big band vocalists. [music playing]. tj lubinsky: you know the wonderful thing about pbs is it brings the sheer joy of exploration, exploring the world, new ideas, concepts, people to everyone, wherever you are, in your community in your home. so allow us to continue this great tradition. tonight we're celebrating the best of the big band vocalists going back in time almost a personal time machine if you will. made possible by past calls of support. now, membership to your station is an annual thing. you hear us talking about $150, $120 the package for $250, those are all wonderful, but we're asking right now for you to give whatever you can give whatever you can afford. whatever feels right, any amount is fine to allow us to continue this exploration for sharing for discovery and for keeping the greatest emotional sentimental music of all time preserved for the next generation, and the generation after that and the generation after that. thank you for calling so far right now we need to hear from you. nick clooney: pbs is dedicated to celebrating arts and culture. we bring you music programs that touch your life and stir your soul. whether it's a special presentation like this one, or programs like "great performances," we are proud to be able to bring you the best in arts. whether it's home-grown or from anywhere in the world. but we are most proud of the strong bond we have with viewers like you who are willing to support it.
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