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.
Bluesette
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't you cry, don't you fret,
You can bet one lucky day you'll waken,
And your blues will be forsaken,
Some lucky day lovely love will come your way.
If there is love in your heart to share,
Dear Bluesette don't despair
To find a someone to be true to,
Two loving arms you can nestle in to stay.
Get set, Bluesette,
True love is coming,
Your lonely heart soon will be humming.
Pretty little Bluesette,
Mustn't be a mourner,
Have you heard the news yet,
Love's 'round the corner.
Love wrapped in rainbows and tied with pink ribbons
To make your your next springtime
Your gold wedding ring time.
The lyrics of the song "Bluesette" by Mel Torme and Buddy Rich is about comforting a sad and lonely woman called Bluesette. The audience is addressed to Bluesette by the song's protagonist that asks her not to fret or cry because one day soon, she will find love and happiness. The lyrics encourage Bluesette to have hope, to believe that love is coming, even if it hasn't arrived yet.
The song makes use of the metaphor of color; the blue notes in music represent sadness, and the lyrics use this color to depict Bluesette's emotional state. The lyrics assure her that she need not be a mourner and that love, wrapped in rainbows and tied with pink ribbons, is right around the corner, waiting for her. The song's protagonist assures Bluesette that her lonely heart will soon start to hum with the incoming of true love.
"Bluesette" is an influential jazz tune that has been covered by many notable musicians, including Bill Evans, Toots Thielemans, and Sarah Vaughan. The song is known for its catchy, upbeat melody and popularizing the use of the chord progression known as the "Django Reinhardt progression," which features dominant ninths and sixth chords. The chord progression has become popular in various jazz standards and is often referred to as the "gypsy jazz" sound.
Additionally, "Bluesette" features a rhythmically complex melody, incorporating various rhythmic devices such as syncopation and hemiola, a technique that changes the meter of the song's rhythm. The song's introductory solo, composed by harmonica virtuoso Toots Thielemans, has become an iconic part of the tune, and it's often performed on the guitar or other instruments.
Line by Line Meaning
Poor little, sad little blue Bluesette
Bluesette is currently sad and downhearted
Don't you cry, don't you fret,
It is advised to Bluesette to be calm and hopeful
You can bet one lucky day you'll waken,
Someday, Bluesette will become lucky and joyful
And your blues will be forsaken,
The sadness Bluesette feels will go away
Some lucky day lovely love will come your way.
One day, a beautiful love will come to Bluesette
If there is love in your heart to share,
Bluesette is advised to have love in her heart to give
Dear Bluesette don't despair
Bluesette is urged not to give up
Some blue boy is waiting just like you,
There is someone out there looking for love too
To find a someone to be true to,
Both Bluesette and this someone need to find commitment in each other
Two loving arms you can nestle in to stay.
Bluesette is awaiting the comfort and love of an embrace
Get set, Bluesette,
Bluesette is told to be ready for love
True love is coming,
Bluesette is about to find true love
Your lonely heart soon will be humming.
Soon, Bluesette's lonely heart will be happy
Pretty little Bluesette,
Bluesette is called pretty
Mustn't be a mourner,
Bluesette should not be in sorrow
Have you heard the news yet,
Bluesette is asked if she has heard the good news
Love's 'round the corner.
Love can happen to Bluesette soon
Love wrapped in rainbows and tied with pink ribbons
The love that Bluesette will find is beautiful and special
To make your your next springtime
Bluesette's next significant period in life will be filled with joy
Your gold wedding ring time.
Bluesette will get married and settle down with the love of her life
Lyrics © UNIVERSAL MUSIC PUBLISHING
Written by: JEAN-BAPTISTE THIELEMANS, NORMAN GIMBEL
Lyrics Licensed & Provided by LyricFind