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 Nightingale Sang in Berkeley Square
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There was magic abroad in the air
There were angels dining at the Ritz
And a nightingale sang in Berkley Square
I may be right, I may be wrong
But I'm perfectly willing to swear
That when you turn'd and smiled at me
A nightingale sang in Berkley Square
The moon that lingered over London town
Poor puzzled moon, he wore a frown
How could he know that we were so in love?
The whole darn world seemed upside down
The streets of town were paved with stars
It was such a romantic affair
And when we kissed and said goodnight
A nightingale sang in Berkley, nightingale sang in Berkley
Nightingale sang in Berkley
Square
The lyrics to Mel Tormé and George Shearing's "A Nightingale Sang in Berkeley Square" describes a magical and romantic encounter between two individuals. The night in question was filled with awe-inspiring wonders, including angels dining at the famous Ritz hotel and a nightingale singing its sweet melody in the streets of Berkeley Square. The singer acknowledges that they may be right or wrong in feeling the enchantment they experienced that night, but they are willing to swear that when the person they met turned and smiled at them, a nightingale sang in Berkeley Square.
As the night progressed, even the moon reflected the lovers' mood, as it appeared to wear a frown in confusion over the intensity of their love. The whole world seemed to be turned upside down, with the streets of London lined with stars, adding to the romantic atmosphere. The song ends with a final reference to the nightingale's song, reminding the listener of the magic and beauty of the couple's encounter in Berkeley Square.
Overall, the lyrics for "A Nightingale Sang in Berkeley Square" evoke a sense of magic and wonder, capturing the essence of a fairytale-like romance in the heart of London.
Line by Line Meaning
That certain night, the night we met
On the night that we first met, something special and magical was in the air.
There was magic abroad in the air
The atmosphere was charged with an enchanting quality.
There were angels dining at the Ritz
The setting was so grand and heavenly, it was as if divine beings were part of the experience.
And a nightingale sang in Berkeley Square
In the midst of all this wonder and enchantment, a nightingale could be heard singing sweetly in the distance.
I may be right, I may be wrong
Although I can't be sure, I feel strongly about what I experienced that night.
But I'm perfectly willing to swear
I'm willing to testify to the incredible feeling that was in the air that night.
That when you turn'd and smiled at me
When you first smiled at me, I felt even more enchanted and charmed.
A nightingale sang in Berkeley Square
The nightingale's sweet song seemed to emphasize the magic and love between us.
The moon that lingered over London town
The moon was shining down on us, and seemed to complete the enchanting atmosphere.
Poor puzzled moon, he wore a frown
The moon couldn't understand how something so magical and special could be happening down on earth.
How could he know that we were so in love?
The love between us was so strong and powerful that it was impossible for the moon to comprehend.
The whole darn world seemed upside down
The world felt like it had been turned on its head, as we experienced love and magic like never before.
The streets of town were paved with stars
The very streets we walked on felt like they were transformed into something ethereal and enchanting.
It was such a romantic affair
The feeling between us was nothing short of pure romance and enchantment.
And when we kissed and said goodnight
As we ended the night with a kiss and farewell, the nightingale's song seemed to echo the love and magic we had experienced.
A nightingale sang in Berkeley, nightingale sang in Berkeley, Nightingale sang in Berkeley Square
The nightingale's song is repeated to emphasize how it was a powerful and magical part of the entire experience of falling in love.
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, RESERVOIR MEDIA MANAGEMENT INC
Written by: Eric Maschwitz, Manning Sherwin
Lyrics Licensed & Provided by LyricFind
@hughgraham6587
LYRICS - SING ALONG DEAR FRIENDS:
That certain night, the night we met
There was magic abroad in the air
There were angels dining at the Ritz
And a nightingale sang in Berkeley Square
I may be right, I may be wrong
But I'm perfectly willing to swear
That when you turned and smiled at me
A nightingale sang in Berkeley Square
The moon that lingered over London town
Poor puzzled moon, he wore a frown
How could he know that we two were so in love?
The whole darn world seemed upside down
The streets of town were paved with stars
It was such a romantic affair
And as we kissed and said goodnight
A nightingale sang in Berkeley Square
When dawn came stealing up, all gold and blue
To interrupt our rendez-vous
I still remember how you smiled and said
"Was that a dream or was it true?"
Our homeward step was just as light
As the dancing of Fred Astaire
And like an echo far away
A nightingale sang in Berkeley Square
@salvadorvillavieja2611
Mel Torme is a singer's singer. Excellent phrasing, great diction and still does it with a lot of feeling. He's the voice!
@floridagal9542
How can anyone of any age not love a voice like that? No need for auto tune or anything to mask a voice, because this man worked at his art! He was 63 or 64 here and he had to spend many hours still, training his breath, the phrasing and vocal clarity is amazing.
@pamtebelman2321
He had unmatched control, range and vocal quality.
@marvinwhisman3333
@@pamtebelman2321 his control of his vibrato was unmatched.
@roybodden9243
Any song that Mel sang it automatically become his own! His interpretation of this sing with the piano of George Shearing is hard to top!
@saxafun3442
Aagghh..quite so😊
@dr.ulyssesswlabr6642
Two jazz giants making supreme musical magic together. Does it get any better?
@glendastormes-bice5772
It is one of my life's regrets that I came to Mel Torme's music long after his death. This is literally the best performance ever. I return to it time and time again for comfort, peace, and joy. And George Shearing....you are a master.
@jpathak6227
Listen to his songs. You’ll be pleasantly surprised. I was fortunate enough to see him perform in LV. Multi talented performer.
@pamtebelman2321
This is superb! Mel had unmatched control, range and vocal quality, and George's playing is incredibly beautiful here.