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.
It's Easy To Remember
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The way you looked when we met
It's easy to remember so hard to forget
I hear you whisper I always love you
I know it's over and yet
It's easy to remember but oh so hard to forget
So I must dream to have your hand caress me fingers press me tight
I'd rather dream than have that lonely feeling stealing through the night
And though it brings me regret
It's easy to remember but so hard to forget
So I must dream to have your hand caress me fingers press me tight
I'd rather dream than have that lonely old feeling stealing through the night
Each little moment is clear before me
And though it brings me regret
It's easy to remember and so hard to forget
Mel Tormé's song "It's Easy to Remember" is a poignant ballad that speaks about the struggle to forget someone you have loved. The singer reminisces about a past love and how every little moment with them is carved deeply into their memory. The first stanza talks about the initial attraction and how the person's sweet expression, smile, and the way they looked is easy to recall, yet so difficult to erase from memory.
The second stanza talks about the bitterness of the fact that the relationship is over, but the feeling of the love that once existed remains. The singer hears their lover whispering, "I always love you," which adds to the difficulty of forgetting them. Although the relationship has ended, the memories remain, causing the singer to dream of their lover's touch, rather than facing the loneliness of reality.
The final stanza emphasizes the idea of having to dream to preserve the love and the beautiful moments they shared. The singer would rather hold onto the memories, even if they do bring regret, instead of forgetting everything. The song ends with the sentiment that it's easy to remember, but so hard to forget, which sums up the struggle of trying to move on from someone you loved deeply.
Line by Line Meaning
Your sweet expression the smile you gave me
I remember how joyful and happy you were when we met, your smile was so sweet and loving.
The way you looked when we met
The first time I laid eyes on you, I was captivated by your beauty and charm.
It's easy to remember so hard to forget
I can never forget the feelings and memories that we shared together, they are etched into my heart and soul forever.
I hear you whisper I always love you
Your words of love and devotion still echo in my mind, despite the fact that we are no longer together.
I know it's over and yet
Though our relationship has ended, my feelings for you still remain, and I find it difficult to let go of the love I have for you.
So I must dream to have your hand caress me fingers press me tight
In my dreams, I am able to relive the moments when we were together, and I can imagine your hand in mine, and your embrace around me.
I'd rather dream than have that lonely feeling stealing through the night
The pain of loneliness that I feel when I am awake is too much to bear, and I would rather live in my dreams where I can feel your love and warmth once again.
Each little moment is clear before me
Every detail of our time together is still vivid in my mind, and I can recall them as if they happened yesterday.
And though it brings me regret
Even though our relationship did not last, I do not regret the time we spent together, and I am grateful for the memories that we created.
It's easy to remember and so hard to forget
The memories of our love are easy to hold onto, but the pain of losing you is so hard to let go of.
Lyrics © Kanjian Music, Sony/ATV Music Publishing LLC
Written by: LORENZ HART, RICHARD RODGERS
Lyrics Licensed & Provided by LyricFind
@mtidbit6343
Oh Mel... such a loss... I still find you the most expressive male vocalist ever.. You sing the story of a song, expressing the emotion of the words with floating crescendo, diminuendo, extension or pause.... A master so many have available to them, yet so many fail to listen and learn.
@astasmom
Just the best!!!
@sierramacart9353
Beautiful, absolutely beautiful.
@yoinerperea2031
¿Cómo es posible que esta canción solo tenga 197 visitas? ¿Qué le pasa al mundo?
@AB-qt9gt
Esta ocupado obsesionado con Ariana Grande y Justin Beiber xD