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 Let That Moon Get Away
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We ought to be recklessly gay
Who knows what we'll find, so if you're inclined
Don't let that moon get away
Your eyes have a way of revealing
The thoughts that you really should say
It may be romance, so while there's a chance
And don't let this meeting adjourn
And don't be so ready to go
But now is the right time to learn
What every young heart should know
These moments don't happen so often
It doesn't seem right to delay
If you feel a tune, whatever you do
Don't let that moon get away
It's one of those nights for adventure
We ought to be recklessly gay
Your eyes have a way of revealing
The thoughts that you really should say
And don't let this meeting adjourn
And don't be so ready to go
Now is the right time to learn
Look out!
These moments don't happen so often
I kinda think we shouldn't delay
If you feel it too, here's what you do
You better take advice from Torme
And don't let that moon get away
Don't you there let that moon get away
Baby, don't let that moon get away
It's one of those nights for adventure
The song "Don't Let That Moon Get Away" by Mel Tormé is all about seizing the moment and living life to the fullest. Tormé encourages his listeners to take a chance and embrace the possibilities of the night, urging them not to let the opportunity pass them by. The lyrics suggest that the night is full of adventure, and that the characters in the song should be "recklessly gay" and open to whatever it brings.
Tormé speaks specifically to a romantic interest, encouraging them to express their feelings and not withhold any thoughts that should be spoken. He acknowledges the fleeting nature of these moments and suggests that they should be taken advantage of before they pass. The lyrics make it clear that Tormé believes these kinds of moments don't come around often, and that they should be taken full advantage of when they do.
The song is an upbeat and joyful plea to make the most of the present and to not let life's opportunities pass us by. Tormé's smooth, velvety voice adds to the sense of romantic adventure and possibility, making the listener feel like they too can seize the night and make it their own.
Line by Line Meaning
It's one of those nights for adventure
Tonight is a great opportunity for excitement and new experiences
We ought to be recklessly gay
Let's enjoy ourselves to the fullest without any reservations
Who knows what we'll find, so if you're inclined
The night is full of possibilities, so if you're willing,
Don't let that moon get away
Let's make the most of the moment before it passes us by
Your eyes have a way of revealing
Your eyes show me what you're really thinking
The thoughts that you really should say
The things that you might be holding back, but should express
It may be romance, so while there's a chance
This could be the start of something romantic, so while we have the opportunity,
Don't let that moon get away
Let's not miss this chance to potentially deepen our connection
And don't let this meeting adjourn
Let's not end this encounter
And don't be so ready to go
Let's not be in a hurry to leave
But now is the right time to learn
This is the ideal moment to discover something new
What every young heart should know
What is crucial for young people to learn
These moments don't happen so often
Opportunities like this don't come around frequently
It doesn't seem right to delay
It wouldn't be appropriate to wait
If you feel a tune, whatever you do
If you have a desire or urge,
Don't let that moon get away
Make sure to take action to experience or achieve your desire
It's one of those nights for adventure
This is a perfect night to embark on an exciting endeavor
And don't let this meeting adjourn
Let's continue to spend time together
And don't be so ready to go
Don't be in such a rush to leave
Now is the right time to learn
This is the opportune moment to explore something new
Look out!
Be alert and ready to seize opportunities
These moments don't happen so often
Opportunities like this are few and far between
I kinda think we shouldn't delay
I believe we shouldn't postpone this any further
If you feel it too, here's what you do
If you share my feelings, here's what we should do
You better take advice from Torme
You would be wise to listen to Mel Torme's advice
And don't let that moon get away
Let's not miss this chance to make a memorable experience
Don't you there let that moon get away
Don't let the moon slip out of our grasp
Baby, don't let that moon get away
Darling, let's seize the moment and create a lasting memory
Lyrics © Warner Chappell Music, Inc.
Written by: JAMES V. MONACO, JOHNNY BURKE
Lyrics Licensed & Provided by LyricFind