Milt Bernhart, Dick Nash, Al Grey- 'I've Got You Under My Skin' Trombone Transcription

I've Got You Under My Skin was a popular hit for Frank Sinatra first recorded on Songs for Swinging Lovers in 1956. The trombone solo on this was played by Milt Bernhart who made his name in Stan Kenton's orchestra. Supposedly the short Bernhart was asked to stand closer to the microphone and Sinatra grabbed him a box to stand on.
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This solo came apparently on the 22nd take and it was a ripper! The sound is raucous and brassy and captures the energy of the group. Later in 1963 Sinatra re-recorded this song for Sinatra's Sinatra. Bernhart wasn't available this time and Dick Nash came in and brought to another level including a cheeky quote of the original Bernhart solo.
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There is one more rendition of this solo less well known from the live album Sinatra at the Sands. At this point Sinatra knew he could expect a lot from the trombone player and shouts on the recording 'Run for cover, run and hide!'. This solo gets played out by Al Grey.
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[@PaulTheTrombonist]

This is so awesome to hear and see together!

[@KitMillais]

It was really fun to see the quotes and references in each solo. One day I will feel good playing Dick Nash's high Gb haha

[@matthewbond3278]

Dick Nash just rocks it!

[@KitMillais]

He owns the trombone!

[@speddcarrot2081]

Big thanks for this transcription. I’m doing the lead trombone part for my high school jazz band and thinking of playing the dick nash interpretation of the solo

[@natehollenbeck6348]

Milt Bernhart’s is the best of the 3 and I’ll die on this hill

[@antoniorocha8041]

no way it is bro xd Nash is a beast and i believe he can still play better than me (with 95 y.o.)

[@speddcarrot2081]

@@antoniorocha8041nash is the best

[@Trombone1991]

This was a really great idea to take the same chart and different trombonists.

[@KitMillais]

It's really cool to see how it evolves and changes with each player!

[@eugeniocollinassi.1548]

@@KitMillais I completely agree!!

[@crobertofaria]

Al Grey, Milt Bernhart and Dick Nash !!!!!

[@Lancemeh]

Thank you for sharing! I’m playing a gig Saturday and thinking of attempting the Dick Nash interpretation on this chart. Helped to see it written out like this. May have the wife video my attempt and I’ll reply with the video so we can see how close I come to replicating it. :)

[@KitMillais]

Hope you have a great time doing it!

[@Tbsalvass]

nice

[@RichardMooreMusic59]

Great idea to transcribe the solos! Key signature should be five flats - key of Db

[@rustyford1018]

Hah I can't play this high

[@KitMillais]

The struggle is real!

[@ber776]

Sonny Russo , with Sinatra, too.

[@KitMillais]

I don't know this one! Which album is it from?

[@Ace-in8qr]

Do jazz trombonists not read tenor clef for the super high notes?

[@KitMillais]

Tends to be common practice in Jazz to stay in bass clef, however, I have seen some more modern musicals that use tenor clef for higher passages.

[@Ace-in8qr]

@@KitMillais Interesting. Good to know.

[@mjolnirpauwels4556]

I'm playing this and it's notated with 8va (similar to the first solo here)

[@MrSteve3772]

I believe it’s Urbie Green, not Dick Nash

[@posaune45]

Measure 3 in the Al grey solo… what is going on here? I do not hear 2 beats of sixteenth notes. Does it not sound more like +a 3+4+ Also you should really add some style into the transcription the notes aren’t enough to make a great solo.

[@KitMillais]

Thanks for the comment! It is difficult to hear exactly what is happening in Al Grey's solo as it is live but I think the semiquavers are a pretty accurate representation of what I hear. I often feel conflicted adding style details to the transcriptions as it can make them difficult to read (especially with the many glisses in Al Grey's solo!). I think most people listen to the recordings thoroughly in learning solos and can apply the extra style details themselves without needing them printed.

[@posaune45]

@@KitMillais true that, there is more style in these solos than what is possible to transcribe! I don't think its 2 beats of semiquavers though in measure 3. I feel like its clearly +a 3+4+