The Beginnings Počeci

E E nglewood Cliffs is nestled in the northeast corner of Bergen County in New Jersey and sits atop the Palisades of Fort Lee directly north of Manhattan, a stones throw across the Hudson from the glitter and gild of New York City. nglewood hridi je nestled u sjeveroistočnom uglu Bergen županije u New Jersey i sjedi na vrhu Palisades Fort Lee neposredno sjeverno od Manhattana, kamenje bacati preko Hudson iz blještavilo i pozlatiti u New Yorku. It's a diverse area and primarily a comfortable residential community that gave us names like Charles Lindbergh, Vince Lombardi, John Travolta, Eddie Murphy and in the fall of 1957, Emily. To je raznolik prostor i prije svega udobne stambene zajednice koje su nam dali imena kao što su Charles Lindbergh, Vince Lombardi, John Travolta, Eddie Murphy i u jesen 1957, Emily.

E E mily Remler was actually born in Manhattan and could have claimed to be a legitimate New Yorker but she was raised entirely in Englewood and though she spent a good deal of time in The Big Apple especially in her professional life, she always felt like and referred to herself as a New Jersey girl. mily Remler zapravo je rođen na Manhattanu, a mogli su tvrdili da se legitimnim New Yorker, ali ona je odrastao u cijelosti Englewood, a iako je proveo dosta vremena u Big Apple posebno u njenom profesionalnom životu, uvijek se osjećala kao i iz sebe kao djevojka u New Jerseyu.

Emily was from a hard working household, her father a meat broker and her mother in social services. Emily je od napornog radnog kućanstvo, njezin otac meso brokera i njezina majka u socijalnim službama. She had two older siblings, a brother who became a US diplomat and was an amateur guitar player who owned the infamous Gibson ES 330 that she borrowed to never surrender and a sister who later became a lawyer and language teacher in New York City. Imala je dvoje starije braće i sestara, koji je postao brat američkog diplomata i bio je amaterski gitarist koji je u vlasništvu zloglasnog Gibson ES 330 koji je posudio da se nikada ne predaju i sestru koji je kasnije postao odvjetnik i profesorica jezika, u New Yorku.

I Ja t wasn'ta musical family professionally but it was a family that believed in achieving and doing with encouragement to pursue individual ideas and access to music and instruments was always a part of that. T nije bio glazbene obitelji profesionalno, ali je obitelj koja vjeruje u ostvarivanju i radi s ohrabrenje da se nastavi pojedinih ideja i pristup glazbi i instrumentima je uvijek bio dio toga. Of interest, her precursor to the guitar was the piano. Interesa, njezin prethodnik na gitari je bio klavir. Friends remember her playing for hours while her parents were at work, though quite shy about playing if asked and also of spending time drawing which explains her early desires to attend design schools. Prijatelji sjetiti joj igrati za vrijeme dok su joj roditelji bili na poslu, iako prilično sramežljivi o igranju ako je zatraženo i trošenja vremena crtež koji objašnjava svoje želje rano da prisustvuju škole dizajna. Certainly there at home is where her imagination first flourished and the foundation was laid: if you apply yourself, if you search out creative ends, you will succeed. Sigurno postoji kod kuće gdje joj je mašta prvi procvjetao i temelj je postavljen: ako se primjenjuju, ako se traži iz kreativne završava, da ćete uspjeti. This early philosophy expressed itself throughout her career as she was undeterred by the bias and skepticism of the male dominated music business and doubters of her ability. Ovo rano filozofija sama izrazila kroz svoju karijeru kao što je bila omela pristranost i skepticizam dominiraju muškarci glazbenoj industriji i sumnjaju u njene sposobnosti. She simply let her hard work and natural talent on the guitar do the talking for her. Ona jednostavno pusti da naporan rad i prirodni talent na gitari ne govori za nju. As she told interviewer Gene Lees in response to his question about the underlying sexism in the industry: Kao što je rekla anketar Gene Lees kao odgovor na njegovo pitanje o podlozi seksizmu u industriji:

“ I'm not into sitting and crying about it, I'm into doing. "Nisam u sjedi i plače o tome, ja sam u tome. I never was bitter about the fact that there are so many band leaders who have told me face to face that they couldn't hire me because I was a woman, or that there have been so many instances where I wasn't trusted musically and they handled me with kid gloves because they figured my time wasn't strong. Nikad nisam bila gorka o činjenici da postoji toliko bend lidera koji su mi rekli licem u lice da ne bi me zaposliti jer sam bio žena, ili da je bilo toliko slučajeva gdje sam nije bio pouzdan i glazbeno oni su mi rukovati s jare rukavice jer shvatio moje vrijeme nije bila jaka. You have to believe in yourself. Morate vjerovati u sebe. It never did occur to me to stay in one place and bitch about this, about how I wasn't given a chance. To nikada nije palo na pamet da ostanem na jednom mjestu i kuja o tome, o tome kako nisam dobio priliku. I think it gives me more merit – to get really good, so good that it doesn't matter: to get so good that you surpass it. Mislim to mi daje više zasluga - da biste dobili stvarno dobar, toliko dobar da to ne smeta: da se tako dobro da ga nadmašiti.

