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.
Day In Day Out
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The same old voodoo follows me about
The same old pounding in my heart
Whenever I think of you and darling, I think of you
Day in and day out
Day out, day in
I needn't tell you how my days begin
One possibility in view
That possibility of maybe seeing you
Come rain, come shine
I meet you and to me the day is fine
Then I kiss your lips and the pounding becomes
The oceans roar a thousand drums
Can't you see it's love? Can there be any doubt
When there is day in, day out?
Come rain, come shine
I meet you and to me the day is fine
Then I kiss your lips and the pounding becomes
The oceans roar a thousand drums
Can't you see it's love? Can there be any doubt
When there is, when there is day in and day out?
Day in, day out, day in, day out
Day in, day out, day in, day out
Day in, day out, day in, day out
A thousand drums
Day in, day out, day out, day out
It's out there, man
The lyrics of Mel Tormé's "Day In-Day Out" depict the intense longing and love for someone that torments the singer continuously. The song starts with him saying that he is haunted by "the same old voodoo" which is a metaphor for the recurring feeling and thoughts of love that won't let him go. The next line, "the same old pounding in my heart", artistically portrays the palpitation or heart flutter that he feels when he thinks of his darling. He can't seem to let go of the thoughts of her, and they follow him wherever he goes, day in and day out.
In the second verse, the singer describes how his days start with the hope of seeing his beloved. He wakes up with a tingle, sensing that he might get to see her. The possibility of seeing her keeps him going, and he yearns to spend time with her. He says that when he meets her, his day becomes fine. The song moves to the point where he describes how a simple kiss from her can make his heart pounding stronger and louder than a thousand drums. He believes that it's love he is feeling for her, and there is no room for doubt. He concludes the song by repeating the phrase day in, day out and emphasizing that it is indeed love that pumps his heart.
In total, Mel Tormé's "Day In-Day Out" has an overall romantic and heartwarming feel. The poetic use of metaphors and onomatopoeias like pounding, and a thousand drums make the song's lyrics stand out. The lyrics have painted a vivid picture of the struggle that the singer goes through, and the rhythm adds a smooth touch to the song. A little pain, a little bit of love, and a touch of hope make this song impossible to forget.
Line by Line Meaning
Day in, day out
Every day, constantly
The same old voodoo follows me about
I can't escape the same thoughts and feelings about someone
The same old pounding in my heart
I feel my heart beating fast and hard with excitement when I think of you
Whenever I think of you and darling, I think of you
You're always on my mind, you're my darling
Day out, day in
Again and again
I needn't tell you how my days begin
You already know how much I think of you in the morning
When I awake I wake up with a tingle
I feel a rush of excitement when I wake up and think of you
One possibility in view
I have one hope for the day, which is to see you
That possibility of maybe seeing you
Maybe I'll see you today
Come rain, come shine
No matter the weather
I meet you and to me the day is fine
As long as I see you, I'm happy
Then I kiss your lips and the pounding becomes
When I kiss you, my heart beats even harder
The oceans roar a thousand drums
It feels like the whole world is pulsing with our love
Can't you see it's love? Can there be any doubt
We're in love, it's obvious
When there is day in, day out?
When we're constantly thinking of each other
A thousand drums
The intensity of our love can't be measured, it's like a thousand drums beating
Day in, day out, day in, day out
We're always thinking of each other
It's out there, man
Love is everywhere, man
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Johnny Mercer, Rube Bloom
Lyrics Licensed & Provided by LyricFind