Mel TormA© - The Best Of The Concord Years (2CD)

It doesn't get any better than this.

For the last fourteen years of his career, Mel Torme recorded for Concord Records, the first studio to give him total creative control. In this two-CD set, issued in 1999 as a tribute and retrospective, Torme is at his peak, the selections here showing that he was perhaps the most musically talented male jazz singer of the century. Composer, arranger, gifted performer on many instruments, pop star, jazz icon, and cerebral musician who connected and performed with the greatest of jazz stars, Torme shows here why he was so highly respected by the best of the best in jazz.

His mellow sound, enormous range, and perfect pitch allow him use his voice as jazz instrumentalists do their instruments, and with George Shearing, who appears here on nine tracks, he was, perhaps, at his peak. Shearing himself refers to their "two bodies, of one musical mind," and on "Born to be Blue," which Torme wrote, Shearing's piano "tinkles" in the background and then breaks into a blues, jazz, and swing solo, perfectly attuned to Torme's style. "Lullaby of Birdland," which Torme sings, surprisingly, as a ballad for half its length, gives Torme the chance to solo on one of Shearing's songs, and when he sings a quick scat in a 1:1 relation to Shearing's piano, it's a rare jazz moment.

Rob McConnell and the Boss Brass appear on several tracks, and Torme's scat is so close to one of the soft trumpets on "Don' Cha Go 'Way Mad" that it sounds as if there is a second vocal soloist for part of the song. Torme and Cleo Laine share two songs, "I'm Nothing Without You," and "After You've Gone," their voices blending perfectly. A master at combining several songs into medleys, Torme pays separate medley tributes here to Count Basie, Duke Ellington, and Ella Fitzgerald. One of the highlights, however, is the "New York, New York Medley," in which Shearing begins with the familiar 5-note piano intro to "New York, New York" and Torme enters singing totally different songs, as the 5-note piano phrase continues through "For Me and My Gal," "Mack the Knife," "Birth of the Blues," and several other songs.

With tracks chosen to showcase Torme's variety and jazz skill, this set has been compiled from both his studio and live recordings--ranging from slow ballads with simple accompaniments by John Campbell to triple-time showpieces with full orchestra. With exquisite timing, a relaxed demeanor, and a palpable joy in performing, Torme does it all, even better at seventy than he was at twenty-five. Mary Whipple
January 31, 2006

A retrospective of a force

Mel Torme was one of the most amazing singers who ever lived, and this album accentuates the point.

Torme was a senior citizen when he recorded for Concord, 1982-1996. The norm is for senior citizens to lose it somewhat by that age, as the voice becomes weaker and more wobbly and the singer has to reach deep down into his "bag of tricks" to compensate.

Until Torme had his major stroke that ended his career (and ultimately, his life), he never got there. He was as strong as a senior citizen as he was when he first hit national prominence as "the Velvet Fog."

I have some of the Concord albums from which this compilation is taken. While one might quibble over the choices of the particular selections, what cannot be quibbled over is the greatness of his catalogue.

In fact, I'd go so far as to say that during these years, 1982-1996, Mel Torme and Bobby McFerrin were the finest male jazz singers on the planet. Other contenders during this period were either underrecorded (Mark Murphy and Andy Bey, e.g.), barely getting started (Kurt Elling and Kevin Mahogany, e.g.) or truly past their prime (Sinatra and Bennett, e.g.).

And what a jazz singer he was! Listen to "Autumn Leaves", just for example. Who else would mix "Love Me Or Leave Me", "Yesterday When I Was Young", and a Bach fugue with this old chestnut? Torme was famous for doing this kind of thing all of the time.

Or listen to what Torme and his favorite and best accompanist, George Shearing (and author of the most insightful liner notes) do to "New York, New York"! I've never been a big fan of Torme's patter, but these two old pros had me laughing out loud at their wittiness and sheer genius.

Or listen to what Torme does to such songs as "Liza", "You're Driving Me Crazy" and "This Is a Lovely Way to Spend an Evening." Most jazz singers can sing a certain kind of style, or certain kind of song, but clearly not others. Torme could do it all. He even doesn't sound too bad on the old Jimmy Rushing blues, "Sent For You yesterday and Here You Come Today."

How can you go wrong with this? This is my 110th review for Ammy, and I believe I've reviewed more Mel Torme albums than that of any other artist. Why? Because as Frank Sinatra himself once said, "If I'm the 'Chairman of the Board', Torme owns the whole damn company!"

Right on, Blue Eyes. RC June 24, 2005

A Vocal Master in his Prime

Mel put out some classic West Coast material in the 50s for Bethlehelm like the album "LuLu's back in Town". This is where he displayed some preludes to his trademark scattin'. But During 60s he was shackled by the commercial grips of Verve & Columbia. Therefore, he didn't have the opportunity to do much in the way of improvising like only he could. And man, what a voice.

Concord gave him more freedom during his tenure in the 80s & 90s and it's gloriously documented on this fine collection. Highlights of the first disc include the ballad "Stardust" and some stunning readings of "Just Friends" & "Don'cha Go'Way Mad" off the great Rob McConnell and the Boss Brass LP. "Sweet Georgia Brown" gets its shoes blown off.

There are alot of great live performances in this collection. Disc Two starts off with a smoking live reading of "Day In -Day out" and never lets up. The medley of "The Christmas Song & Autumn Leaves" leaves little doubt who wrote that holiday song. "Three Little Words" even gets a good workout and the set concludes with a very appropriately sequenced reading of "Stairway to the Stars".

Unlike some compilations, this collection flows seamlessly like a single album. Linear notes by George Shearing are honest and to the point. The sound quality is good for mostly circa 80s/early 90s digital recording, although this remastering boosted Mel's voice a little too much and the highs are little too bright. My only major gripe is with the packaging -- the CDs don't stay very well in the open and fold case, and the booklet keeps sliding out every time I open the case.

Mel Torme was not only a singer with a truly amazing sounding voice, he was a musician with impeccable skill & knowledge. You may consider his style and the material he covered too conservative, but there is no denying his talent. Jazz singers today, traditional or progressive, can only dream of combining these traits. November 29, 2001

This is the best of Mel's best

This is by far my favorite Mel Torme CD. I've always been a Torme fan and this CD spotlights his top songs. His singing is supported by big bands, small groups and many others by George Shearing. The New York medley will really blow you away. If you like Mel, buy this right now. November 27, 2001

Velvet Perfection

I confess that until I heard this compilation, I thought that the best years of Mel Torme were behind him by the 1980s. But this collection changed my perception entirely. Not only could Mel still croon like nobody's business, but he could still scat like he had been taking lessons from Ella earlier that day. These CDs really do contain definitive versions of Lullaby of Birdland, a killer anything-but New York, New York medley, and a Christmas Song/Autumn Leaves track with the Frank Wess Orchestra. George Shearing is present on about half the tracks, and is just superb throughout. But the best part of all is that there really aren't any duds here. The pacing, in particular, is magnificent; the sound quality is superb; and the live performances are wonderfully intimate. If you are already a Mel Torme fan, you will want this collection because it is a wonderful final chapter to a monumental musical career. On the other hand, if you are just learning about Mel Torme, then you will definitely want to buy this collection because, hey, if this stuff doesn't get you hooked on Mel, nothing will. May 29, 2000

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