From The Jazz Scene: An Informal History from New Orleans to 1990 Od jazz scene: Neformalna Povijest iz New Orleansa do 1990
by W. Royal Stokes comes this excerpt: W. Royal Stokes dolazi ovaj izvadak:

Becoming something of a household name among jazz fans here and abroad by mid-decade, Emily nevertheless had to cope with the lingering prejudice against the female instrumentalist in the art form. Postati nešto od kućanskih ime među ljubitelja jazza ovdje iu inozemstvu do sredine desetljeća, Emily ipak morali nositi s zadržavali predrasude protiv žena instrumentalist u oblik umjetnosti. She expressed her feelings on the double standard she had to contend with everyday. Ona je izrazila svoje osjećaje na dvostruki standard je morala boriti sa svakodnevnim. Conceding that working conditions for women in jazz had improved over the course of the 1980's, Emily lamented, “But there's still a lot of things that bother me. Priznajući da radni uvjeti za žene u jazzu su poboljšani tijekom 1980-ih, Emily uzdisao, "Ali ima još puno stvari koje mi smetaju. Like people worrying about your looks when all you want to think about is the music.” Sviđa mi se ljudi ne brinući se o svom izgleda kad sve što želite razmišljati o tome je glazba. "
Emily was especially annoyed at a prominent critic who had objected (in print) to her habit of intermittently holding the guitar pick in her mouth whenever she switched to bare-finger playing. Emily je posebno ljut na ugledni kritičar koji je prigovorio (u tisku) da joj naviku povremeno drži gitaru pokupiti u ustima kad god je prebacio na golim prst igra. The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied: Kritičar priznao da je volio gledati daleko kad god ona bila to, na koji Emily testily odgovorio:

“ Good ! "Dobro! I wish he'd look away the whole time and picture me as John Coltrane ! Želim da bih gledati daleko cijelo vrijeme i ja sliku kao John Coltrane!

It's clear that preconceptions and prejudice existed for female players, especially those on non traditional instruments or roles in the music community. Jasno je da predrasude i predrasude su postojale za tenisačice, pogotovo one na netradicionalnih instrumenata ili uloge u glazbenoj zajednici. I think we can all agree that Emily met them head on and handled these moments with grace, humor and a determination that never let such obstacles take anything away from what mattered most, the music. Mislim da svi možemo složiti da Emily upoznao ih na glavu i rukovati tim trenucima s milošću, humorom i odlučnost da nikada ne dopušta da takve prepreke uzeti ništa od onoga što bilo najvažnije, glazba.

Robert Jospe, friend and performer with Emily offers the following about her confidence and how she carried herself in a man's world… Robert Jospe, prijatelj i izvođač s Emily nudi sljedeće o joj povjerenje i kako je ona sama provodi u muškom svijetu ...

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Audio isječak: Adobe Flash Player (verzija 9 ili noviji) potreban je za igrati ovu audio isječak. Download the latest version Preuzmite najnoviju verziju here ovdje . . You also need to have JavaScript enabled in your browser. Također trebate imati omogućen JavaScript u pregledniku.

She wasn't born a virtuoso. Ona nije bila rođena virtuoz.

I Ja t's hard to believe that at age 16 Emily was graduating high school without the ability to read music and knew nothing of jazz. t je teško vjerovati da je u dobi od 16 godina Emily je završetka srednje škole, bez sposobnosti da čitati note i ne zna ništa o jazz. Harder still to believe that by the time she would turn 23 she would be recording her first album, Firefly and beginning to draw a buzz from the jazz community as a talent to behold. Teže i dalje vjerovati da je vrijeme ona će zauzvrat 23 ona će biti snimanje njezin prvi album, Firefly i početak izvući buzz jazz zajednice kao talent gledati.

“ " In July 1974, the summer between high school and college, we spent a week or two at the Chautauqua Institution in upstate New York. U srpnju 1974, u ljeto između srednje škole i fakulteti, proveli smo tjedan ili dva na Chautauqua institucija u New Yorku. I took art classes and Emily took music classes, specifically learning about Indian music by playing it on her guitar and authentic Indian instruments. Uzeo sam nastavi likovne kulture i Emily su glazbu klase, posebno učenje o indijskoj glazbi tako da je igranje na nju gitaru i autentičan indijski instrumenti. This was a turning point for Emily or at least part of her musical evolution. To je bio prekretnica za Emily, ili barem dio njezine glazbene evolucije. While in the evenings in our room she taught me to play “Stairway to Heaven” and “Bell Bottom Blues” (she could play Page and Clapton, not me!), she had moved on musically. Dok je u večernjim satima u našoj sobi je učio me da se igraju "Stairway to Heaven" i "Bell Bottom Blues" (ona mogla igrati stranicu i Claptona, a ne mene!), Ona je preselila na glazbeno.
Each afternoon after her Indian music lesson, she couldn't wait to play me what she learned and there was pure delight in her face as she played these new sound combination's, half tones and quarter tones, different rhythms and time signatures. Svaki popodne nakon što ju je indijska glazba sat, nije mogla čekati da mi igrati što je naučila i tamo je čisti užitak u njenom licu dok je igrao ove nove zvuk kombinacije, polutonovima i četvrt tonovi, različite ritmove i vrijeme potpisa.

