(soft music) (film reel clicking) (lively orchestral music) >> Tess: This is our home in Shenandoah, Pennsylvania where Pop works in the coal mine.

(soft pleasant music) (flat horn music) >> Not very good, Homer.

You keep flatting.

>> Maybe I should give up, Mr. Dorsey.

>> I told your father I was going to teach you how to play a musical instrument, and that I am.

Give it to me.

(lively harmonica music) That's not a musical instrument, Homer, and what you just played is not music.

Now pay attention.

Good afternoon.

>> Hi, Pop.

>> I thought I told you two to get to your practicing.

>> Jimmy and I was just gettin' a breath of air, Pop.

>> Get back into the house and put some of that air into your horns.

Come on, in here.

You know where you're wanted.

Come on, off, off with your shoes.

>> Excuse me, Mr. Dorsey, I'll be getting along now.

>> Yes, Homer, same time tomorrow.

(flat horn music) That'll do, Homer, that'll do.

Now mind.

>> Gee, Pop, we already rehearsed two hours this afternoon.

>> You put in another two hours, you get your shoes back.

Why is it you two always got to outsmart your old man?

>> Other kids don't have to practice all the time.

>> And most of 'em don't even take music lessons.

>> Gimme their names, I'll speak to their parents about them.

>> I don't see why I gotta play saxophone anyhow.

I'm the only kid in Shenandoah who has to lug one of these things around.

>> That's why I picked it for you, Jimmy.

Nobody else plays it.

You got a chance to make a name for yourself.

Same with Tommy's trombone.

Come on, right now, get your trombone.

And no flatting, mind, no flatting.

Ready?

One, two.

(soft horn music) ♪ They'll soon be running home for dinner ♪ >> Here are the apples, Mrs. Dorsey.

>> Thank you, Janie, and tell your mother thanks too.

>> Could I stay a while, Mrs. Dorsey?

>> Sure, Janie, always glad to have you.

But the boys still have some practicing to do.

>> I'd like to listen.

>> Tom: You may call that music, but I don't.

Now take it again from the beginning.

>> Aw, Pop, from the beginning?

>> Breaks me heart the way he keeps after them.

>> But the beginning was right.

>> Tom: You heard me.

When it comes to music, I'll have none of your lip.

>> Tommy: When it comes to music, I'll have none of your lip.

Hey, Pop, you're a comedian.

(boys laughing) >> A comedian am I?

(strap cracking) What are you sniffling about?

>> I'm next, ain't I?

>> Now, Tom, they're but lads.

If you children let your father get along down to the mine yard, I'll take a hand to you myself.

And no backtalk from you either.

And don't act like you learned to play the coronet in one lesson.

>> Well, you two keep right at it.

>> Oh sure, Pop.

>> We will.

>> Tom: Make sure that they keep up their practicing.

>> Tess: I will, don't worry.

>> Bye, Tess.

>> Bye, Tom.

(slow horn music) Janie, would you watch the pies a minute while I run next door?

They're nearly done.

>> Sure, Mrs. Dorsey, I'll watch 'em.

(lively horn music) >> There you go again.

Why don't you play it the way Pop told you?

>> How about when you take off?

>> I'm older.

Now listen, this is the way it's supposed to go.

(slow horn music) >> And what's wrong with playing it this way?

(lively horn music) >> Wouldn't play it that way if Pop was around.

>> Couldn't be you're getting too big for your breeches, Mr.

Conductor.

>> You wanna make somethin' of it?

>> Sure.

>> All right, outside.

(fast-paced instrumental music) >> Tommy, Jimmy!

>> You wanna fight?

Ouch!

>> Stop it!

(boys groaning) Mrs. Dorsey!

>> You asked for it.

>> Janie: Not in the lip.

>> Tommy: You'll listen to me and like it.

>> Jimmy: Not if I can help it.

You'll play like me.

Ow!

Ow!

>> Stop it.

All right, you both stop.

There are two pies in the oven, and I'll just stand here and let them burn.

Apple pie!

I'll just stand here and let those apple pies burn.

>> Apple pies, Tommy.

>> Well, who played it wrong this time?

>> You want something, Mom?

>> I ought to chide the both of you, but I won't.

You been practicing enough for one day.

Which hand do you take?

>> The left.

>> The right, Mom.

>> Clean up now and get along down to the picture show, and take Jane with you.

>> Thanks, Mom.

>> Thanks, Mom.

>> It's on me, but remember not a word to your father or he'll kill the lot of us.

>> Oh, we won't.

Come on, Jimmy.

>> The pies are all right, Janie.

You did a good job of peacemaking.

>> They weren't really fighting, Mrs. Dorsey.

Just arguing hard.

>> I know, they're Irish.

Jane, there's only one thing worse than being Irish, and that's not being Irish.

(chuckles) Come along with the boys now.

(soft instrumental music) Surely Tom Mix must have caught the rustlers early.

Tom, what's happened?

>> Bad news, Tess, we've all been laid off at the mine.

Every last one of us.

>> Oh, Tom, and just when things were looking up a little.

Will it be for long?

>> Long enough to stay broke, Tess.

Those rates ain't getting out-priced I guess.

Any coffee left?

>> You poor fella, of course there is.

It'll do you good to have a nice, hot supper at home for once.

>> Where's the boys, Tess?

>> Why, I let them go out for a minute.

>> So, that's all this talk about Tom Mix?

>> It's my fault, Tom.

I packed them off to the pictures.

The poor little tykes never have any fun.

>> They'll have a lot less when they get home, Tess.

>> Don't talk like that.

You're that strict with 'em, people wouldn't believe how much you love them.

>> Tess, if you knew how much music needs them.

>> Tess: But Tom dear- >> You want them growing up to be coal miners I suppose.

Oh, no sir, they've got to get their chance, Tess.

And it's nowhere around this coal town with less and less work each year.

I've got to give them more than that.

>> But dear- >> Tess, I want our boys to get somewhere.

Music's the only thing I know.

They've got me to teach 'em that.

I didn't have nobody.

