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.
Don't Dream Of Anybody But Me
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Or go to Switzerland to ski,
When you're scanning the snow-covered mountains
Or fanning yourself by the sea,
Don't dream of anybody but me,
Nobody but me!
Though you may fly to Scottish Highland,
When you're whistlin' "The Campbells are Coming"
Or humming "The Isle Of Capri",
Don't dream of anybody but me!
In a cafe on the Rhine,
Any place along the line,
I'll forgive you if a stranger
Puts your little heart in danger,
If her face resembles mine!
When you visit a nightclub in 'Frisco,
And the singer keeps singin' off-key,
Won't even mind if suddenly she
Reminds you of me!
No matter where you care to travel,
Any place, no matter who you choose to see,
Whenever your head hits the pillow,
Whatever the hour may be,
Don't dream of anybody but me!
O-oh no, don't dream of anybody but me!
Oh no, don't dream of anybody but me!
But me,
Nobody but me!
The song Don't Dream Of Anybody But Me by Mel Tormé is about not wanting your lover to dream about anyone but you, even when they are traveling the world. Tormé tells his lover not to dream of anyone else while on vacation in exotic places like Hawaii, Switzerland, Scottish highlands, or even in a nightclub in 'Frisco. He wants to be the only one on their mind, no matter where they go. He even forgives them if a stranger puts their heart in danger, as long as they look like Tormé's lover.
Tormé describes how he wants his lover's head to hit the pillow at night, with thoughts only of him. He wants to be the last thing on their mind before they drift off to sleep, regardless of the time or place. Ultimately, Tormé is saying that he wants his lover to only dream of him, and nobody else.
Overall, this song is a romantic plea from Tormé to his lover, asking for their undivided attention and devotion. It expresses the desire for exclusivity within a relationship, and the importance of being someone's one and only.
Line by Line Meaning
Though you vacation in Hawaii
Even if you go to Hawaii for vacation
Or go to Switzerland to ski,
Or choose to go skiing in Switzerland
When you're scanning the snow-covered mountains
When enjoying the view of snow-covered mountains
Or fanning yourself by the sea,
Or relaxing at the beach
Don't dream of anybody but me,
Don't think of anyone else but me
Nobody but me!
Only me!
Though you may fly to Scottish Highland,
Even if you decide to go to Scottish Highland
Or try some isle near Napoli,
Or choose to visit an island in Napoli
When you're whistlin' "The Campbells are Coming"
While humming a tune like 'The Campbells are Coming'
Or humming "The Isle Of Capri",
Or enjoying a tune like 'The Isle of Capri'
Don't dream of anybody but me!
Don't think of anyone else but me
In a cafe on the Rhine,
Even when sipping coffee in a cafe on the Rhine
Any place along the line,
Or at any other location
I'll forgive you if a stranger
I'll give you my pardon if a stranger
Puts your little heart in danger,
If someone else gets your heart racing
If her face resembles mine!
If she shares any resemblance with me
When you visit a nightclub in 'Frisco,
Even if you go to a nightclub in 'Frisco'
And the singer keeps singin' off-key,
Despite the singer singing off-key
Won't even mind if suddenly she
You won't even care if it suddenly occurs
Reminds you of me!
If she reminds you of me
No matter where you care to travel,
Regardless of where you want to go
Any place, no matter who you choose to see,
Anywhere, regardless of who you choose to interact with
Whenever your head hits the pillow,
When resting your head on the pillow
Whatever the hour may be,
Irrespective of the time
Don't dream of anybody but me!
Don't think of anyone else but me
O-oh no, don't dream of anybody but me!
Oh no, only me! Don't imagine someone else
Oh no, don't dream of anybody but me!
Oh no, only me! Don't dream of another person.
But me,
Exclusively me,
Nobody but me!
No one else but me!
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
Written by: NEAL HEFTI
Lyrics Licensed & Provided by LyricFind
Dale Schneider
Classic song! Wonder how it would have sounded if Count Basie backed them up?