Although she might not have played jazz before she began attending Berklee two months later, it's easy to see how she “absorbed” jazz just like she did Indian music during her brief summer experience. Iako joj možda ne bi igrao jazz prije nego što je počeo prisustvovati Berklee dva mjeseca kasnije, to je lako vidjeti kako je ona "upija" Jazz baš kao što je učinio indijske glazbe tijekom svog kratkog ljeta iskustvo. She had incredible enthusiasm about all that music could be, every complex chord and rhythm and a determination to make those sounds come out of her and her guitar. Imala je nevjerojatno entuzijazam o svemu što glazba može biti, svaki kompleks akord i ritam i odlučnost kako bi one zvukove iziđi iz nje i njezina gitara.

In hindsight, it's obvious that Emily learning these “weird time signatures”, memorizing Ravi Shankar records and being exposed to such a diverse and rich palette of non-traditional music helped spark her interests and later mastery of polyrhythms and Brazilian jazz styles where she excelled in her playing. Gledajuci unatrag, to je očito da Emily učenju te "čudne vrijeme potpisa", pamćenje Ravi Shankar evidenciju i biti izloženi takvim raznolika i bogata paleta ne-tradicionalne glazbe pomogao iskra svoje interese i kasnije vladanje polyrhythms i brazilskog jazz stilova, gdje je odlično u njoj igrati.

A fter graduating high school with low marks, admittedly from too little focus toward studies, she initially had trouble finding a college that had a serious interest in recruiting her. akon završetka srednje škole s niskim maraka, doduše s premalo fokusa prema studija, ona je u početku imao problema s pronalaženjem faksu da je ozbiljan interes za nju zapošljavanje. She considered going to the Rhode Island School of Design with enthusiasm in graphic design Ona smatra ide na Rhode Island School of Design s entuzijazmom za grafički dizajn

I did sculpting and drawings and had a choice to make between Rhodes and Berklee but I was so frustrated with art. Ja sam skulpture i crteža, te je izbor kako bi između Rhodes i Berklee, ali bio sam toliko frustriran sa čl. I couldn't get it the way that I wanted it. JA mogao ne dobiti ga na način na koji sam htjela. Music, at least you get more chances and a little more time and the companionship of other musicians. Glazba, barem ćete dobiti više šansi i malo više vremena i druženja u drugim glazbenicima.

She opted for Berklee College of Music because music seemed more forgiving and simply because they had accepted her. Ona se opredijelili za Berklee College of Music, jer glazba se činilo više oprašta i jednostavno zato što ju je prihvatio. She later mused, “it was easy to get in to but staying in was hard”. Ona je kasnije mused ", to je lako doći u, ali borave u je teško". This was quite a casual and carefree attitude from someone that went on to pour incredible amounts of hard work into practicing and playing but it was her experience at Berklee that would have the greatest impact on who she became as an artist. To je vrlo casual i bezbrižan stav od nekoga koji je otišao na to sipati nevjerojatne količine truda u vježbanje i igranje, ali to joj je bio iskustvo na Berklee da će imati najveći utjecaj na koja je postala kao umjetnik. It was indeed the first place she ever heard jazz. To je bio doista na prvom mjestu je ikada čuo za jazz.

It turned me around, she said. To mi se okrenuo, rekla je ona. Initially, all I heard was a bunch of notes, so I know what it's like when people hear jazz for the first time. U početku, sve što sam čuo bila hrpa bilješki, tako da znam kako je to kada ljudi čuju jazz za prvi put. When I first heard Miles and Coltrane, I didn't like them, they scared me but when I heard Charlie Christian, the guitarist with Benny Goodman, and Paul Desmond, the alto saxophonist with Dave Brubeck, I could hear the melody and relate to it. Kada sam prvi put čuo Milesa i Coltrane, ja nisam poput njih, oni me prepala, ali kad sam čuo Charlie Christian, gitarist Benny Goodman, i Paul Desmond, Alto saksofonist s Dave Brubeck, mogao sam čuti melodiju a odnose se na njega. Desmond got me into jazz, and then when I heard Wes Montgomery and Pat Metheny, I was totally taken. Desmond mi je dobio u jazz, a onda, kada sam čuo Wes Montgomery i Pat Metheny, sam totalno je snimljena.

At that point her life became clear to her; “ I knew I would be a guitarist. U tom trenutku njezin život je postalo jasno da joj: "Znala sam da ću biti gitarist.
Jazz sounded “ so serious and introverted “ , she immediately knew where to focus her energy and the directions she wanted to explore. Jazz zvučalo "tako ozbiljne i introvertirana", ona je odmah znala gdje da se usredotočite svoju energiju i upute je htjela istražiti. It was her moment of epiphany . To je bio njezin trenutak Sveta tri kralja. She had finally found her purpose. Ona je napokon pronašla svoju svrhu.

Still, there was a lot of work and frustration. Ipak, bilo je puno posla i frustracija.

