- Nascido(a) em
- Falecido(a) em5 de junho de 1999 · Los Angeles, Califórnia, EUA (acidente vascular cerebral)
- Nome de nascimentoMelvin Howard Torme
- Apelidos
- The Kid With the Gauze In His Jaws
- The Velvet Fog
- Mr. Butterscotch
- The Blue Fox
- Mel Tormé nasceu o 13 de setembro de 1925 em Chicago, Illinois, EUA. Era ator e compositor e foi conhecido pelo seu trabalho em Caça aos Gângsteres (2013), Dick Tracy (1990) e O Gigante de Ferro (1999). Foi casado com Ali Severson, Janette Scott, Phyllis Arlene Miles e Candy Toxton. Morreu o 5 de junho de 1999 em Los Angeles, Califórnia, EUA.
- CônjugesAli Severson(30 de outubro de 1984 - 5 de junho de 1999) (sua morte)Janette Scott(20 de maio de 1966 - 26 de maio de 1977) (divorciado (a), 2 crianças)Phyllis Arlene Miles(31 de outubro de 1956 - 9 de novembro de 1965) (divorciado (a), 1 criança)Candy Toxton(11 de fevereiro de 1949 - 15 de fevereiro de 1956) (divorciado (a), 2 crianças)
- CriançasSteve March-Tormé
- Scat singing
- Bow tie
- Composed the music and words to "The Christmas Song" ("Chestnuts roasting on an open fire") with songwriting partner Robert Wells (Bob Wells).
- Is often referred to by Harry Anderson's character "Judge Harry Stone" in the NBC TV series Night Court (1984). Anderson--both as "Judge Stone' and in real life--is a big fan of Torme.
- He was drafted into the army in 1944, but soon after when he went on bivouac, cuts were discovered in the soles of his feet and it was determined that he was so flat-footed he should never have been drafted in the first place. He was sent home from the army in 1945.
- Nicknamed The Velvet Fog, a nickname he was not particularly fond of.
- He had a massive personal collection of 16mm movies from the golden age of Hollywood. He enjoyed threading his movie projector and showing his collection of films to family and friends in his home. His movie collection, which consisted of hundreds of films, was totally destroyed in a fire which totally destroyed his home.
- One of the joys of a jazz singer is to try to keep a dimension of constant improvisation in relation to what he sings. But--and it's a big but--only if you never lose sight of the original musical value which the composer put in it. And above all, if you don't sacrifice the most important element of a popular song: the words.
- I have to confess that my way of singing is very much affected by my private life, or by anything that touches me personally. I am a man, not a machine.
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