In 1943, Torme made his movie debut in Frank Sinatra's first film, the musical "Higher and Higher." He went on to sing and act in a number of films and television episodes throughout his career, even hosting his own television show in 1951-52. His appearance in the 1947 film musical "Good News" made him a teen idol for a few years. In the last years of his career he toured and sang with the wonderful George Shearing Quartet, often sitting in at drums, for a number or two in a set. To hear two such accomplished jazz artists was an evening not to be forgotten.
In that year he also formed the vocal quintet "Mel Torme and His Mel-Tones," modeled after Frank Sinatra and the Pied Pipers. The Mel-Tones, which included Les Baxter and Ginny O'Connor, had several hits fronting Artie Shaw's band and on their own, including Cole Porter's "What is This Thing Called Love?" The Mel-Tones were among the first jazz-influenced vocal groups, blazing a path later followed by The Hi-Los, The Four Freshmen, and The Manhattan Transfer.
In 1947, Torme went solo. His singing at New York's Copacabana led a local DJ, Fred Robbins, to give him the nickname "The Velvet Fog", thinking to honor his high tenor and smooth vocal style, but Torme detested the nickname. As a solo singer, he recorded a number of romantic hits for Decca (1945), and with the Artie Shaw Orchestra on the Musicraft label (1946-48). In 1949, he moved to Capitol Records, where his first record, "Careless Hands," became his only number one hit. His versions of "Again" and "Blue Moon" became signature tunes. His composition "California Suite," prompted by the Gordon Jenkins's "Manhattan Tower," became Capitol's first 12 inch LP. Around this time, he helped pioneer cool jazz.
From 1955 to 1957, Torme recorded 7 jazz vocal albums with Red Clyde's Bethlehem Records, all with groups led by Marty Paich, most notably "Mel Torme with the Marty Paich Dektette." These recordings proved a creative peak for Torme and for Paich, a leading figure in the West coast jazz of the time.
When rock & roll music (which Torme called "three chord manure") came on the scene in the 1950s, commercial success became elusive. During the next two decades, Torme often recorded mediocre arrangements of the pop tunes of the day, never staying long with any particular label. He was sometimes forced to make his living by singing in obscure clubs. He had two minor hits, his 1956 recording of "Mountain Greenery," and his 1962 R&B song "Comin' Home, Baby," arranged by Claus Ogerman. The latter recording led the jazz and gospel singer Ethel Waters to say that "Torme is the only white man who sings with the soul of a black man." It was later covered instrumentally by Quincy Jones and Kai Winding.
In 1963–64, Torme wrote songs and musical arrangements for the The Judy Garland Show, and made two guest appearances on the show itself. A few years later, after Garland's death, his time with her show became the subject of his first book, "The Other Side of the Rainbow." Although the book was praised, it led to an unsuccessful lawsuit by Garland's family.
Torme continued to play jazz drums as an adult, and befriended drummer Buddy Rich, who became the subject of his book "Traps-The Drum Wonder-The Life of Buddy Rich." Torme also owned and played a drumset that renowned drummer Gene Krupa had used for many years.
Although a jazz and popular musician, Torme also respected classical music, especially that of Frederick Delius and Percy Grainger.
The resurgence of vocal jazz in the 1970s resulted in another artistically fertile period for Torme, whose live performances during the 1960s and 70s fueled a growing reputation as a jazz singer. He found himself performing as often as 200 times a year around the globe. In 1976, he won an Edison Award (the Dutch equivalent of the Grammy) for best male singer, and a Downbeat award for best male jazz singer. For a number of years around this time, his September appearances at Michael's Pub, on the Upper East Side would unofficially open New York's fall cabaret season.
Tormé viewed his 1977 Carnegie Hall concert with George Shearing and Gerry Mulligan as a turning point. Shearing later said:
"It is impossible to imagine a more compatible musical partner… I humbly put forth that Mel and I had the best musical marriage in many a year. We literally breathed together during our countless performances. As Mel put it, we were two bodies of one musical mind."
Starting in 1982, Torme recorded a number of albums with Concord Records, including:
* Five albums with pianist George Shearing;
* His big band work with Rob McConnell and his Boss Brass orchestra (see Mel Torme, Rob McConnell and the Boss Brass);
* A reunion with Marty Paich, resulting in a live recording in Tokyo (In Concert Tokyo) and a studio album (Reunion).
In the 1980s, he often performed with pianist John Colianni. In the last years of his career he toured and sang with the wonderful George Shearing Quartet, often sitting in at drums, for a number or two in a set. To hear two such accomplished jazz artists was an evening not to be forgotten.
Torme made 9 guest appearances as himself on the 1980s sitcom Night Court whose main character, Judge Harry Stone (played by Harry Anderson), was depicted as an unabashed Tormé fan. In the mid-90s, Torme gained a following among Generation Xers by appearing in a series of Mountain Dew commercials and on an episode of the sitcom Seinfeld, in which he dedicates a song to the character Kramer (played by Michael Richards). Torme also recorded a version of Nat King Cole's "Straighten up and Fly Right" with his son, alternative/adult contemporary/jazz singer Steve March Torme.