F F or the first six months at college, Emily found she was unprepared for the focused intensity of performing and was too shy to play in front of her teacher for months but even this awkward lack of confidence would not prevent her from excelling at learning to read and play entirely new forms of music and it is also where she fortuitously came in contact with Brazilian influences, specifically bossa nova rhythms from another advanced and multi-talented student ili prvih šest mjeseci na faksu, Emily pronađen je bila nespremna za fokusiran intenzitet izvođenja i bio je previše stidljiv da se igraju ispred njezine učiteljice mjesecima, ali čak i ovaj neugodan nedostatak povjerenja ne bi ju spriječio odlikuje u učenju čitanja i igrati potpuno nove oblike glazbe i ona je također, gdje je slučajno došao u dodir s brazilskim utjecajima, osobito bossa nova ritmova iz druge napredne i multi-talentirani student Celia Vaz Celia Vaz , that became one of the strongest forms of music attraction for her career ahead. , Koja je postala jedan od najjačih oblika glazbe atrakcija za karijere naprijed. While their lessons together were nothing more than sitting in the corridors of classrooms trading techniques and ideas, she credits Dok su njihove lekcije zajedno su ništa više nego sjedi u hodnicima učionica trgovanja tehnike i ideje, ona kredita Celia Celia as a major influence on how she learned and approached the Bossa style. kao veliki utjecaj na to kako je naučila i prišao Bossa stilu.

Emily was a mere 18 when she graduated Berklee, with a new direction to follow, a head full of ideas and a growing annoyance of what she considered to be her playing limitations. Emily je samo 18 godina kad je diplomirala Berklee, uz novi smjer slijediti, glava puna ideja i rastući smetnja što ona smatra da joj igrati ograničenja.
She was most unhappy with her rhythm and timing and set about to eliminate this deficiency with intense day long, closed door sessions between herself and her metronome in a rented room on the shores of Long Beach Island in NJ. Ona je najviše nezadovoljan s njom ritam i timing i skup o eliminirati ovaj nedostatak s intenzivnim dana, zatvorenih vrata sjednice između sebe i svoje metronom u iznajmljenoj sobi na obalama Long Beach Islandu u New Jersey. This self imposed wood shedding was how she spent her first summer after school before moving down to the Big Easy of New Orleans to rejoin her boyfriend and fellow Berklee musician, Steve Masakowski. Ovaj sebi nametnuo drvo prolijevanja je kako je ona provela svoj prvi ljeto poslije škole prije nego što se kreće prema dolje do Big Easy u New Orleans za promociju svog dečka i kolege Berklee glazbenik, Steve Masakowski. She often referred to this extremely focused summer as her most relevant in development and tried for the next five consecutive summers to replicate that intensity without success. Ona se često naziva ovog ljeta izrazito fokusirani kao njezin najvažniji u razvoju i pokušao za narednih pet uzastopnih ljeta ponoviti da je intenzitet bez uspjeha. It turned out to be a once in a lifetime experience that could not be reproduced on demand but was none-the-less a pivotal point in her musical evolution. Pokazalo se da je jednom u vijek iskustvo koje se ne mogu reproducirati na zahtjev, ali je nitko-the-manje ključnu točku u svom glazbenom razvoju.

Once in New Orleans she dove head first into the professional life of a working musician, playing small venues like Tyler Club, hotels (she was the guitarist in the house band for the Fairmont-Roosevelt Hotel with leader Dick Stabile in the famed Nakon što je u New Orleans je golubica glavu prvi u profesionalni život radnih glazbenik, svira mali prostorima poput Tyler klubovi, hoteli (ona je gitarist u bendu kući za Fairmont-hotelu Roosevelt sa lider Dick Stabile u glasoviti Blue Room Blue Room , countless music halls, dinner lounges, weddings and other private receptions, while also teaching individual students and continuing her own leisurely studies by jamming with renowned New Orleans instructor and performer, , Bezbroj glazbenih dvorana, večera ležaljkama, svadbe i druge privatne domjenke, a isto tako nastave pojedinih studenata i nastavlja svoje lagane studija ometanje s poznatim New Orleans instruktor i izvođač, Hank Mackie Hank Mackie . . It was an incredible period of personal growth for her musically. Bilo je nevjerojatno razdoblje osobnog rasta za nju glazbeno. Emily and Steve had a small quartet called FourPlay that kept busy with gigs and she also is mentioned to have played many times with the R&B group Emily i Steve imao mali kvartet pod nazivom FourPlay koji je zadržao zauzet s koncertima i ona je također se spominje da su igrali mnogo puta s R & B grupi

Little Queenie and The Percolators . Little Queenie i prekolatora.

Others that were woven into her New Orleans experience were Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet and Nancy Wilson. Drugi koji su bili upleteni u njen New Orleans iskustva su Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet i Nancy Wilson. It was also the entrance of Herb Ellis into her life, who would become a major influence and mentor. To je također ulaz u Herb Ellis u njezin život, koji će postati veliki utjecaj i mentor. Emily knew his work and found out he was in town. Emily je znao svoj posao i saznao da je u gradu. Her foot in the door came when she contacted him for advice on repairing her Herb Ellis model guitar, so they met and ended up jamming for hours. Njezina noga u vrata je došao kada je s njim kontaktirao za savjet na popravak joj Herb Ellis model gitare, pa su se susreli, a završio je ometanje satima.