And they're going to learn music.

If I do nothing else for them, Tess, I'll do that.

You don't want them growing up like me, Tess?

>> Tom, I couldn't ask more than they grow up like you.

A finer man never lived.

>> Takes more than love in this world, Tess.

It takes more.

(soft music) >> Jimmy: Even if Mom does make the candy, what are you gonna use for groceries?

>> I'll take the order and then get some credit just like the regular stores.

Gosh, with Pop out of work, we sure gotta help.

>> I know the boys are a bit young, Tess, but I think it would be a good thing for them.

>> Well, I guess you know best, Tom.

>> Hey, Pop's gone.

>> Yes, but Mom's here.

All right, get to it.

You'll excuse us, Jane.

>> Now Mom, you're not gonna start treating us like little kids.

>> From now on, if your pop says you're gonna practice, I'm going to see that you do just that.

Maybe I've been too easy with you for your own good.

>> Gosh, Mom, you're not lettin' Pop put ideas in your head.

>> You ever raise a family of your own, you'll find out.

Anyhow, I want you to do as your father says.

>> Sure, Mom, if it means that much to you.

>> Sure, we promise.

>> Oh, just to be on the safe side, off with them.

>> But Mom, we promise.

>> You wouldn't be me own flesh and blood if you didn't want a little fun now and then, so don't be making promises you can't keep.

Off with them.

>> Oh boy, Mom's getting smarter all the time.

(upbeat instrumental music) >> But Tom, I always get my bands from out of town.

Been doing it for years.

>> But that's just it, I'm offering you something fresh.

My band's got a trombone and a saxophone.

>> A saxophone, what's that?

>> Something new for a dance band like the calling of angels.

You'll like it.

>> But Tom, you're asking me $5 more than I usually pay.

>> I'm only asking you to give us a try.

>> Well, it might have sort of a local appeal.

Okay, give me their names.

>> Oh, they're all good men.

>> Sure, but I gotta have a list.

>> Well, on the drums is Chris Matthews.

Got a great sense of rhythm.

On the fiddle, Wennburg.

On the trumpet, that's meself.

Also the conductor.

On the other trumpet, Tom Jeffries.

On the piano, Eddie Hall.

Both good men if you must know.

On the saxophone, James Dorsey.

>> Your brother?

>> On the trombone, Thomas Dorsey.

>> Thomas?

>> Junior.

>> Now wait a minute, not those little kids.

Not those two sons of yours.

Now hold on, Tom Dorsey.

And I agreed to pay you $5 more.

>> Because you are going to double your business, and you will.

>> With those two kids up there hitting a lot of flat notes?

Why the people would.

Besides, they're always scrappin'.

>> Sure, they scrap.

Maybe I like me kids to be full of scrap because they have to fight for everything they get, and they may as well get used to it now.

That's got nothing to do with it.

Up there on the bandstand, they do their job.

And don't be afraid of any flat notes.

They're both fine musicians.

I raised them to be.

Edward, give us a try.

And if you don't like us, you don't pay us.

Not a dime, not a thin red cent.

>> Okay, fair enough, that's your promise.

Aw, but those two kids.

>> They'll pay for- >> Tom, Tom, Tom, Tom.

Have a glass of beer, cool yourself down.

(lively orchestral music) (audience applauding) (slow waltz music) >> Anything wrong?

>> No, but there will be if you don't dance just once with your wife.

(chuckles) The boys sound real good, Tom.

>> In an orchestra like this, anybody sounds real good.

They are good, Tess.

So good I have trouble keeping up with them myself.

>> You better not let them know it.

(chuckles) They do well side by side, they really balance.

>> That they do.

If they just stick together, they can lick the world.

(slow waltz music continues) I'm not so sure about Gorman.

He's dead set against the boys.

Seems to think I can't turn my back without them always scraping.

(lively horn music) (lively instrumental music) >> Now, Tom.

You said they were good.

Now let 'em prove it all by themselves.

>> By golly, I will.

(audience applauding) (audience applauding) >> Well, I think it's a disgrace.

>> Shh, there's Mrs. Dorsey now.

She'll hear you.

>> I don't care if she does.

She ought to be told.

Mrs. Dorsey, maybe with your husband a musician, your way of life is different from ours.

>> Now, Kate.

>> But it's going to be all over town tomorrow that those two poor little helpless boys were forced to make a public exhibition of themselves, playing in a dance band in Gorman's Hall.

>> And what's wrong with Gorman's Hall?

>> What's wrong?

Well, in a town like ours, Mrs. Dorsey, a public dance hall is hardly regarded as a place in which an average mother would want her children to grow up.

>> And whoever told you I was average?

I'm so different from most women, I even go around minding me own business.

>> I told you it wouldn't do any good, Kate.

(somber music) >> Why those old busy-bodies.

Don't cry, Mom.

>> Aw, Mom, you're not gonna let those two old buttinskies upset you?

>> Of course not.

I'm proud of you now, and I know I'll always feel that way about the both of you.

>> That's right, Mom.

We'll show 'em, won't we, Tommy?

>> You bet your life we will.

>> Tess: They were in earnest, and the boys meant every word they said.

The years flew by and the first thing I knew they were men starting out with their own jazz band.

Janie Howard went along as their singer, and it was like a part of my life had ended.

(engine sputtering) >> Tommy: Oh, there it goes.

Jane, why don't you keep your foot on the gas?

>> Well, I did, Tommy.

>> Well, try it again.

Oh, I can't figure it out.

>> I wonder what'd happen if you press down on that gimmick?

>> You get your weight, your fortune, and a picture of the Wild Canaries.

>> Janie: Find out anything, Jimmy?

>> A farmer back there said there's a town two miles further on.

>> What is it this time?

>> Oh, I don't know, it just won't go.

>> Well, we guessed that when it stopped.

>> Oh, 50, 60 bucks will fix it up like new.

>> 50, 60 dollars, eh?

Just like that.

>> Don't worry, we'll get the dough.

>> What are we, the Dorsey Brothers or the James Boys?

