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.
Autumn In New York
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Why does it seem so inviting?
Autumn in New York,
It spells the thrill of first-nighting.
Glittering crowds
And shimmering clouds
In canyons of steel,
They're making me feel
It's Autumn in New York
That brings the promise of new love,
Autumn in New York
Is of'en mingled with pain.
Dreamers with empty hands,
They sigh for exotic lands,
It's Autumn in New York,
It's good to live again.
This Autumn in New York
Transforms the slums into Mayfair.
Autumn in New York,
You need no castles in Spain.
Lovers that bless the dark
On benches in Central Park,
It's Autumn in New York,
It's good to live again.
Mel Tormé's song "Autumn in New York" captures the essence of the colorful and romantic vibe of the city after the summer. The tone of the song is set by the first two lines where the singer questions why the city seems so inviting in autumn. However, the answer lies in the excitement and thrill of the city's first-nighting. The song is a tribute to the stunning transformation of the city in the fall, from the glittering crowds to the shimmering clouds. The canyons of steel and the skyscrapers are a hallmark of New York, and the autumn season makes the singer feel at home in the city.
The song then steers towards the themes of love and pain that are intertwined in the season. Autumn in New York brings the promise of new love and relationships, but it also holds a bittersweet experience as dreamers sigh for exotic lands with their empty hands. Nonetheless, the season still makes it good to be alive again. The slums of New York are transformed into Mayfair as autumn brings its charm to every corner of the city. The ballad's refrain suggests that you don't need castles in Spain to experience love when you have the fall in the city. The lovers bless the dark and reside on park benches in Central Park, where the singer contemplates how good it is to live again, with hints of optimism and hope in his voice.
Line by Line Meaning
Autumn in New York,
The season of autumn in New York
Why does it seem so inviting?
What makes autumn in New York so appealing?
Autumn in New York,
The season of autumn in New York
It spells the thrill of first-nighting.
It brings the excitement of experiencing something for the first time.
Glittering crowds
Crowds of people that are shining and full of life
And shimmering clouds
Clouds that are reflecting the light of the city and creating a beautiful sight
In canyons of steel,
Amongst the tall buildings of New York City
They're making me feel
It makes me feel
I'm home.
Like I belong in this place
It's Autumn in New York
The season of autumn in New York
That brings the promise of new love,
That offers the possibility of finding a new romantic relationship
Autumn in New York
The season of autumn in New York
Is of'en mingled with pain.
Is often mixed with feelings of sadness or heartbreak
Dreamers with empty hands,
People with big hopes and aspirations but lacking the means to achieve them
They sigh for exotic lands,
They yearn for faraway places and exciting adventures
It's Autumn in New York,
The season of autumn in New York
It's good to live again.
It feels great to be alive and present in this moment
This Autumn in New York
The season of autumn in New York
Transforms the slums into Mayfair.
It turns the poor and run-down areas of the city into something beautiful and luxurious
Autumn in New York,
The season of autumn in New York
You need no castles in Spain.
You don't need elaborate or exotic things to be happy when you're in New York during the autumn season
Lovers that bless the dark
Couples who enjoy each other's company even in the darkness of night
On benches in Central Park,
Sitting together on a bench in the famous park in the middle of New York City
It's Autumn in New York,
The season of autumn in New York
It's good to live again.
It feels great to be alive and present in this moment
Lyrics © O/B/O APRA AMCOS
Written by: Vernon Duke
Lyrics Licensed & Provided by LyricFind