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 Leave Me
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You said you would always stay
It wasn't me who changed but you and now you've gone away
Don't you see that now you've gone
And I'm left here on my own
That I have to follow you and beg you to come home
You don't have to say you love me just be close at hand
Believe me, believe me I can't help but love you
But believe me I'll never tie you down
Left alone with just a memory
Life seems dead and quite unreal
All that's left is loneliness there's nothing left to feel
You don't have to say you love me just be close at hand
You don't have to stay forever
I will understand believe me, believe me
You don't have to say you love me just be close at hand
You don't have to stay forever
I will understand, believe me, believe me
The lyrics of Mel Tormé's song You Don't Have To Say You Love Me is a plea for a lover to come back. The first stanza describes how the singer was initially told by their lover that they would always stay and support them. However, things changed and the lover left, leaving the singer alone and having to chase after them to come back. In the second stanza, the singer begs for the lover to stay close and not necessarily say they love them but remain present. The third stanza talks about how life feels empty and without purpose without the presence of the lover. The chorus repeats the idea that the lover does not need to say they love the singer, just be present and not necessarily stay forever. The singer understands that their love cannot be forced on the lover and as much as they love them, they would never tie them down.
The song explores the complexity of love, relationships, and the desire for companionship. It highlights the importance of presence and being there for someone even if it does not mean making grand gestures or saying the words “I love you.” The theme of acceptance and understanding of the different feelings people have in relationships is also prominent.
Line by Line Meaning
When I said I needed you
When I expressed my dependence on you
You said you would always stay
You assured me that you would be here for me always
It wasn't me who changed but you and now you've gone away
I didn't do anything different but you changed and left me
Don't you see that now you've gone
Do you not realize that now that you have gone
And I'm left here on my own
I am left here by myself
That I have to follow you and beg you to come home
That I need to chase after you and plead for you to return
You don't have to say you love me just be close at hand
You don't have to express your love for me, just be near me
You don't have to stay forever I will understand
You don't have to be with me always, I will comprehend
Believe me, believe me I can't help but love you
Trust me, trust me, I cannot avoid loving you
But believe me I'll never tie you down
But believe me, I will not confine you
Left alone with just a memory
Abandoned with only a recollection
Life seems dead and quite unreal
Existence appears lifeless and surreal
All that's left is loneliness there's nothing left to feel
All I am left with is solitude, and there is nothing else to experience
You don't have to say you love me just be close at hand
You don't have to declare your love for me, just be nearby
You don't have to stay forever
You don't have to be with me forever
I will understand believe me, believe me
I will comprehend, trust me, trust me
You don't have to say you love me just be close at hand
You don't have to declare your love for me, just be nearby
You don't have to stay forever
You don't have to be with me forever
I will understand, believe me, believe me
I will comprehend, trust me, trust me
Lyrics © O/B/O APRA AMCOS
Written by: Giuseppe Donaggio, Simon Napier-Bell, Vito Pallavicini, Vicki Heather Wickham
Lyrics Licensed & Provided by LyricFind