As Herb remembers it, Kao Herb ona pamti,

I was working in New Orleans in 1977, when this young girl, she couldn't have been 20, came and asked me for a lesson. Radio sam u New Orleans u 1977, kada je mlada djevojka, ona nije mogla biti 20, je došao i pitao me za sat. I asked her to play something for me, and when she did, I just couldn't believe what I heard. Pitao sam je da igraju nešto za mene, i kada ona nije, jednostavno nisam mogao vjerovati što sam čuo. Forget about “girl”, she's going to be one of the greatest jazz guitar players who ever lived. Zaboravite "djevojka", ona će biti jedan od najvećih jazz gitarista koji su ikada živjeli. She can do anything. Ona može učiniti ništa.

E E mily was only 19 and he was genuinely impressed. mily je samo 19, a on je zaista bio impresioniran. She was asked to perform at that years Concord Jazz Festival where she appeared with the “Great Guitars”: Herb Ellis, Charlie Byrd, Joe Pass, Tal Farlow, Barney Kessel and bassist, Ray Brown. Ona je pitao to obaviti na taj Jazz godina Concord festivala gdje je nastupala sa "Veliki Guitars": Herb Ellis, Charlie Byrd, Joe Pass, Tal Farlow, Barney Kessel i basist, Ray Brown. From there her career was off and running. Od tamo karijeri bio off i trčanje. She left New Orleans in '79 but credits her time there as the most crucial in her growth of jazz and the place where she 'got good'. Ona je napustio New Orleans u '79 ali kredita svoje vrijeme tamo kao najvažniji u svojoj rast jazza i mjesto gdje se ona 'je dobio dobar'.

I had really just screwed around at Berklee, I didn't concentrate that hard, I was a child, a total beginner. Imao sam stvarno samo pijan oko na Berklee, nisam koncentrirati tako teško, bio sam dijete, ukupno početnik. I came out not playing that great but with a lot of knowledge of chords and theory. JA je došao vanjska strana ne igra taj veliki, ali s puno znanja o akordima i teorije. I would say that Berklee was good for me in theory and harmony and ear training but when I got to New Orleans I was forced to get better and better. Rekao bih da Berklee je dobro za mene u teoriji i sklad i uho treninga, ali kada sam dobio u New Orleans bio sam prisiljen da biste dobili bolje i bolje. I played all these show gigs and jazz gigs, and I had 25 students. Igrao sam sve te show nastupima i jazz svirke, a ja sam imao 25 učenika. I was forced to come up to a certain level of playing. Bio sam prisiljen da dođe do određene razine igranja. It was great. To je bio velik. There's a modern jazz thing happening down in there. Tu je moderni jazz stvar događa dolje tamo. It's much hipper than New York because the people want to be a part of it. To je puno hipper od New Yorka, jer ljudi žele biti dio toga. In New York, it's very serious, in New Orleans everybody jumps up and down, there's an R&B kind of feeling. U New Yorku, to je vrlo ozbiljno, u New Orleansu svi poskakivati gore-dolje, tu je R & B vrstu osjećaja. I sort of stole that rich culture and applied it to my own music. Ja vrsta ukrao da bogate kulture i primijeniti na svoju glazbu. If I had stayed in Boston, I'd be playing Giant Steps like a madman- like everybody else. Ako sam ostao u Bostonu, ja bih se igrati Giant Steps kao luđak-kao i svi drugi.

But as you can imagine it was a natural progression to move back to New York and all it's jazz appeal. Ali kao što možete zamisliti da je prirodna progresija se vratiti u New York i sve je jazz žalbu. She began jamming with area musicians, forming loose trios around town and backing on many occasions with the likes of Astrud Gilberto (where her deep love and command of Brazilian Jazz steadily flourished), John Clayton (her first guest appearance on an album, It's All In The Family ), Nancy Wilson at Carnegie Hall, and Eddie Gomez. Počela ometanje s područja glazbenicima, formiranje labav trija oko grada i potporu u više navrata s voli od Astrud Gilberto (gdje su joj duboke ljubavi i zapovjedništvo brazilske Jazz stalno cvjetala), John Clayton (svoj prvi gostovanje na albumu, to je sve u obitelji), Nancy Wilson u Carnegie Hallu, i Eddie Gomez. She states that she played every gig she could which led to a few performances in a punk rock band of all things, called the Stereotypes where she played a Les Paul with pink dust in her hair. Ona navodi da je igrao svaki koncert je mogao što je dovelo do nekoliko nastupa u punk rock bendu svih stvari, zove Stereotipi gdje je igrao Les Paul s ružičastim prašine u njezinu kosu. True story. Istinita priča. She also kept giving lessons when possible and among her students was none other than Gregory Hines, who in turn invited her to Los Angeles to be a part of his production of Ona je također zadržao dajući lekcije kada je to moguće i među svojim učenicima bio je nitko drugi nego Gregory Hines, koji je pak pozvao u Los Angeles da bude dio njegove proizvodnje Sophisticated Ladies Sofisticirani Dame that featured songs based on Duke Ellington's work koji opremljenog pjesme temelji na Duke Ellington rad
including Satin Doll, Mood Indigo, Take The A Train and Caravan . Satin Doll uključujući, Mood Indigo, uzmi vlak i kućica.
All her dedication and hard work was beginning to shine. Sve njezine predanosti i napornim radom je počela da se sjaji.

