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 House Is Not A Home
Mel Tormé Lyrics
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Even when there's no one sitting there
But a chair is not a house
And a house is not a home
When there's no one there to hold you tight,
And no one there you can kiss good night.
A room is still a room
But a room is not a house,
And a house is not a home
When the two of us are far apart
And one of us has a broken heart.
Now and then I call your name
And suddenly your face appears
But it's just a crazy game
When it ends it ends in tears.
Darling, have a heart,
Don't let one mistake keep us apart.
I'm not meant to live alone.
Turn this house into a home.
When I climb the stair and turn the key,
Oh, please be there still in love with me.
In "House is Not a Home," Mel Torme explores the idea that a physical structure, like a chair, room, or house, can hold memories and evoke emotions but cannot provide the comfort and security of a true home without the presence of someone to share it with. He compares the empty objects to the emptiness in his heart, caused by distance and a broken heart.
The first verse speaks of a chair, which can still exist even when no one is sitting in it, but acknowledges that it cannot offer the intimacy of being held or kissed goodnight. The second verse discusses a room, which can still exist even when it is empty, but cannot replace the feeling of being home when one's heart is aching from separation or heartbreak. The chorus resounds with the theme that he's calling out to someone who is not there, yet the memories of love remain, though tragic.
He continues the song by calling out to the one he loves in moments of loneliness, only to be met with the realization that it is a fleeting thought, a memory that will never come back. He pleads with them to forgive his mistake and come back to him, to turn this mere house into a real home. In these last lines, Torme reflects on the pain of returning home not to find the warmth and love of someone waiting for him. Through these poignant lines, Torme highlights the importance of human connection and love in making a house a home.
Line by Line Meaning
A chair is still a chair
Even if no one is sitting on it, it is still a chair
Even when there's no one sitting there
The presence of people does not determine the purpose of an object
But a chair is not a house
A chair is not the same as a house
And a house is not a home
Merely having a house does not mean it is a comfortable home
When there's no one there to hold you tight,
Having no one to hold tight can make a house feel less like a home
And no one there you can kiss goodnight.
The absence of a partner can make a home feel lonely
A room is still a room
A room remains a room regardless of its contents
Even when there's nothing there but gloom;
Despite the absence of light, the room’s function does not change
But a room is not a house,
A room is just a component of a house
When the two of us are far apart
Distance can cause a longing for a true home
And one of us has a broken heart.
Heartbreak can make someone feel like a house is less of a home
Now and then I call your name
Memories can bring someone's loved ones back into their thoughts
And suddenly your face appears
Memories can be vivid and lifelike
But it's just a crazy game
Fooling oneself with memories can be dangerous
When it ends it ends in tears.
Despair follows the realization that the memories are not reality
Darling, have a heart,
Please be compassionate
Don't let one mistake keep us apart.
Don't let a single error ruin our relationship
I'm not meant to live alone.
An unfulfilling solitude is not his purpose
Turn this house into a home.
Help create a welcoming home for both of them
When I climb the stair and turn the key,
The home should be filled with love, even when they are not together
Oh, please be there still in love with me.
Hoping their partner still loves them despite their absence
Lyrics © Sony/ATV Music Publishing LLC
Written by: Burt Bacharach, Hal David
Lyrics Licensed & Provided by LyricFind