>> Why don't you laughing boys lay off?

>> Yeah, just because it's a little tough right now don't mean it's gonna stay that way.

>> A little tough?

I remember in Indianapolis we lasted four days.

>> That's all we were booked for.

>> Band Member: In Steubenville, we lasted one day.

>> Who'd stay there any longer?

>> Remember fellas, into each life some rain must... >> You're not saying very much.

>> Looks like the boys have said it all.

Now that we convinced 'em we're all better off back in the mines.

>> Oh, another joy boy.

>> It's about time somebody around here made some sense.

>> What's the matter, doesn't his royalness like the way I'm running things?

>> No, I don't.

>> Oh, you don't.

(light instrumental music) >> Tommy, Jimmy.

(engine rumbling) Hey, it's running.

Hurry up.

>> Come on, get in.

>> Hurry up.

Just got hot.

(soft pleasant music) >> Foggy: Grand Hotel, I wonder if they're kidding?

>> Band Member: Better than that trap we stayed in last night.

>> Band Member: Lobby looks nice.

>> We'll only stay here overnight, then head for Jefferson City.

>> Clerk: Evening.

>> Good evening, got any rooms?

>> Orchestra, huh?

>> Sticks and stones may break our bones, but names will never harm us.

(laughs) >> Let's see, there's seven of us.

>> Six.

>> Seven.

>> I know there's a train out of here for Chicago in about an hour.

I'm taking it while I still got the fare.

>> Now wait a minute, Joe, you can't walk on us like this.

>> Who's gonna play piano for me?

>> I know how you feel, Joe, but we've got a booking in Jefferson City tomorrow night, and a date is a date.

>> All of Jane's arrangements are built around you, Joe.

>> We gotta have you on piano.

>> I'm sorry, Jimmy, but my mind's made up.

So long, fellas.

>> So long, Joe.

>> Anybody else?

>> We are due in Jefferson City tomorrow night, aren't we?

>> Sure.

>> So we stay.

>> Well, that's a relief.

>> We still don't have a piano player.

>> Yeah.

Say, Mister, know anybody in this town that plays piano?

>> In the dining room there we've got a player piano.

>> No, this is a small band, we couldn't carry it.

(laughs) >> Well, there is, oh, but he's dead.

>> Well, he belongs with- >> Quiet.

>> There's a fella down at the movie house plays for the pictures.

That's just down the street.

>> Is he a young fella?

>> Yeah.

>> Foggy, check us in and take care of the instruments.

Jane, you come along with us.

>> What for?

>> Moral support.

>> A little bait for the hook.

(slow piano music) >> He's not bad.

>> Do you think we can sell him?

>> What do you mean we?

>> Well, you can help us make a pitch.

(soft piano music continues) >> Are you gonna go through life doing this sort of thing?

>> What's it to you?

>> It hurts here the way you're throwing away your talent.

(dramatic piano music) (light piano music) >> How would you like to join a red-hot jazz combo?

>> I do all right.

>> We're a professional outfit, fella, headed right up the ladder of fame and fortune.

>> No stops till we hit the sky.

Boy, what a future.

>> They mean New York, bright lights, you know.

>> Tell you the truth, I don't.

>> She means the big time where this outfit's headed.

You'll be with a band that's going places.

>> Shh!

>> Give him another pitch.

>> I'm helping.

>> Well, smile at him.

>> What time do you get through tonight?

>> About a half an hour.

Well, I have to put up the seats.

>> Well, the boys would be very glad to help you.

>> Excuse me, this is the chase.

(dramatic piano music) >> You'll love the gang, Bob.

Swell bunch of fellas.

>> What I've seen so far is okay.

>> Boys, meet our new piano player, Bob Burton.

>> All right, Bob.

>> Hello, Bob.

>> One rehearsal and we're all set for Jefferson City.

>> You can forget about Jefferson City, the date's canceled.

>> Canceled?

>> That's right, we just talked to them on the phone.

>> Uh-oh, here we go again.

>> I don't know what we've got, but they sure can leave it alone.

>> Oh, well, what's a canceled date or two?

Every new band has its ups and downs.

>> Oh, sure.

>> I'll wire Artie tonight, he won't let us down.

He'll have us booked by tomorrow morning.

I'll check with you then, Bob.

I'm sure we'll have some news.

>> Oh, wait a minute.

Bob, it looks like we've built you up to a letdown.

Date's been canceled and all we have left is hope and a prayer.

Maybe you ought to go back to that steady job.

>> Yeah, I guess he's right, Bob.

Not that we wouldn't like to have you with us.

>> Well, if you don't mind, fellas, I think I'd like to stick around.

I have some great ideas for Miss Howard.

Oh, in the line of song arrangement, I mean.

>> Oh, sure, sure.

Sure, you can rehearse tomrrow.

>> Fine, good night.

>> Good night.

>> Good night.

>> Good night.

In this part, you'll work with the piano alone.

It'll, well, it'll sort of give the number a lift.

I wrote this song with someone like you in mind.

>> Well, I do hope I do it justice, Mr. Burton.

>> Oh, you will, I'll be coaching you.

>> Jane, as long as you're not doing anything, would you wash out a couple of things for me?

It's only some socks.

>> Sure, Eddie, put it over there.

Glamorous, isn't it?

>> Yeah.

Now look, come in this way.

(slow piano music) When the trombone picks up, the- >> Hey, Jane, do you mind?

It's just a few handkerchiefs and things, as long as you're not busy.

>> What do they mean as long as you're not busy?

Not doing anything.

>> Are you any good at ironing?

>> I'm simply devastating at afghans and doilies.

Just try me sometime.

If you don't mind, let's get back to work.

>> Well, well, a little close harmony, huh?

How's it going?

>> Oh, fine, fine.

>> I knew you two would get along.

By the way, have you seen Tommy?

>> Oh, he's down at the telegraph office checking on any answer from Artie.

>> Oh yes.

Say, Jane, as long as you've got a few minutes, I've got some shirts- >> Oh, absolutely, bring 'em right down.

Just pile 'em over there.

