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.
Comin' Home Baby
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm comin' home, baby, now
(Do-do-do-do-do-do)
I'm comin' home now, right away
(Do-do-do)
I'm comin' home, baby, now
(Do-do-do-do-do-do)
I'm sorry now I ever went away
I'm comin' home, baby
(Come on home)
Comin' home, baby, now
(You know I'm waitin' here for you)
I'm comin' home now, real soon
(You've been gone)
Comin' home, baby, now
(You don't know what I'm goin' through)
I'm comin' home; I know I'm overdue
(Since you went away - how I feel)
Expect me any day; now, real soon
I'm comin' home
(Come on home)
Comin' home, baby, now
(You know I'm prayin' every night)
That everything is gonna be fine
(Please come home)
Comin' home, baby, now
(I want to feel you hold me tight)
Expect to see me now, anytime
(When I'm in your arms, I'm all right)
When you're in my arms, I'll be fine
I'm comin' home
(Come on home)
I'm comin' home, baby, now
(You know I'm counting everyday)
I'm comin' home now, yeah, yeah, yeah!
(Use the phone)
I'm comin' home, baby, now
(And, baby, let me hear you say)
I'm comin' home; you're hearin' what I say
(That you're comin' home; I will lay awake)
And I never will go away
I'm comin' home!
(Come on home)
I'm comin' home, baby, now
(You know I'm waitin' at the door)
They can't hold me back now, no more
(I'm alone)
I'm pressin' on, baby, now
(And pacing up and down the floor)
Oh, hear me holler, and hear me roar
(Say you'll be with me)
Gonna be with you ever more
I'm comin' home
(Come on home)
I'm comin' home, baby, now
(Oh baby, say you're comin' home)
That's what I say - I say I'm comin' home
(Something's wrong)
The road is long, baby, now
(You ought to either write or phone)
I'm comin' home and never more to roam
(Baby, tell me you're comin' home)
Baby, I'm for sure comin' home
I'm comin' home
(Come on home)
I'm comin' home, baby, now
(Come on home)
I'm comin' home, baby, now
(Come on home)
I'm comin' home, baby, now
The lyrics to "Comin' Home Baby" express the strong desire of the singer to return home to their lover. The repetition of "comin' home, baby" throughout the song reinforces the theme of longing and missing someone deeply. The chorus of "come on home" is a plea for the lover to return and emphasizes the singer's belief that everything will be alright once they are reunited. The verses continue to build upon this theme, with lyrics such as "I'm sorry now I ever went away" and "every night and day I go and stay" conveying the idea of regretting leaving and wanting to be back with the one they love. The song switches between a lighthearted, upbeat tone in the chorus and a more contemplative, emotional tone in the verses, conveying the depth of the singer's feelings.
Line by Line Meaning
I'm comin' home, baby, now
I am returning to my loved one and want to be with them soon.
I'm comin' home now, right away
I want to be home as soon as possible and can't wait any longer.
I'm sorry now I ever went away
I regret leaving and want to make things right when I return.
Every night and day I go and stay
I think about my loved one all the time and miss them constantly while away from home.
Comin' home, baby, now
I am emphasizing that I am returning home to my loved one.
I'm comin' home now, real soon
I will be home very soon and can't wait to be back with my loved one.
You don't know what I'm goin' through
Being away from my loved one is hard, and they may not fully understand how I feel.
I'm comin' home; I know I'm overdue
I am aware that I should have returned home sooner and am ready to make it up to my loved one.
Expect me any day; now, real soon
I want my loved one to know that I will be home very soon and they can expect me any day now.
That everything is gonna be fine
I reassure my loved one that everything will be fine once I am home with them.
Expect to see me now, anytime
I am emphasizing that I will be home soon and can be expected to walk in any moment.
When you're in my arms, I'll be fine
Being in the arms of my loved one will make me feel content and at peace.
I'm comin' home, yeah, yeah, yeah!
I am extremely excited to be returning home and can't contain it.
I'm comin' home; you're hearin' what I say
I am making sure my loved one hears me and understands that I am returning home.
And I never will go away
I emphasize that I am returning for good and never plan to leave again.
They can't hold me back now, no more
Nothing will stop me from returning home and to my loved one.
I'm pressin' on, baby, now
I am determined to make it back home as soon as possible and won't give up.
Oh, hear me holler, and hear me roar
I am excited to be home soon, and my loved one can expect to hear me shouting out with joy.
Gonna be with you ever more
I will be with my loved one from now on and forevermore.
The road is long, baby, now
The journey home has been long and hard, but I am almost there.
I'm comin' home and never more to roam
I am finally returning home for good and never plan to leave again.
Baby, I'm for sure comin' home
I promise my loved one that I am definitely returning home.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Robert L. Dorough, Benjamin M. Tucker
Lyrics Licensed & Provided by LyricFind
@peterroff2133
The best liner note I ever read was from Mr. Sinatra on an album of Mel's "If I'm the Chairman of the Board than Mel Torme owns the company." Two giants. Respective of each other's talent. It doesn't get better than that.
@nunhgrader9702
That is awesome - thank you!
@comicbooksgalore8582
His vocal style and note range sound deceptively simple, but only a master could make you believe that. He can seamlessly transition between and bend notes--superb.
@Canadianbatgirl62
This is awesome!!! So nice to see Mel. Before he was famous my father used to play piano with him.
@charisserempel23
Awesome. He is missed.
The “Velvet Fog” is legendary.
Smooth, sexy, styling and Mel.
Wonderful. <3
@keithlinney7084
I only discovered this song and Mel about 15 years ago and I was annoyed that I hadn't had 'I'm coming home' in the previous 50 years of my life.
Velvet fog, viscous silk, smoother than a quantum stabilised atom mirror.
@arvedsin
You can be 10,20,30 or a hundred,don't matter,this will always be some of the greatest music in history.
@SJYNYC
This is fabulous on so many levels!
@MelTormented
This is brilliant. Everyone needs to hear this.
@georgeblackwell1
It is fairly safe to say that Buble was not the first to sing anything. He was not even born when the maestro Torme was belting this out. Whilst young Michael has a nice tone to his voice he has a very limited range unlike Mel who was one of the greatest vocalists of the 20th century. All of the singers that have followed Mel are greatly indebted to him. His style has influenced virtually every jazz singer of the last 60 years.