Milt Bernhart lick at the end of “I’ve got you under my skin”

This is a short video about why it’s good to know this Trombone lick buy Milt Bernhart that he played on the Nelson Riddle arrangement of I’ve got you under my skin by Cole Porter performed by Frank Sinatra. 

[@kevinhornbuckle]

This is really valuable. Thank you.

[@crtune]

WONDERFUL: The end of the solo in "I've Got You Under My Skin". . . (the entire solo is eight bars long and starts on Gb with double tonguing and a lower neighbor F, then Gb up to Bb, - all this above middle C - some more jazz and and in the last bar or so with that lick you play going up to Db. . .this lick is a sort of blues figure basically) The "Milt" solo is from a famous Capitol Records recording session (the old Melrose studio, before the new Capitol building) where they had trouble getting the solo trombone loud enough for a good "print" on the recording, so they got Milt up on a box pointing up toward the mic. There are a few interesting other stories around that. I believe it can be heard that Milt is playing insanely loudly, even compared with his time on band stand with Kenton. I recall talking w Milt briefly about the event and he did confirm they had trouble getting enough sound. It did, for working trombonists, become a sort of "thing" (and I try to do the Milt solo, or something akin to it in this tune, which is hopefully in that key; transcriptions seem to be available online if you look hard enough) to execute the Milt solo, at least often, if not routinely. Frankly it would be real fun to implement the Dick solo because it's super aggressive, and sounds even a bit harder than the challenging "Milt" one. I think I have also heard an Urbie Green one of these "I've Got You. . " solos from a Sinatra Live Madison Garden event. He also killed on that. . .as Urbie was known to do. It can be seen if you search on Sinatra Madison Square 1974 I've Got You Under My Skin". It looks like Urbie and Jim Pugh are in the trombone section in the band. So, there actually are several interesting versions of this. Sonny Russo comes to mind. He also did fantastic. I have run BRICKWALL into take downs which happen NOT to be in that key. . .and of course it's awkward, and survival just means playing jazz and making it make some sense. People have had pleasant reactions when I lay out the actual "Milt" solo in convincing fashion. Of course the Dick Nash one, and the one from the Count Basie band are also excellent and super convincing. As you probably remember me saying, Dick Nash was an early idol of mine and I spent all the time I could listening to everything Dick played.

[@BlueEuph]

Haha class dismissed! 😅love it!

[@mrbtadashi]

I AM standing up…

[@ChuckParDueMusic]

Bryant you have to stand on a box like Milt did, to properly play that lick!

[@crtune]

LOL. Listening carefully to the Capitol recording that spawned this whole thing you can hear the strings louder than the entire trombone section which is obviously getting really "brassy" sounding. The mics used on the bones, especially Milt were not printing much sound over into the control room. This was back before they routinely ran in dozens of mics on big band sound. This was done at the Melrose studio used by Capitol before they built the "stack of records" style building and Studio A, etc. It's fun to do the Milt solo on this, because it gets smiles from those knowing fans in the audience. I'm sure Bryant kills on this. It's a hip chart imo.

[@crtune]

kzbin.info/www/bejne/mYq1qKebeJt7gck Seems some fan has done a compilation of the Milt, Nash, Al Grey and added transcriptions and audio snippets. So one can see what these great trombonists did given this 8 bars to stand up and stand out.