>> Thanks.

>> Don't mention it.

Shut the door on the way out.

>> Okay.

>> Let's see if we can get all the way through this thing just once.

(slow piano music) ♪ To me ♪ ♪ You're the rose on a rosary ♪ ♪ The rise of a rising sea ♪ ♪ The glow of a star ♪ ♪ To me ♪ ♪ You're the core of a coral sky ♪ ♪ The lull of a lullaby ♪ ♪ You know that you are ♪ ♪ To you I'm a mask in a masquerade ♪ ♪ One of the unfinished symphonies ♪ ♪ That's never been played ♪ ♪ Still to me ♪ ♪ You're the rose of a rosary ♪ ♪ You are and you'll always be ♪ ♪ So precious to me ♪ >> Did you like it?

>> It's nice, Bob, very nice.

>> No bookings for Wild Canaries now or in future.

Have jobs for you and brother with Paul Whiteman Band if you come immediately.

Answer, Artie.

>> Paul Whiteman, huh?

Gee, that's a break for you and Jimmy.

I know a lot of guys who'd give their right arm to play with Whiteman.

I'd give both.

Oh, but that means I'd have to play the banjo with my feet.

(Foggy laughs) >> Sure, working with Paul Whiteman might be the chance of a lifetime.

But my brother and I want a band of our own, not just a job.

Look, Foggy, not a word of this.

No talk.

>> Compared to me, the sphinx is a chatterbox.

(chuckles) >> Pardon me, you're the fellow with the orchestra, aren't you, Dorsey?

>> Yeah.

>> I've been looking for you.

>> Let me handle this, Tommy.

Let's see your warrant.

>> Do I need a warrant to talk to you fellas?

This is about a radio date.

You ever heard of radio?

>> Oh, you mean that thing without wires that makes like (imitates radio static).

>> You'd be surprised how it's developed.

You can hear 50 or 60 miles.

Anyway, we want to try a little experiment.

Put an orchestra on the air.

It's never been done before, not around here anyway.

>> Oh, haven't you got something else?

>> Thanks, chum, but when we work, we get paid.

>> Oh, we pay all right, $50.

Oh, of course it's not much, but then there's no telling how far you might go.

>> I don't know how the fellas will take it.

>> See, we're professionals, we got a reputation.

>> Well, you don't have to use your right name.

Nobody will hear you anyway, that is nobody important.

>> Well, where do you want us and when?

>> Bannock Bulding.

That's in Cedar Springs about 10 miles down, 8:30 tonight.

>> Okay, Mister... >> De Witt.

>> The band will be there.

I'll have to break it to them gently.

(light piano music) >> I don't understand Artie booking us into a spot like this.

>> Well, it's like Tommy said, a job is a job.

What do we care as long as we get paid?

>> This is so important, I've added two men to the band.

I want to make it big.

>> But they've never rehearsed with us.

>> Oh, don't worry, these fellas read music.

Now when I give you the signal through the glass, that's when you start playing.

And above all, don't forget this is the microphone.

With that, you'll be heard all over two states.

>> Two states?

We better play loud.

>> Yeah, especially you fellas in the back.

>> Don't forget in this spot you'll play alone with the piano.

>> Maestro, it shall be done.

>> Thank you.

>> De Witt: Get ready.

(lively orchestral music) >> Louder, louder.

What's that?

I can't hear you.

Tone it down.

(lively orchestral music continues) >> What's the matter with you?

>> Who told you you could take a solo?

>> I felt like it.

>> Jimmy: Nobody else is trying a solo.

(knocks on glass) >> Tommy, Jimmy.

>> We're gonna need windshields and earmuffs if you don't lay off that loud stuff.

You're blowing us all down.

>> Gentlemen, gentlemen, please.

Do you realize that everything you're doing is going over the air?

>> Okay, okay, let's hit it boys.

And this time get in your cyclone cellar.

>> Oh, is that so?

>> Yeah.

>> Help, police!

Pull them, throw them out, throw them all out.

>> Get your hands off my brother.

>> De Witt: Stop it, stop it!

(instruments clattering) Help, police!

>> Hey you.

(mic clanking) >> My mic, my poor mic.

>> Oh, go away.

>> Help, police!

(board clattering) That's all, folks.

>> Hey, what about our dough?

We were promised a half a C-note, 50 bucks.

>> You blow hard enough, you ought to get a half a C-note out of this musical pretzel.

>> Well, how do you like that?

Where's Eddie and Phil?

>> They told me to tell you they're through.

>> Oh, let 'em go.

We'll round up two more guys, and we'll be rolling again in no time.

>> Look, I've got a suggestion for you.

Makes sense, so you'll probably pay no attention.

Why don't we all head for New York right now?

>> And give up this tour just when we're beginning to click?

Why that wire from Artie raved about our prospects.

>> (chuckles) That's nice to know.

By the way, here's a little something you dropped during our last bang-up job.

A little reference to Paul Whiteman.

Also no bookings or no prospects of bookings, signed Artie.

>> Reading my mail, huh?

>> Uh-oh, they're arguing again, I guess I'd better- >> Are you always in the middle of those two guys?

>> Tommy: Artie's a bring-down, a third degree gloom-peddler.

>> Oh, let's face it, we started before we were ready.

We'll do better the next try.

In the meantime, you and I can be working for Paul Whiteman and helping the other fellas until they can get something.

Let's let it go at that.

>> He's right, Tommy.

Remember what Mom said, she wants you two together.

>> Okay, you win.

But we'll click with our own band yet.

>> Sure we will, Tommy.

(soft music) >> I'm sorry the way things turned out.

Maybe later on when we get started again, we- >> I thought I got started.

Come on, let's go home.

>> Tess: They went into New York then.

Radio was just beginning to take hold and the big new bands were taking hold with it, the Vallees, the Lombardos, and the king of them all.

(jazzy orchestral music) (audience applauding) >> What'd you find out, Artie?

>> That's what I came over to tell you.

Now I haven't got any word yet, but you know how it is with any new band.

