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.
Greensleeves
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To cast me off discourteously.
For I have loved you well and long,
Delighting in your company.
[Chorus]
Greensleeves was all my joy
Greensleeves was my delight,
And who but my lady greensleeves.
Your vows you've broken, like my heart,
Oh, why did you so enrapture me?
Now I remain in a world apart
But my heart remains in captivity.
[Chorus]
I have been ready at your hand,
To grant whatever you would crave,
I have both wagered life and land,
Your love and good-will for to have.
[Chorus]
If you intend thus to disdain,
It does the more enrapture me,
And even so, I still remain
A lover in captivity.
[Chorus]
My men were clothed all in green,
And they did ever wait on thee;
All this was gallant to be seen,
And yet thou wouldst not love me.
[Chorus]
Thou couldst desire no earthly thing,
but still thou hadst it readily.
Thy music still to play and sing;
And yet thou wouldst not love me.
[Chorus]
Well, I will pray to God on high,
that thou my constancy mayst see,
And that yet once before I die,
Thou wilt vouchsafe to love me.
[Chorus]
Ah, Greensleeves, now farewell, adieu,
To God I pray to prosper thee,
For I am still thy lover true,
Come once again and love me.
[Chorus]
The lyrics to Mel Tormé's song "Greensleeves" tell a story of unrequited love and heartbreak. The singer laments the unfair treatment they have received from their love interest, who has cast them aside without courtesy. Despite having loved the person deeply and for a long time, finding joy and delight in their company, the singer is left with a broken heart. The title "Greensleeves" refers to their lover, who perhaps wore green clothing or was associated with the color in some way.
Throughout the song, the singer expresses their willingness to do anything to please their love interest, even willing to give up their own life and land. They yearn for their love's affection and crave their love and good-will. However, despite their devotion, the love interest continues to reject them, causing the singer to remain captive in their love and longing.
The final plea in the lyrics is a prayer to God, asking for their love interest to recognize the singer's unwavering loyalty and to love them in return. It is a heartfelt plea for a chance at love once again, as the singer remains true to their love despite the heartbreak.
Line by Line Meaning
Alas, my love, you do me wrong,
Unfortunately, my love, you are treating me unfairly,
To cast me off discourteously.
By rejecting me rudely.
For I have loved you well and long,
Because I have loved you deeply and for a long time,
Delighting in your company.
Finding immense joy in being with you.
[Chorus]
Refrain
Greensleeves was all my joy
Wearing greensleeves brought me great happiness
Greensleeves was my delight,
Greensleeves was my source of delight,
Greensleeves was my heart of gold,
Greensleeves was invaluable to me,
And who but my lady greensleeves.
And who other than my lady greensleeves.
Your vows you've broken, like my heart,
You have broken your promises, just like you have broken my heart,
Oh, why did you so enrapture me?
Oh, why did you captivate me so deeply?
Now I remain in a world apart
Now I am left isolated,
But my heart remains in captivity.
But my heart remains imprisoned.
[Chorus]
Refrain
I have been ready at your hand,
I have always been available to you,
To grant whatever you would crave,
To give you whatever you desired,
I have both wagered life and land,
I have risked my life and possessions,
Your love and good-will for to have.
In order to obtain your love and favor.
[Chorus]
Refrain
If you intend thus to disdain,
If you plan to reject me in this manner,
It does the more enrapture me,
It actually captivates me even more,
And even so, I still remain
And despite everything, I still remain
A lover in captivity.
A lover who is held captive.
[Chorus]
Refrain
My men were clothed all in green,
My companions were dressed entirely in green,
And they did ever wait on thee;
And they always served you;
All this was gallant to be seen,
All this was impressive to behold,
And yet thou wouldst not love me.
Yet you still did not love me.
[Chorus]
Refrain
Thou couldst desire no earthly thing,
You couldn't desire anything in this world,
but still thou hadst it readily.
But still you had it easily,
Thy music still to play and sing;
To play and sing your favorite tunes;
And yet thou wouldst not love me.
Yet you still did not love me.
[Chorus]
Refrain
Well, I will pray to God on high,
Well, I will beseech God in heaven,
that thou my constancy mayst see,
So that you may witness my unwavering loyalty,
And that yet once before I die,
And that once more before I die,
Thou wilt vouchsafe to love me.
You will deign to love me.
[Chorus]
Refrain
Ah, Greensleeves, now farewell, adieu,
Ah, Greensleeves, now goodbye, farewell,
To God I pray to prosper thee,
I pray to God for your success,
For I am still thy lover true,
Because I am still your loyal lover,
Come once again and love me.
Come once again and love me.
[Chorus]
Refrain
Lyrics © Sony/ATV Music Publishing LLC, ACUM Ltd., Songtrust Ave, Peermusic Publishing
Written by: TERRY RENDALL, TRADITIONAL
Lyrics Licensed & Provided by LyricFind