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.
Sing You Sinners
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The Devil kicks
He don't allow music
By the river Styx
You sinners drop everything
Let the melody and the harmony ring
Up to Heaven and sing
Just let that music ring out
Let the lord hear you shout
Wave your arms all about
Sing you sinners
Whenever there's music
The Devil kicks
He don't allow music
By the river Styx
You're wicked and you're depraved
And you've all misbehaved
If you wanna be saved
Sing you sinners
Whenever there's music
The Devil kicks
He don't allow music
By the river Styx
You're wicked and you're depraved
And you've all misbehaved
And if you wanna be saved
Sing you sinners
Whenever there's music
The Devil kicks
The lyrics to Mel Tormé's song Sing You Sinners portray the idea that music has the power to banish the devil from your life. The song suggests that whenever there is music, the devil kicks, because he doesn't allow music by the river Styx. Therefore, whenever the sinners sing, they can let the melodies and harmonies ring out and reach up to heaven, banishing the devil away. The song invites the sinners to drop everything and just sing, waving their arms all about so the Lord can hear them and therefore they can be saved. It calls them wicked and depraved and having misbehaved, and tells them that if they want to be saved, they need to sing.
Overall, this song has a powerful message that puts emphasis on the redeeming power of music. The lyrics suggest that singing, music, and harmony are an effective way of dispelling evil and inviting good into your life. They encourage the listeners to break free from their sinful ways and to embrace hope, peace, and salvation through the power of music.
Line by Line Meaning
Whenever there's music
Music has the power to evoke joy and elation, but also to stir up and confront one's inner demons.
The Devil kicks
Music has the power to challenge and disturb individuals who are struggling with inner demons and temptations.
He don't allow music
The negative and malicious forces at play in one's life seek to suppress and undermine the healing and transformative qualities of music.
By the river Styx
The underworld and the realm of the dead are places where darkness, despair, and hopelessness reign supreme.
You sinners drop everything
Everyone, regardless of their past or present circumstances, is called upon to set aside their worries and distractions and focus on the power of music to lift and inspire.
Let the melody and the harmony ring
The beauty and complexity of music offer us a glimpse of the divine and the potential for greater unity and connection among all people and beings.
Up to Heaven and sing
By lifting our voices in song, we can bridge the seemingly infinite distances between ourselves and the divine.
Just let that music ring out
Allowing music to resonate fully and authentically within our hearts and souls can help us to heal and transform our deepest wounds and traumas.
Let the lord hear you shout
By boldly and fearlessly expressing ourselves through music, we can honor the divine and transform ourselves personally and collectively.
Wave your arms all about
By moving and dancing to the music, we can embody the joy, passion, and vitality that music can help us to cultivate within ourselves.
You're wicked and you're depraved
All human beings have the capacity for darkness and temptation within them, but this is not a reason to despair or give up on ourselves.
And you've all misbehaved
We all make mistakes and fall short of our aspirations, but we can always strive for greater awareness, compassion, and forgiveness.
If you wanna be saved
By embracing the power of music to heal and transform, we can find the strength and resilience to overcome the challenges and obstacles that stand in our way.
Sing you sinners
Through the power of music, we can connect with our innermost selves, connect with others, and ultimately transform our lives and the world around us.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Sam Coslow, W. Franke Harling
Lyrics Licensed & Provided by LyricFind