>> Look, Artie, you've gotta book that Sands Point date.

We're ready now, let's get goin'.

>> I'm working on it.

After all, you ain't Whiteman yet.

>> No?

>> No.

Oh here, song pluggers loaded me down with some new numbers.

You might as well look them over just in case.

>> Just in case, as if we didn't have enough of this stuff.

(slow piano music) ♪ To me ♪ ♪ You're the rose of a rosary ♪ ♪ The rise of a rising sea ♪ ♪ The glow of a star ♪ ♪ To me ♪ ♪ You're the core of a coral sky ♪ ♪ The lull of a lullaby ♪ ♪ You know that you are ♪ ♪ To you I'm a mask in a masquerade ♪ ♪ One of the unfinished symphonies ♪ ♪ That's never been played ♪ ♪ Still, to me ♪ ♪ You're the rose of a rosary ♪ ♪ You are and you'll always be ♪ ♪ So precious to me ♪ (audience applauding) >> You're in splendid voice tonight, Miss Howard.

>> Ah, thank you, Maestro.

It must be that new gargle.

>> Oh, that's a very unromantic remark.

I had hoped that that lovely try was due to a certain stirring of the heartstrings.

>> Yes, it must be the gargle.

>> You too were in lovely voice tonight, Gertie, dear since Tommy and I got you out of Uncle's Three Ball Hotel.

Come, we must go serenade a bat.

>> I don't mean this to be a guardian angel routine, but don't you think you're wasting your talent in a joint like this?

Why don't we take that Chicago offer?

>> Oh, did they call back?

>> Sure, they still want us.

It goes well, it could lead to something big.

>> Yes, I know, Bob, but well you see it's just that- >> It's just that you don't wanna leave Tommy and Jimmy.

We've all been patient, but you can't wait forever, Janie.

>> Oh, the boys are bound to get started again soon.

And they'll need me, they'll need us, Bob.

>> You sure think a lot of those two, don't you?

>> Gosh, we grew up together.

They're like my own brothers.

I want them to be a big success.

And when they are, we'll share that success.

Ah, good evening, Gafton.

>> Good evening.

Madame never looked lovelier.

>> I'll thank you to keep a civil tongue, James.

>> It's not on the menu, your excellency.

>> Oh, too bad, too bad.

Well, perhaps shall we start with caviar and mock turtle soup for two?

>> Oh, that would be too, too divine.

>> Yes, it would.

>> How is the pressed duck this evening?

>> Oh, it has a beautiful crease.

>> No, no, I think I would like the roast guinea hen under glass.

>> Under glass, hm.

>> Jane: And do you have any wild rice?

>> No, we only have tamed rice, but we can irritate some.

(chuckles) >> I'll have the creased, or pressed duck, and pygmy artichokes in caper dressing.

For dessert, pie with fresh coffee and a demitasse with just a dash of brandy.

>> Yes.

>> In other words, the same as usual.

>> Two hamburgers with all the works, hm.

>> You know, Janie, just because you were brought up with those two- >> Bob, you know, before I forget about it, I wanna tell you about that phrase in the "To Me" number.

You know where I, well, pardon me if I'm boring you.

>> Oh no, go ahead, I'm listening.

>> Well, as I started to say- (glass tinkling) Okay, Maestro, let's make this a duet.

(glasses tinkling) >> Bob: Janie, do that again.

>> What?

>> Please, please, I'm serious.

Do it again in the same order.

>> What is this, a command performance?

(glasses tinkling) (light piano music) >> To think that I've been staying awake nights digging for that phrase.

>> Well, I'm thrilled, but I don't know what you're talking about.

>> Well, if you must know, I'm writing a concerto.

>> A concerto?

>> Uh huh.

>> Oh, Bob, that's wonderful, but I didn't know you were interested in- >> Serious music?

>> Yes.

>> Janie, don't you know that every comedian has a hankering to play "Hamlet"?

>> A very profound observation, Mr. Burton, and all too wonderful, but you mean to tell me that my water glass serenade actually helped?

>> Oh, it sure did.

You know how it is when you're a genius.

You get your inspiration where you find it.

I wrote this part for trombone and sax.

It's modern and thoroughly American.

>> Oh, it's beautiful, Bob.

And you must stick with it.

>> Right down to the last bar.

Tell me now, aren't you a little surprised?

>> Why should I be?

You do beautiful things with music, Bob.

And there's no reason why you shouldn't continue to do them on a higher plane.

>> I think maybe I could if... >> If what?

>> If I had you around permanently.

>> Hold the onions!

(playful instrumental music) >> Even in Joe's, that was moonlight and orchids.

>> You know you'd make a beautiful bride?

This is the season for it.

I love you, Janie.

No echo?

>> I'd like to, Bob, really, but- >> I know, Tommy and Jimmy.

You know, if we went to Chicago- >> Jane, Bob, we're in, we made it.

I just talked to Jimmy on the phone.

We open at Sands Point next week, all of us.

>> Oh, wonderful.

Oh, Bob, isn't that marvelous?

>> I wonder.

(slow piano music) (soft playful music) >> Pardon me, I forgot the onions.

(playful instrumental music) >> Tess: This time, well, it was the right time.

They called themselves the Dorsey Brothers Orchestra, and Sands Point was just a stepping stone to the Island Casino where they had their first real success.

It should have stayed that way.

(lively orchestral music) >> What is this, a wake?

Let's get a little life in this thing.

Now look, fellas, we're gonna get this right if it takes all night.

>> You mean all morning.

>> Yes, all morning.

Let's take it again, here we go, one, two.

(lively orchestral music) You're still not playing it right.

>> It's too fast.

>> That's the way the number should be played.

>> That's the way you think the number should be played.

>> Tommy: When it's your turn to lead, you can do it your way.

>> Well, I think I'll take over right now.

>> Look, you've been arguing bout this one ever since you first rehearsed it.

Now why not drop it all together, Tommy?

>> Okay, rehearsal tomorrow at 12:00.

>> Make it three o'clock, fellas.

We been working too hard.

The band's getting stale.