Click image to read an interview with Emily about the show in 1982 from The Los Angeles Times. Klikni na sliku za pročitati intervju s Emily o emisiji u 1982 iz Los Angeles Times.

It was a golden time, it was a time unwinding. Bilo je to zlatno doba, to je vrijeme odmotavanje.

And the world was hers… for a while. A svijet je njeno ... za neko vrijeme.



1981 1981 was a very good year. je vrlo dobra godina. She recorded her first album as leader: Firefly , married brilliant Jamaican jazz pianist Monty Alexander and was chosen “Woman of the Year” by jazz historian and music critic, Leonard Feather. Ona je snimila svoj prvi album kao vođa: Firefly, oženjen briljantne Jamajke jazz pijanist Monty Alexander te je izabrana "Žena godine" za jazz, povjesničar i glazbeni kritičar Leonard Feather. Although Firefly wasn't considered groundbreaking by critics, it was a classic hard bop style album that she used to pay homage to some of her favorite composers and idols. Iako Firefly ne smatra groundbreaking kritičari, to je bio klasični hard bop stilu album koji ona koristi za odati počast neke od svojih omiljenih skladatelja i idole. For a twenty three year old woman jazz guitarist, it was a successful first outing. Za dvadeset tri godine stara žena jazz gitarista, to je bio uspješan prvi izlet. The following year brought her second album: Take Two , a challenging set of material filled with obscurities and rarely performed gems from Cannonball Adderley, Dexter Gordon and McCoy Tyner as well as a beautiful composition from Monty called Eleuthra , one of the highlights of the album. Sljedeće godine donio joj je drugi album: Take Two, izazovan skup materijala ispunjene sa nejasnoća i rijetko izvodi dragulja iz Cannonball Adderley, Dexter Gordon i McCoy Tyner, kao i prekrasan sastav iz Monty zove Eleuthra, jedan od vrhunaca albuma . She contributed two originals herself, the emotional Waltz For My Grandfather and a fun swinging romp right out of the gate called Pocket Wes . Ona je pridonijela dva izvornika sebe, emocionalna valcer za moj djed i zabava raskalašan nered desno od vrata zove Pocket Wes. That year also earned her a stay in Los Angeles area playing music for a stage show and appearances at many festivals namely Concord's Jazz Celebration and The Berlin and Newport Festivals. Te godine je također zaradio joj boravak u Los Angelesu području glazbe za pozornicu show i nastupa na mnogim festivalima i to je Concord Jazz Proslava i Berlinu i Newport festivala.


Transitions in 1983 marked her 3rd solo album and just as the title suggests, it signified the changing and maturity of her music and writing skills. Prijelazi u 1983 obilježila njezin treći solo album, a baš kao što naslov sugerira, to je značilo mijenjanje i zrelost svoje glazbe i pisanja. Her own voice was beginning to emerge with great Latin overtones. Njezin glas je bio na početku javljaju uz velike latinskog prizvuka. Meanwhile she continued to build her reputation around the New York scene, gigging with jazz groups and touring. U međuvremenu je i dalje graditi njezin ugled oko scene u New Yorku, gigging s jazz skupina i turneje. The high momentum career did have it's downside on relationships, as it created too much unrelenting conflict to deal with and due to many “haphazard meetings” caused by their opposing travel schedules and other more personal issues that began to strain the young marriage, Emily and Monty divorced in '84. Visoka zamah karijeri imala je downside na odnose, kao što je stvorio previše neumoljiva sukoba da se bave i zbog mnogih "slučajan sastanaka" uzrokovanih njihovim protivničkih putovanja rasporedi i ostale više osobnih pitanja, koja je započela na soj mlade brak, Emily i Monty razveli u '84.


That didn't seem to slow her down any, Catwalk , an all original compositions effort was released the very same year. Mocha Spice came from this album and is maybe her most well known song but perhaps the most overlooked of her compositions is Pedals , a very Coltrane-esque song with haunting melodic phrases. To nije 'činiti se da joj usporiti bilo, catwalk, sve originalne skladbe trud je objavljen iste godine. Moka Spice je došao iz ovog albuma, a možda i njezina najpoznatija pjesma, ali možda najviše previdjeti svoje kompozicije je Pedale, vrlo Coltrane-esque pjesma s haunting melodijske fraze. Her writing had developed great range and complexity. Njezino pisanje je razvio veliki raspon i složenost. She also appeared on Ray Brown's Soular Energy for one song, then followed that with a great duo album in 1985 with longtime friend and guitarist – Larry Coryell called Together , considered by many to be a crowning achievement for a jazz guitar duo album. Ona je također pojavio na Ray Brown's Soular energije za jednu pjesmu, onda slijedi da je s velikim dvojac album u 1985 s dugogodišnjim prijateljem i gitarist - Larry Coryell pod nazivom Zajedno, mnogi smatraju da se kruna za gitaristički duo jazz albuma. It's memorable for How Insensitive and the best swing blues version of a misnamed Pat Martino tune, Cisco listed as Gerri's Blues on the album. To je za pamćenje Kako Neosjetljiv i najbolji swing blues verzija misnamed Pat Martino napjev, Cisco naveden kao Gerri's Blues na albumu.