In February 1999, Tormé was awarded the Grammy Lifetime Achievement Award. On August 8, 1996, a stroke abruptly ended his 65-year singing career; another stroke in 1999 ended his life. In his eulogistic essay, John Andrews wrote about Tormé: "Tormé's style shared much with that of his idol, Ella Fitzgerald. Both were firmly rooted in the foundation of the swing era, but both seemed able to incorporate bebop innovations to keep their performances sounding fresh and contemporary. Like Sinatra, they sang with perfect diction and brought out the emotional content of the lyrics through subtle alterations of phrasing and harmony. Ballads were characterized by paraphrasing of the original melody which always seemed tasteful, appropriate and respectful to the vision of the songwriter. Unlike Sinatra, both Fitzgerald and Tormé were likely to cut loose during a swinging up-tempo number with several scat choruses, using their voices without words to improvise a solo like a brass or reed instrument."
Tormé wrote more than 250 songs, a number of which became jazz standards. He also often wrote the arrangements for the songs he sang. He often collaborated with Bob Wells, and the best known Tormé-Wells song is "The Christmas Song", often referred to by its opening line "Chestnuts roasting on an open fire." First recorded by Nat King Cole in 1946, it has been a holiday favorite ever since. Tormé said that he wrote the music to the song in only 40 minutes, and that it was not one of his personal favorites.
A Fine Romance
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A fine romance, my friend, this is.
We should be like a couple of hot tomatoes.
But you're as cold as yesterday's mashed potatoes.
A fine romance, you won't nestle.
A fine romance, you won't wrestle.
I've never mussed a crease in your blue serge pants.
I never had the chance.
A fine romance, my good fellow.
You take romance. I'll take jello.
You calmer than the seals in the Arctic Ocean.
At least they flap their fins to express emotion.
A fine romance, with no quarrels,
With no insults, and all the morals.
You're just as hard to land as the Ile de France.
I never get the chance.
This is a fine romance.
A fine romance, with no kisses.
A fine romance, my friend, this is.
True love should have the thrills that a healthy crime has.
We don't have half the thrills that "The March of Time" has.
A fine romance, with no clinches.
A fine romance, with no pinches.
You never give the orchids I send a glance.
No, you like cactus plants.
This is a fine romance.
The song “A Fine Romance” by Mel Torme is a humorous take on a less than thrilling romance. The lyrics describe a relationship that lacks passion, intimacy, and excitement. The phrases, “A fine romance, my friend, this is,” and “This is a fine romance,” that are repeated several times throughout the song carry a sarcastic tone. It’s evident that the singer is not content with the relationship, and the repeated use of “fine” implies the opposite of what it means.
The lyrics compare the dull relationship to that of “hot tomatoes,” which symbolizes passion and excitement. However, the other person is described as “cold as yesterday's mashed potatoes.” The line, “You're just as hard to land as the Ile de France,” implies that the person is not interested in committing to the relationship fully. The last stanza states how true love should have the “thrills that a healthy crime has,” which is a humorous take on passionate love. The song’s overall tone is cynical, and it’s evident that the romance is less than satisfactory.
Line by Line Meaning
A fine romance, with no kisses.
Our relationship lacks passion and intimacy, despite being considered a romance.
A fine romance, my friend, this is.
Despite the lack of physicality, we still have a romantic connection.
We should be like a couple of hot tomatoes.
We should be passionate and enthusiastic in our romantic relationship.
But you're as cold as yesterday's mashed potatoes.
However, you are emotionally distant and unresponsive.
A fine romance, you won't nestle.
You are not affectionate or cuddly in this relationship.
A fine romance, you won't wrestle.
You are not passionate or playful in this relationship.
I've never mussed a crease in your blue serge pants.
I have never been able to get physically close enough to you to muss up your clothing.
I never had the chance.
I have been denied the opportunity to experience physical intimacy with you.
A fine romance.
Despite its shortcomings, our relationship is still considered a romance.
A fine romance, my good fellow.
Our relationship is still cordial, despite the lack of romance.
You take romance. I'll take jello.
You are not interested in the romantic aspect of our relationship, while I am.
You calmer than the seals in the Arctic Ocean.
You are emotionally detached and unresponsive.
At least they flap their fins to express emotion.
Even though the seals are cold-blooded creatures, they still show more emotional expression than you do.
A fine romance, with no quarrels.
Our relationship lacks emotional conflict or tension.
With no insults, and all the morals.
Despite the lack of passion, we still maintain a moral standard of behavior towards each other.
You're just as hard to land as the Ile de France.
You are difficult to woo or win over in this relationship.
I never get the chance.
I have been prevented from pursuing a more intimate and romantic relationship with you.
This is a fine romance.
Despite the challenges, our relationship is still considered a romance.
A fine romance, with no clinches.
Our relationship lacks physical closeness or embracing.
A fine romance, with no pinches.
Our relationship lacks playfulness or teasing behavior.
You never give the orchids I send a glance.
You do not acknowledge or appreciate the romantic gestures I make towards you.
No, you like cactus plants.
You prefer to keep your emotional distance, like a prickly cactus plant.
This is a fine romance.
Despite the lack of passion and physicality, our relationship is still considered a romance.
Lyrics © Kanjian Music, BMG Rights Management, Universal Music Publishing Group, RESERVOIR MEDIA MANAGEMENT INC
Written by: Jerome Kern, Dorothy Fields
Lyrics Licensed & Provided by LyricFind