It's my band too, you know.

>> Hey, are you guys gonna take me to the jam session at Art Tatum's tonight or aren't you?

>> All right, I guess we are getting a little groggy.

Let's go hear a real musician.

>> I don't like to say anything, but I thought you said you were going to the Onyx with me.

>> Oh yes, I did, Bob.

But well, you see how it is with Tommy and Jimmy.

I had to say something to stop them.

>> One of these days, we're gonna get to go out by ourselves.

>> Oh Bob, I'm so worried about the boys.

They're fighting about everything now.

I hate to see them throw away all the things they've worked so hard to get.

>> Just a minute, please.

Tommy, Jimmy, you're wanted on the phone.

It's long distance, Shenandoah.

>> Well, it must be Mom, Mrs. Dorsey.

Mrs. Dorsey?

>> Mm-hm.

>> Hello, Mom, this is Janie.

>> Hello, Jane.

We're fine, and you?

That's good.

Yes, Pop's right here.

And how are my boys?

>> Oh, they couldn't be better.

Mom.

>> Hello, Mom, you all right?

That's good.

Say, what are you and Pop doing up so late?

>> Well, we wanted to thank you and Tommy for this beautiful anniversary present.

We've been playing the machine for hours.

>> And we don't allow anything on it but records by the Dorsey Brothers Orchestra.

>> Jimmy, Jimmy, wasn't it awfully expensive?

>> She says it's awfully expensive.

>> Don't worry about what it cost, Mom, just go ahead and enjoy it.

Oh, hello, Pop.

>> Say, son, I don't like to mention it, but on a couple of those records I noticed the tone was just a shade off on the lower notes.

>> That's right, Pop.

Pop wants you.

>> Yes, Pop.

>> If you take my advice, you put in four hours of solid practice every day.

>> Okay, Pop.

Yes, Pop.

>> Bear that in mind.

Good night.

Of course I wouldn't tell them, but the boys are getting so they execute better all the time.

>> Tess: (laughs) Oh, dear.

>> Just once more.

>> Oh, but you've been playing it for hours.

>> Just one more.

>> (sighs) You know, Tom.

(lively orchestral music) A mother couldn't ask for more.

We've been so lucky that sometimes, sometimes it kind of scares me.

>> Hm?

Oh sure, sure, but we haven't got anything to worry about anymore, Tess.

You know, I've been thinking about a surprise for the boys.

Something we've put off for too long.

Oh, you'll like it, expense or no expense.

>> But I don't understand.

(soft music) (jazzy piano music) >> Hope you're not angry because I brought you here tonight.

>> No, but I sorta wish we could've been alone.

I had something I wanted to tell you.

>> What?

>> I finished the concerto.

>> Oh, Bob, that's wonderful.

>> I hope that's what the critics say.

>> Have you shown it to anyone yet?

>> No, it needs a little touching up.

Besides, I wanted to play it for you first.

You know, it was written for you.

I got an idea for the title page too.

I'd like to say to Jane, my wife.

How about it, Jane?

>> I guess I should make up my mind.

>> I been on that doorstep a long time.

Oh, I know you're worried about those two guys, but darling you can't do anything more for them.

They're tops now.

You do love me, don't you?

Well?

>> Now that title page.

>> To my wife?

>> Mm-hm.

Be sure and spell the name right.

(audience applauding) >> Barnet, come on!

(slow jazz music) (upbeat jazz music) (audience applauding) (audience cheering) (lively jazzy music) ♪ The object of my affection can change my complexion ♪ ♪ From white to rosy red ♪ >> Good evening, sir.

>> Evening.

>> Don't you think we should've told the boys we were coming?

>> It's more fun to surprise them.

♪ And tells me that he's mine ♪ ♪ There are many boys who thrill me ♪ ♪ Some who can fill me with dreams of happiness ♪ ♪ But I know I'll never rest until he says he's mine ♪ ♪ Now I'm not afraid that he'll leave me ♪ ♪ 'Cause he's not the kind to be unfair ♪ ♪ But instead I trust him implicitly ♪ ♪ He can go where he wants to go, do what he wants to do ♪ ♪ I don't care ♪ ♪ The object of my affection can change my complexion ♪ ♪ From white to rosy red ♪ ♪ Any time he holds my hand ♪ ♪ And tells me that he's mine ♪ (lively jazzy music continues) >> Tommy, how about playing "Never Say Never"?

>> Please, Mr. Dorsey.

>> The customer wants "Never Say Never."

>> But Tommy, remember in rehearsal, we never did finish that number.

>> Oh, let's do it, but don't kick it off too fast.

>> "Never Say Never," boys.

(lively orchestral music) (flat sax music) What was that for?

>> That's for playing it too fast.

>> No musician can do that to me in public, not even my own brother.

>> Jimmy: Why don't you lead the band right for a change?

>> Tommy: When it comes to leading a band, I don't need any advice from you.

>> What's the matter?

>> I don't know.

>> Look, let's play the numbers right or not play 'em at all.

>> All right, we won't play 'em at all.

>> If you walk out now, it's for good.

>> Okay, for good.

(crowd murmuring) >> Tommy.

(engine rumbling) Tommy.

>> Pardon me, please.

Jimmy.

(tense music) >> Stay here, or this is gonna go on all our lives.

>> I'll go and catch Tommy.

>> Janie, please listen to me.

Look, they were bound to have a showdown, and this might as well be it.

Let 'em have it out.

>> Let me go, Bob.

>> All right, we might as well have a showdown then.

If you can't stay out of this thing, you'll never be able to stay out of anything that has to do with the Dorseys.

And whether you were raised with them or not, I've had about all of that that one man can take.

If you go now, we're through too for good.

(tense emotional music) >> Pop, I'm sorry you were here.

>> Now listen to me, Jimmy.

>> I know what you're gonna say, and there's no point in saying it.

Nothing will make a bit of difference.

There's no use.

>> You've got to go after him.

>> No, Pop, I've got to conduct this band.

c >> When I get those two together- >> Oh, Pop, believe me, not even your strap will help this time.

