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.
On Green Dolphin Street
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A man, a maid, a kiss, and then goodbye
Romance was the theme
And we were the players
I never think of this without a sigh
Lover, one lovely day
Love came, planning to stay
The setting for nights beyond forgetting
And through these moments apart memories live in my heart
When I recall the love I found on
I could kiss the ground on Green Dolphin Street
Lover, one lovely day
Love came, planning to stay
Green Dolphin Street supplied the setting
The setting for nights beyond forgetting
And through these moments apart memories live in my heart
When I recall the love I found on
On Green Dolphin Street
The lyrics to Mel Tormé's song On Green Dolphin Street tell a story of a fleeting romance between a man and a woman. The singer reminisces about a time when the two of them fell in love and spent unforgettable nights together on Green Dolphin Street. The melody communicates a feeling of nostalgia and longing, as if the singer is looking back on the memory with both fondness and sadness.
The lyrics convey a sense of wistfulness, as if the singer is lamenting the loss of this beautiful and fleeting moment of love. The phrase "It seems like a dream, yet I know it happened" gives the impression that the singer is doubting the reality of what happened on Green Dolphin Street, yet he knows that it truly did happen. The singer describes the location as "the setting for nights beyond forgetting" which creates a sense of timelessness and a feeling that this moment of love was unrepeatable.
The lyrics to On Green Dolphin Street paint a vivid picture of a moment in time that was both beautiful and fleeting, and is now only a memory. The song captures the underlying sentiment that all good things must come to an end, but that memories of those moments will last forever.
Line by Line Meaning
It seems like a dream, yet I know it happened
Although it feels like a hazy memory, I know the events actually occurred and were significant.
A man, a maid, a kiss, and then goodbye
The plot of the story revolves around a brief encounter between a man and a woman, culminating in a farewell kiss.
Romance was the theme
The overarching topic of the story is one of love and attraction.
And we were the players
The man and woman in the story were the central actors, or protagonists, in the romantic plotline.
I never think of this without a sigh
Recalling the events of the story always brings a sense of longing or wistfulness to the artist.
Lover, one lovely day
Addressing the unnamed romantic partner, describing a time when the prospect of love seemed bright and exciting.
Love came, planning to stay
A sense of permanence or commitment was a part of the early stages of the relationship.
Green Dolphin Street supplied the setting
The events of the story took place in a specific location, which is named here.
The setting for nights beyond forgetting
The romantic evenings spent on Green Dolphin Street were especially memorable, and are not likely to be forgotten.
And through these moments apart memories live in my heart
Even when physically separated, the memories of the romantic moments on Green Dolphin Street remain vivid and emotionally potent.
When I recall the love I found on
The singer is still captivated by the romance that occurred on Green Dolphin Street, and thinks about it often.
I could kiss the ground on Green Dolphin Street
The affection and fondness for the location where the memorable events occurred is so strong that the artist would almost bless it with physical affection.
Lyrics © BMG Rights Management, Tratore, RESERVOIR MEDIA MANAGEMENT INC
Written by: BRONISLAW KAPER, NED WASHINGTON
Lyrics Licensed & Provided by LyricFind
Daniel Marsalone
An absolutely fantastic and moving rendition of Green Dolphin Street. Torme is killing it. A really nice arrangement too.
Jyrgalbek Omurgazy uulu
Lover, one lovely day
Love came planning to stay
Green Dolphin Street supplied the setting
The setting for nights beyond forgetting
And through these moments apart
Mem'ries live in my heart
When I recall the love I found on
I could kiss the ground on
Green Dolphin Street
Vick Morrow
Espectacular !!!
Martin Black
Fantastic
Idra B
Sa bouge