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.
Something To Live For
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cars and houses, bear-skin rugs to lie before my fire
But there's something missing,
Something isn't there,
It seems I'm never kissing the one whom I care for.
I want Something To Live For
Someone to make my life an adventurous dream
Oh, what wouldn't I give for
And make it seem gay as they say it ought to be.
Why can't I have love like that brought to me?
My eye is watching the noon crowds
Searching the promenades seeking a clue
To the one who will someday be my
Something To Live For.
I want Something To Live For
Someone to make my life an adventurous dream
Oh, what wouln't I give for
Someone who'd take my life
And make it seem gay as they say it ought to be.
Why can't I have love like that brought to me?
My eye is watching the noon crowds
Searching the promenades seeking a clue
To the one who will someday be my Something To Live For.
In Mel Tormé's song "Something To Live For," the singer reflects on all the material possessions they have - cars, houses, and bear-skin rugs - but something essential is missing from their life, which is love. Despite having everything they could ever want, the singer feels an emptiness because they don't have someone special to share their life with. They long for a love that can make their life an exciting adventure and bring back the happiness they feel is missing. The singer is searching for "Something To Live For," something to give their life meaning and purpose beyond material possessions. They observe the noon crowds and promenades, hoping to find a clue about the person who will become their Something To Live For, someone who can make their life seem "gay," which was used at the time to mean happy and full of joy.
The lyrics of "Something To Live For" emphasize the emptiness that can come from a life that lacks love and human connection, especially in the midst of material excess. The singer is searching for a deeper meaning and purpose in their life, and recognizes that love is a vital part of that. The imagery of searching the crowd for the one who will become their Something To Live For is poignant, creating a sense of longing and anticipation. Ultimately, the singer's desire for love and connection highlights the importance of human relationships and emotional fulfillment, even in the face of material wealth and success.
Line by Line Meaning
I have almost ev'ry thing a human could desire,
I have amassed nearly everything that can satisfy human needs and desires.
Cars and houses, bear-skin rugs to lie before my fire
I possess luxurious cars, multiple dwellings, and even animal skin rugs to add comfort while resting by the fireplace.
But there's something missing,
Despite having acquired plenty of material possessions, I feel incomplete and discontented.
Something isn't there,
I am aware that there is something lacking in my life.
It seems I'm never kissing the one whom I care for.
I feel like I am never able to kiss the one I truly love and care for.
I want Something To Live For
I long for a reason to live, to have a purpose bigger than myself.
Someone to make my life an adventurous dream
I desire a companion who can instill excitement and thrill to my life.
Oh, what wouldn't I give for
I am willing to do whatever it takes to have what I am longing for.
Someone who'd take my life
I am searching for someone who can take charge of my life.
And make it seem gay as they say it ought to be.
They can help me perceive life as happy and joyful as it should be.
Why can't I have love like that brought to me?
I am pondering why I cannot find love like that which I seek.
My eye is watching the noon crowds
I am scanning the environment, hoping to catch a glimpse of someone captivating.
Searching the promenades seeking a clue
I am roaming around the area, eagerly searching for any sign of my potential special someone.
To the one who will someday be my Something To Live For.
I aim to locate that one person who can give my life meaning, and become my motivation to live.
Lyrics © RESERVOIR MEDIA MANAGEMENT INC
Written by: BILLY STRAYHORN, DUKE ELLINGTON
Lyrics Licensed & Provided by LyricFind