The boys just don't think alike, they don't act alike.

Well, they don't even play alike.

All they've got is the same temper.

No, I think this is the finish.

>> But our boys can't just break up.

>> Jane, isn't there something you can do?

>> Well, Mom, I guess I'll go with Tommy.

I think he'll need me more.

>> I wanted the boys to have spirit, Tess, but I never expected this.

>> Tom, Tom dear.

(soft music continues) (lively orchestral music) (soft music) Still pasting things in the scrapbook, Tom?

>> It's a proud collection.

Just look at the newest.

Dorsey's in tie for top place.

Remember how worried we were thinking they'd never get along without each other?

And now look at them sitting on top of the world.

>> It is nice.

>> I'm very pleased, Tess, very pleased.

They're so big now a lot of papers are just calling them by their initials, TD and JD.

Like USA.

>> Are you about ready for dinner, Tom?

>> Something bothering you, Tess?

Are you not happy about the boys?

>> I can't say I'm not happy about them, but I'm not happy about us.

Tom, maybe it's something that only a mother would be that bothered by, but well, the boys and the success, I can't help feeling the family's a failure.

>> But Tess, they've got everything in the world.

They're the biggest thing there is in dance bands.

Both of them, they- >> Yes, yes, yes, I know.

But can I have them home for dinner?

Can I walk down the street with both my sons beside me?

When Tommy's at home, Jimmy won't come.

And when Jimmy's at home, Tommy won't come.

And if it's a birthday or anniversary or Christmas, well, we get phone calls and messages and presents.

The nicest present a mother can have, her family around her.

Tom, it just isn't a family anymore.

>> Yes, Tess.

I feel just the same.

I didn't want to say it to you.

>> I'll put the things on the table.

>> Tess, where did you say the boys are playing now?

>> Tess: It's in the letter, Tom.

(soft music) (car horn beeping) (slow orchestral music) ♪ Your green eyes with their soft light ♪ ♪ Your eyes that promise sweet night ♪ ♪ Bring to my soul a longing ♪ ♪ A thirst for love divine ♪ ♪ In dreams I seem to hold you ♪ ♪ To find you and enfold you ♪ ♪ Our lips meet and our hearts too ♪ ♪ With a thrill so sublime ♪ ♪ Those cool and limpid green eyes ♪ ♪ A pool wherein my love lies ♪ ♪ So deep that in my searching ♪ ♪ For happiness I fear ♪ ♪ That they will ever haunt me ♪ ♪ All through my life, they'll taunt me ♪ ♪ But will they ever want me ♪ ♪ Green eyes, make my dream come true ♪ (lively orchestral music) (energetic trumpet solo) (lively orchestral music continues) ♪ Soft lights and eyes that promise sweet nights ♪ ♪ Bring to my soul a longing ♪ ♪ A thirst for love divine ♪ ♪ In dreams I seem to hold you ♪ ♪ To find you and enfold you ♪ ♪ Our lips meet and our hearts too ♪ ♪ With a thrill so sublime ♪ ♪ Those cool and limpid green eyes ♪ ♪ A pool wherein my love lies ♪ ♪ So deep that in my searching ♪ ♪ For happiness I fear ♪ ♪ That they will ever haunt me ♪ ♪ All through my life they'll taunt me ♪ ♪ But will they ever want me ♪ ♪ Green eyes, I love you ♪ (audience applauding) (audience cheering) (slow orchestral music) >> Pretty good, lad.

>> Did you like it, Pop?

Make you think of Gorman's Hall?

>> Gorman's Hall you had to be a musician.

Boy, if you and Tommy could get together- >> Look, Pop, let's not go into that again.

I still can't get over your coming up here without Mom.

How's she doing?

>> Better than I am, I hope.

(lively orchestral music) ♪ Marie ♪ ♪ Oh Marie, 'tis true ♪ ♪ The dawn is breaking ♪ ♪ Just break for me ♪ ♪ Marie ♪ ♪ Girl of my dreams ♪ ♪ You'll soon be ♪ ♪ I want you, I need you ♪ ♪ Waking to find ♪ ♪ Have a little faith in me ♪ ♪ Your heart is aching ♪ ♪ Tra la la la la ♪ ♪ And tears will fall ♪ ♪ There you go crying again ♪ ♪ As you recall the moon ♪ ♪ Please, darling ♪ ♪ On a night like this ♪ ♪ In all its splendor ♪ ♪ We don't let men park ♪ ♪ A kiss ♪ ♪ Oh the way I like it so ♪ ♪ Darling I'm yours ♪ ♪ You're the world ♪ ♪ Spoken as I came to speak ♪ ♪ Will you surrender, Marie ♪ ♪ Living in a great big way, mama ♪ (lively orchestral music continues) (audience applauding) (slow orchestral music) >> That, ladies and gentlemen, winds up another broadcast of Tommy Dorsey, that sentimental gentleman of swing.

Until next week, this is Frank Robinson Brown saying good night.

>> Are you ready to eat, Mom?

>> (chuckles) Have you ever known me when I wasn't ready to eat?

>> That a girl.

>> Tommy, I don't want to begin all over again.

But if you and Jimmy would only- >> Mom, I'll meet you back here just as soon as I change.

(soft music) >> You don't have to tell me.

Didn't get anyplace.

>> No, Jane, the minute you mention it, they just shut off their ears.

>> You know, Mom, the trouble is the boys are too used to saying no to you.

You're the old folks.

They love you and there isn't anything they wouldn't do for you, but well, you know.

Maybe what we need is a completely different approach.

>> But we can't even get them together in the same room.

>> I know, and I've been thinking about that.

And I believe I know how it might be done.

(soft music continues) (knocking on door) Hello, Eddie.

>> Jane, of all people.

Gee, I'm glad to see you.

How you been?

Come on in.

Bob just went out.

>> He just now go?

>> But he'll be right back.

He went out to get his laundry.

>> Oh, then in that case we haven't much time.

Look, Eddie, I need your help very badly.

You remember Bob's concerto?

