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.
IMAGINATION
Mel Tormé Lyrics
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Can you tell me what you see
There's a thousand voices whispering
Songs and you're the melody
So I imagine my heart with you
See what imagination can do
It's not hard to conceive
Many, many days our shadows passed
Seeing visions of a new bright horizon
Set the morning light
And that morning light is you
So I imagine my heart with you
See what imagination can do
It's not hard to conceive
love ecstasy imagining you, imagining me
The beauty we both can see
You're the dream I prayed would come along
To make my fantasy
Day and night you live inside my heart
You're the flame of love to me
The lyrics to Mel Tormé's "Imagination" exude a sense of deep longing for a romantic partner. The song begins with an invocation to a "magic mirror," requesting it to search the heart and reveal what lies within. The singer acknowledges the many voices that whisper to them, but they single out one particular voice as the focus of their imagination. This voice, presumably belonging to the person they love, plays the role of the melody in a song, while the singer's heart serves as the background chorus.
The singer spends many days envisioning a promising and bright horizon, but ultimately it is the morning light that brings this vision to fruition. Yet, the morning light is not the sun or anything else tangible, but rather the person whom the singer imagines in their heart. In this sense, the song underscores the power of the imagination to create a reality more beautiful and fulfilling than anything mere reality could provide. Ultimately, the singer sees the object of their imagination as the fulfillment of a dream they have longed for, and the person who lives inside their heart and fuels the flame of their love.
Line by Line Meaning
Magic mirror come and search my heart
Mel Tormé is asking a magical mirror to look into his heart and reveal what it sees.
Can you tell me what you see
Mel Tormé is asking the magical mirror if it can tell him what it sees inside his heart.
There's a thousand voices whispering
Mel Tormé feels like there are many thoughts in his heart that he cannot make sense of.
Songs and you're the melody
In the midst of all the thoughts and voices, Mel Tormé sees a clear melody, which represents the person he is thinking of.
So I imagine my heart with you
Mel Tormé is using his imagination to picture his heart being with the person he has in mind.
See what imagination can do
Mel Tormé is amazed at how powerful the imagination can be in creating images and feelings.
It's not hard to conceive
Mel Tormé believes that it is easy to create and experience new feelings through imagination.
Love ecstasy imagining you with me
Mel Tormé is experiencing a feeling of ecstasy and happiness when he imagines himself with the person he loves.
Many, many days our shadows passed
Mel Tormé is reminiscing about the many days he has spent with the person he loves.
Seeing visions of a new bright horizon
Mel Tormé has dreams and hopes of a future filled with happiness and love.
Set the morning light
Mel Tormé sees the person he loves as a bright and positive force in his life, like the morning sun.
And that morning light is you
Mel Tormé is directly addressing the person he loves, telling them that they are the light in his life.
The beauty we both can see
Mel Tormé believes that he and the person he loves share a deep and profound connection, which allows them to see and appreciate the beauty in the world.
You're the dream I prayed would come along
Mel Tormé sees the person he loves as the fulfillment of a long-held dream or wish.
To make my fantasy
Mel Tormé believes that being with the person he loves will make all his dreams and fantasies come true.
Day and night you live inside my heart
Mel Tormé thinks about the person he loves constantly, and they occupy a central place in his heart and mind.
You're the flame of love to me
Mel Tormé sees the person he loves as the source of his passion and desire, and they are the only one who can truly ignite his heart.
Lyrics © Warner/Chappell Music, Inc.
Written by: ANKA WOLBERT, RONNIE MOERINGS
Lyrics Licensed & Provided by LyricFind