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 Worry About Me
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'll get along
Forget about me
Just be happy my love
Let's say that our little show is over
And so the story ends
Why not call it a day the sensible way
Look out for yourself
That should be the rule
Give your heart and your love
To whomever you love
Darlin' don't be a fool
Why do we cling to this old faded thing
That used to be
So if you can forget
Then don't worry 'bout me
Why should we cling to some old faded thing
That used to be
So if you can forget
Then you don't worry 'bout me
In this classic song "Don't Worry About Me", Mel Tormé sings to his lover to not trouble about him anymore. He reassures that he will be fine on his own, and requests his partner to forget him and move on with happiness. He suggests that they end their relationship in a sensible way, and still remain friends. Tormé advises his love to prioritize oneself above anyone else and not to be foolish in matters of the heart. He questions why they are holding onto a relationship that has lost its vigor and has turned into an old and faded thing. He says that if the other person can forget, then they should not worry about him.
The song is essentially a break-up song that expresses the maturity and wisdom of letting go of an unhealthy relationship instead of holding onto something that has lost its love and joy. Tormé urges his partner to take care of herself and make wise decisions in matters of love. His message is that we should embrace change and embrace new beginnings instead of clinging onto things that no longer serve any purpose in our lives.
Line by Line Meaning
Don't worry 'bout me
Please do not concern yourself about me.
I'll get along
I will continue to live my life without your presence.
Forget about me
Please forget that I exist and move on.
Just be happy my love
Please do not dwell on our past and find happiness in your future endeavors.
Let's say that our little show is over
We have come to the end of our relationship.
And so the story ends
Our romantic tale has come to a conclusion.
Why not call it a day the sensible way
It would be logical to end things amicably instead of dragging it out.
And still be friends
We can still maintain a friendly relationship even after the romance is over.
Look out for yourself
Take care of your own needs and protect yourself.
That should be the rule
This is a principle that should be followed.
Give your heart and your love
Share your emotions and affection.
To whomever you love
Share those feelings with the ones you love.
Darlin' don't be a fool
My dear, please do not make foolish decisions.
Why do we cling to this old faded thing
Why do we hold on to this worn-out relationship?
That used to be
That is no longer alive or current.
So if you can forget
If you are able to move on and forget about me.
Then don't worry 'bout me
You do not have to worry about how I am doing.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Rube Bloom, Ted Koehler
Lyrics Licensed & Provided by LyricFind
@MJLeger-zc6gb
Too lovely for words!
@vadinandez
This is a thrilling arrangement, and Mel's voice is velvet perfection.
@MJLeger-yj1ww
Lovely version by Mel Torme who sings the intro, not usually done! Nice orchestra also. Beautiful.
@wandawong
This arrangement is amazing and so inventive. I've never heard this song performed so creatively. Thanks!
@steverok67
What a great crier this one is. So smooth and weepy.
@bbcisrubbish
I bought the LP of this at a boot fair for 20P the best buy for a long time.
@daveberry2177
just got this today on vinyl, found it in a skip. a great track
@PoetryMan11
I love that he sings the lyric and not just the refrain of the song. What a great and original talent he was and how fortunate that Mitch Miller (then in charge of A&R at Columbia) didn't stick him with the kind of novelty crap he did with most of their other great singing talent (like Frank Sinatra).
@TRACTATUS123
Well, their was only Christine and me...How I wish this this was still the case
@TerryArtanis
how does Torme get 2,613 listeners and justin beiber get 1,000,000? I'm a Sinatra fan but will readily admit that Torme belongs in the same club with FS.