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.
From This Moment On
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You for me, dear
Only two for tea, dear
From this moment on
From this happy day
No more blue songs
Only hoop-dee-doo songs
For you've got the love I need so much
You've got the skin that I love to touch
Got the arms to hold me tight
Got those sweet lips to kiss me goodnight
From this moment on
You and I, babe
We'll be ridin' high, babe
Every care is gone
From this moment on
From this moment on
You for me, dear
Only two for tea, dear
From this moment on
From, from this happy day
No more blue songs
Only hoop-dee-doo songs
From this moment on
For you've got the love that I need so much
Yeah, you've got the kind of skin that I love to touch
And you've got the arms that can hold me tight
You've got those lovely lips just to kiss me goodnight
From this moment on
You and I, babe
We'll be ridin' high, babe
Every one of our cares are gone
From this moment
From this very moment
From this moment on
The lyrics to Mel Tormé's "From This Moment On" express a declaration of love and commitment between two people. The first verse sets the scene for a cozy and romantic tea time with only the two of them present. The second verse establishes that the days of feeling blue and sad are over and instead, they are going to celebrate their love and sing happy tunes. The following lines of the song describe the physical and emotional love that the singer has for their partner, including praise for their partner's love, touch, embrace, and goodnight kiss. The final verse suggests that with their love together, any troubles they might face will dissipate, and they will be able to soar to great heights while enjoying every moment together.
The lyrics paint a vivid picture of a couple who are deeply in love and committed to one another. The tone of the song is optimistic and joyful. The simple melody and straightforward lyrics express a sense of contentment and fulfillment that comes with true love.
Line by Line Meaning
From this moment on
Starting now and continuing into the future
You for me, dear
You and I are committed to each other
Only two for tea, dear
We only need each other
From this happy day
Starting from today, we are happy
No more blue songs
No more sad songs or unhappy times
Only hoop-dee-doo songs
Now we will have fun, lively songs and good times
For you've got the love I need so much
I depend on your love for my well-being
You've got the skin that I love to touch
I enjoy the feeling of your skin when we touch
Got the arms to hold me tight
I feel safe and secure in your arms
Got those sweet lips to kiss me goodnight
Your kisses make me feel loved and cherished
You and I, babe
We are partners in life, dear
We'll be ridin' high, babe
We will be successful and happy together
Every care is gone
We are free from worries or problems
From, from this happy day
Today marks a new beginning for us
You've got the love that I need so much
You are my source of happiness and comfort
Yeah, you've got the kind of skin that I love to touch
I find pleasure in touching your skin
And you've got the arms that can hold me tight
I feel secure and protected in your embrace
You've got those lovely lips just to kiss me goodnight
Your goodnight kisses are a beautiful expression of your love for me
From this moment on
Our future together begins now
From this very moment
Starting now and continuing into the future
From this moment on
Our love will continue indefinitely
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Songtrust Ave, Warner Chappell Music, Inc.
Written by: COLE PORTER
Lyrics Licensed & Provided by LyricFind
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LYRICS
From This Moment On
Written by Cole Porter
Mel Torme
[Transcribed in Vim by ShakespeareCafe]
From this moment on
me for you, dear
only tea for two, dear
from this moment on
from this this happy day
no more blue songs
only hoop-de-doo songs
from this moment on
cause you've got the love that I need so much
you've got the skin that I love to touch
you've got the arms to hold me tight
and you've got the lips to kiss me goodnight
from this moment on
you and I, babe
we'll be flying high, babe
every care is gone
from this moment on
cause you've got the love that I need so much
you've got the skin that I love to touch
you've got the arms to hold me tight
you got the lips to kiss me goodnight
from this moment on
you and I, babe
we'll be flying high, babe
every care is gone
from this, this, this moment on