It was a non stop schedule of playing and touring for the now seasoned twenty seven year old veteran and rising star. To je bio non-stop raspored igranja i touring za sada iskusan dvadeset sedam godina star veteran i zvijezda u usponu. She was in high demand as a featured guest for albums with Rosemary Clooney and John Colianni as well as many live performances and festivals before her next solo album would appear and one of her most successful in '87, East to Wes . Bila je u velike potražnje kao sadržanu gost za albume s Rosemary Clooney i John Colianni kao i mnoge live nastupima i festivalima pred njom sljedeći solo album će se pojaviti i jedan od njezinih najuspješnijih u '87, Istočna na Wes. Such a great album from start to finish highlighted by her tribute to Herb Ellis called Blues For Herb , among other swinging bebop standards that she took to new heights like Clifford Brown's Daahoud . Takav veliki album od početka do kraja istaknuo njezin počast Herb Ellis zove Blues Za Herb, među ostalim, ljuljajući bebop standarda koji je uzeo na nove visine kao što je Clifford Brown Daahoud. Mingled in were European and Asia tours and recordings with Hank Crawford's Quintet while in France on a much overlooked jazz jam album called Bossa International and several touring venues with Larry. Zamiješena u bili su europski i Aziji putovanja i snimke sa Hank Crawford's Quintet, dok je u Francuskoj na mnogo previdjeti jazz jam album pod nazivom "Bossa International i nekoliko turneja prostorima s Larryjem. More circuits and guest appearances followed in '87 – '89 (Susannah McCorkle and David Benoit are the most notable names). Više kola i gostovanja slijediti '87 - '89 (Susannah McCorkle i David Benoit su najznačajniji imena). She had also briefly moved to Pittsburgh PA, where she was Artist in Residence with Duquesne University and flourished at the local clubs, trying still to overcome her on going personal issues with substance abuse by keeping old habits in NY at a distance and new, more positive challenges front and center but life was also becoming much more hectic and demanding. Ona je također nakratko preselio u Pittsburgh PA, gdje je umjetnik u rezidenciji s Duquesne University i cvjetala na lokalnim klubovima, i dalje pokušava da joj ide na prevladavanju osobnih problema s substance abuse zadržati stare navike u NY na daljinu i nove, više pozitivne izazove ispred i centra, ali život je također postaje puno više napornog i zahtjevan.
Time was flying, but time was grinding. Vrijeme je letio, ali vrijeme je brušenje.


Jan Leder, a jazz flutist in the NY area shares this remembrance: Jan Leder, jazz flautist u NY području dionica ovog spomen:

I met Emily at DeFemeo’s in Yonkers one night at a jam session. Upoznala sam Emily na DeFemeo je u Yonkers jedne noći na jam session. She was an amazing player. Ona je nevjerojatna igrač. She had just returned from a trip to Japan and had not slept, but here she was jamming away. Ona se upravo vratio iz putovanje u Japan i nije spavao, ali ovdje je bila ometanje daleko. We somehow got to talking, and talked for quite a while. Mi smo nekako dobio na razgovor, i razgovarali za neko vrijeme. Here was someone who I thought had everything I'd ever wanted, namely a “successful” jazz career and recognition, not to mention real facility on her instrument. Ovdje je netko tko je imao sve što sam mislio bih ikada željeli, naime "uspješan" jazz karijeru i priznanje, a da ne spominjemo pravi objekt na njoj instrumenta. After a while chatting she told me she envied me for my more “normal” life, and that made me reconsider the way I was looking at things at the time. Nakon nekog vremena razgovarate rekla mi je da mi zavidjeli za moje više "normalan" život, i da me ponovno razmotriti način na koji sam bio obličje at stvari u to vrijeme. She was clearly hurting, and yet she played so incredibly well. Ona jasno je ranjavanje, a ipak je igrao tako nevjerojatno dobro. I will always remember her for how beautifully she played that night, and also for setting me straight in terms of appreciating what I had and was not seeing. Uvijek ću pamtiti kako joj lijepo je igrao tu noć, ali i za postavljanje me ravno u smislu poštovanja onoga što sam imao i bio je ne vidim.

I Ja n '89, restless with her music and wanting to take it a different direction, Emily signs a recording contract with Justice Records which ultimately released her last and fittingly most self assured album, This Is Me . n '89, nemirna svojom glazbom i žele da se to nekom drugom smjeru, Emily potpisuje ugovor za snimanje sa Pravda Records što u konačnici je objavio svoj posljednji i dostojno većina self uvjereni album, to me je.

In this clear break from her early traditional approaches Emily delves into more electronics here, incorporating the sounds of a Casio Synth guitar on her new mix of music, still heavily influenced by her continued love of Brazilian melodies, so evident in “Carenia” and “Simplicidaje”, as well as chord melody showcases like “You Know What I'm Sayin' and “Second Childhood”. U tom jasno izbiti iz svoje rane tradicionalni pristupi Emily zadire u više elektronike ovdje, koji uključuje zvukove gitare Casio Synth na njenom novom mix glazbe, još uvijek uvelike utjecao na njezin nastavak ljubav brazilskih melodija, tako očit u "Carenia" i " Simplicidaje ", kao i akord Melodija vitrine poput" Znaš što sam govoriš "i" Druga Djetinjstvo ".
With the exception of one title, it was another album full of her uniquely evolving sound and dreams and her broadening interests into the fusion side of jazz . S izuzetkom jednog naslova, to je bio još jedan album pun joj jedinstveno razvija zvuka i snove i njezina širenja interesa u fusion jazz strani.

