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.
Blue Skies
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ev'ry day was a cloudy day for me
Then good luck came a-knocking at my door
Skies were gray but they're not gray anymore
Blue skies
Smiling at me
Nothing but blue skies
Bluebirds
Singing a song
Nothing but bluebirds
All day long
Never saw the sun shining so bright
Never saw things going so right
Noticing the days hurrying by
When you're in love, my how they fly
Blue days
All of them gone
Nothing but blue skies
From now on
I should care if the wind blows east or west
I should fret if the worst looks like the best
I should mind if they say it can't be true
I should smile, that's exactly what I do
Mel Torme's "Blue Skies" is a song that tells a story about a person who was having a difficult time before good fortune finally smiled on them. The lyrics start with the singer expressing their sadness and low mood, saying they were as blue as one could be. The person feels like every day is a cloudy day and nothing seems to go their way. However, things change for the better when luck knocks on their door. The sky is grey no more, and the blue skies that follow are the inspiration for the rest of the song.
The chorus of the song highlights the newfound optimism that the singer experiences. Nothing but blue skies are all they can see, and bluebirds sing a song all day long. This is indicative of how joyfully the person looks at the world after an extended period of gloominess. They feel like they have never seen the sun shining so bright before and have never felt things going so right. The days rush past when one is in love, but they realize they haven't been noticing them until now.
Line by Line Meaning
I was blue, just as blue as I could be
I was feeling down, the lowest of the low
Ev'ry day was a cloudy day for me
My life was miserable and I was unhappy every day
Then good luck came a-knocking at my door
Suddenly, my luck changed and good things started happening to me
Skies were gray but they're not gray anymore
The world used to seem bleak, but now everything is looking up
Blue skies
My outlook on life has improved, and I see good things ahead
Smiling at me
Everything seems happy and positive
Nothing but blue skies
All I can see is positivity and good fortune
Do I see
Everything in my life looks perfect
Bluebirds
Beautiful birds that symbolize happiness and good luck
Singing a song
These birds are singing happily, bringing joyful melodies to my life
Nothing but bluebirds
All I can see are these birds, reminding me that good things are still to come
All day long
Their songs are constant and never fail to lift my spirits
Never saw the sun shining so bright
The world is more beautiful and radiant than ever before
Never saw things going so right
Everything is falling into place perfectly
Noticing the days hurrying by
Time is passing by quickly, and I feel like I'm enjoying every moment
When you're in love, my how they fly
I'm so happy and in love that time seems to be moving even more quickly
Blue days
The days that used to be sad and depressing
All of them gone
Those days are now a thing of the past
Nothing but blue skies
All I can see and feel now is happiness and joy
From now on
I will focus on the positives and stay optimistic, no matter what comes my way
I should care if the wind blows east or west
I shouldn't worry about things that are out of my control, like the direction of the wind
I should fret if the worst looks like the best
I shouldn't worry about things appearing to be bad or hopeless, because they might turn out better than I expect
I should mind if they say it can't be true
I shouldn't be upset if others doubt me or don't believe that good things can happen
I should smile, that's exactly what I do
Instead of getting upset, I choose to smile and stay positive in spite of the circumstances
Lyrics © DistroKid, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Irving Berlin
Lyrics Licensed & Provided by LyricFind