>> Mm-hm.

>> Well, I've got to have a copy of it right away.

You know what he's done with it?

>> I haven't seen anything of it since, well, he put it away somewhere and you know.

>> Well, we must find it.

Where does he keep his music?

>> Well, seems as though I have seen it somewhere at the bottom of something.

You look through the desk over there, and I'll check through the closet and things.

(soft music) >> There's nothing here.

Have you found anything?

>> Not yet.

Try the clothes closet next to you.

Sometimes he keeps papers in there.

I've got it.

Here it is.

>> Oh, wonderful, Eddie.

Now look, I'm gonna try to do something with this, but Bob mustn't know anything about it, promise?

>> I won't say anything.

But I'm not so sure about Bob not knowing.

After all, he's the composer.

You won't be able to do much without his say-so.

>> Oh, well that's all right.

I'll change the name on it to Smith or something.

And thanks again, Eddie.

If what I have in mind comes off, I'll send you a ticket.

>> Uh-huh.

Who, Paul Whiteman?

Hello, Paul, long time no hear.

How have you been?

What's that?

>> I'm conducting the annual concert for the musician sick fund.

Want to introduce some new American music, it's a concerto.

Oh, I think it's gonna be a very exciting night.

And you're just the fella to play that concerto.

>> Well, Paul, if it's good enough for Whiteman, it's good enough for me.

>> Oh, that's wonderful, Tommy.

It'll be so swell seeing you again.

Well, looks like we're doing all right.

We got one.

>> Oh, thank you, Mr. Whiteman.

I didn't think he'd say no to you.

>> How do you like that?

A concerto.

Wouldn't Pop get a kick out of that?

>> Yeah, a Whiteman concerto.

That's tops in the trade, brother.

Hey, do you suppose he'll be asking Jimmy too?

>> Are you kiddin'?

Whiteman knows better.

Jimmy will end up leading his band.

>> Yes.

Uh-huh.

Oh hello, Paul, you want a job with my band?

Uh-huh.

Yeah.

Sure, even if I have to cancel a date for that.

Right.

Well, what do you know?

Whiteman would like me to help him introduce a new American concerto.

>> American concerto.

I had ambitions myself along that line once.

>> Yeah?

>> Say, you don't think he'd want your brother too, do you?

>> Not if Whiteman wants to keep his baton.

Oh, not a chance.

(laughs) (soft music) Mr. Whiteman around?

>> He'll be along any minute.

Oh, you must be Mr. Jimmy Dorsey.

I'm Walter, his concert master.

Won't you sit down?

>> Thank you.

(light clarinet music) >> Oh, Tommy, just before we start on bar 29, you'll find that passage has been changed.

>> Mm-hm.

>> I think you'll find it'll play smoothly.

>> Okay, I'll make that change right now, Paul.

>> Like to have the score?

>> Thank you.

>> Hi, Jimmy.

Gee, it was swell of you to come.

How you feeling, partner?

>> Fine, Paul.

It's kinda chilly in here.

>> It'll warm up.

>> Say, Paul, is this right?

>> That's right, Tommy.

>> Well, that change makes this bar straight trombone and clarinet.

>> That's right, Tommy.

>> Who's on the clarinet?

>> The clarinet?

As a matter of fact, your brother, Jimmy.

>> I'm sorry, Paul, but that's out.

I said we'd never play together again, and it still goes.

>> I'm glad he said that, Paul, it saved me the trouble.

>> Oh look, boys, it's such a worthy cause.

Let's not let personal differences interfere.

You're too big for that.

>> Paul, I'd like to do you this favor, but trying to get us to play together again is something different.

You know we've always disagreed over interpretation.

>> Hey, you boys forget I'm conducting.

And when it comes to interpretation, I'm kind of a double Dorsey.

>> Thanks, Paul, but I think you'll find a double Dorsey is just one too many.

If you'll excuse me, I'll go.

>> Paul: Jimmy.

>> Never mind, I'll go.

>> Paul: Tommy.

>> Hey, Tommy, Tommy- >> Now look, Foggy, don't you start in too.

>> No, Tommy, I been trying to reach you for an hour.

This is about your father.

>> Pop, what's wrong with him?

>> Well, he's pretty sick in the hospital.

Your mother called, she wants you to come right away.

>> I'll leave right away.

>> I called the airport, and there's a plane leaving in half an hour.

If you hurry, you can make it.

>> My brother's in there, you better tell him too.

(soft tense music) >> Tess: By the time the boys reached the hospital, Pop was too weak to talk, but he saw Tommy and Jimmy standing together.

He smiled and then closed his eyes.

(Tess crying) >> Hey, Mom.

>> You can't do anything now, Mom.

None of us can.

>> If I could only be sure he hadn't suffered.

>> He didn't suffer.

>> Nothing much you can say, is there?

He gave us kids everything we've got.

>> He gave us all everything we've got.

40 years I've been wondering what this day would be like, and now I know.

Now I know.

>> Mom.

>> There's just one last thing your father wanted, and only you boys could give it to him.

>> We know, Mom.

>> You don't have to ask us.

(dramatic orchestral music) (pleasant orchestral music) >> Gee, Mom, I'm happy you could be here.

>> Yes, Jane, thanks for everything.

>> Hello, I didn't know you were coming tonight.

Eddie gave me this seat.

Somebody sent it to him.

(soft orchestral music) That sounds like my concerto.

>> It does?

>> It is my concerto.

Look at that, look at the composer, D.H. Smith.

He's a thief.

>> Why that's outrageous.

>> I've got to find him.

>> Wait a minute, Bob.

>> I've got to find this DH Smith.

>> Would you mind?

We're trying to hear the music.

(swelling orchestral music) (intense orchestral music) >> What?

(dramatic orchestral music) (fast-paced orchestral music) >> So you see, Mr. Burton, you are now Mr. Smith.

But that's all right, Mr. Smith will be Mr. Burton in the papers tomorrow morning.

>> What about Mrs. Smith?

>> Well, she prefers Burton.

(lively orchestral music)