Robert Jospe recalls how Emily envisioned her future. Robert Jospe se prisjeća kako je Emily zamislio njenu budućnost.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Audio isječak: Adobe Flash Player (verzija 9 ili noviji) potreban je za igrati ovu audio isječak. Download the latest version Preuzmite najnoviju verziju here ovdje . . You also need to have JavaScript enabled in your browser. Također trebate imati omogućen JavaScript u pregledniku.

All along she kept winning respect for her ever growing musicianship and dedication to the music. Sve zajedno držala pobjednički poštivanje njenog sve većeg muziciranja i predanost glazbi.

“Just Incredible.” ~ Jim Hall "Samo Nevjerojatno." ~ Jim Hall
“I'm taken by the great authority with which she plays” ~ Charlie Byrd "Ja sam uzeti veliki autoritet s kojim je igra" ~ Charlie Byrd
“The new superstar of the guitar” ~ Herb Ellis "Nova zvijezda na gitari" ~ Herb Ellis

She was no longer the novelty woman jazz guitarist but simply a great guitar player in her own right. Ona više nije novost jazz gitarist žena, ali samo veliki gitarist u svom vlastitom pravu. She was becoming comfortable with her own voice and vision in music and stronger in her attitude about style and substance. Ona je bila postaje udoban sa svojim glasom i vizija u glazbi i jači u svoj stav o stilu i sadržaju. She was making lesson videos, taping live performances on The Jazz Master's series of television shows, while still finding time for teaching and her own personal studies. Bila je izrada lekcije videa, snimanje live nastupi na Jazz Master serije televizijskih emisija, dok je još uvijek pronaći vrijeme za učenje i svoj osobni studija.

“I was unprepared for the sheer strength of her playing. "Bio sam nespreman za čistu snagu svoje igre. She was an extraordinarily daring player, edging close to the avant-garde, and she swung ferociously. Bila je izuzetno hrabar igrač, oštrenje blizu avangarde, i ona je zamahnuo ferociously. There was also a deeply lyrical quality to her playing. Tu je i duboko lirski kvalitet joj igrati. She was a guitarist of unusual authority and individuality , a talented player who was one of the brightest happenings in the jazz guitar world of her decade. Bila je gitarist neobična vlasti i individualnost, talentirani igrač koji je bio jedan od najsjajnijih događanja u svijetu gitare jazz njezina desetljeća. Harmonically, melodically and rhythmically, she had it all. Harmonijski, melodically i ritmički, ona je to sve. ” "
Gene Lees Gene Lees

It seemed to be another good year. Činilo se da još jedna dobra godina.

T T he end as we all know was too sudden, too soon and without our permission. on na kraju kao što svi znamo je prerano, prerano i bez našeg dopuštenja. What could have been, what notes we'll never hear is known only to the moon and stars. Što se moglo, što primjećuje mi nikada ne ćemo čuti je poznat samo mjesec i zvijezde. The truth and beauty left behind in the aftermath can be found in her music and her philosophies and that's enough for us to reflect over, draw from and share for a long time to come. Istinu i ljepotu ostavili u nakon mogu se naći u njezinu glazbu i njezine filozofije i to je dovoljno za nas, da bi odražavala više, izvući iz te udjela za dugo vremena da dođu.

We are lucky to have had the time and pleasure of her company at all. Mi smo sretni da su imali vremena i zadovoljstvo njezine tvrtke na sve.

~ Emily Remler died suddenly on tour, in Sydney, Australia on May 4th, 1990, ~ Emily Remler umro iznenada na turneji, u Sydneyu, Australiji na 4. svibnja 1990,
officially listed as heart failure. službeno naveden kao zatajenje srca. She was 32 years young. Ona je 32 godina mlad. ~ ~
View New York Times Obituary Pregled New York Times Obituary

Likewise, the audio below is a revealing conversation between David B. Johnson, host of NPR Night Lights Jazz with Emily's fellow musician Robert Jospe, a view from someone on the inside. Isto tako, audio ispod je otkriva razgovora između Davida B. Johnsona, domaćin NPR noćna svjetla Jazz s Emily's kolega glazbenik Robert Jospe, pogled od nekoga iznutra.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Audio isječak: Adobe Flash Player (verzija 9 ili noviji) potreban je za igrati ovu audio isječak. Download the latest version Preuzmite najnoviju verziju here ovdje . . You also need to have JavaScript enabled in your browser. Također trebate imati omogućen JavaScript u pregledniku.

Click and listen to the entire NPR program Kliknite i slušati cijelu NPR program
Night Lights presenting “Emily Remler: a Musical Remembrance” Night Lights predstavljanje "Emily Remler: Glazbena sjećanje"
in it's uncut one hour format from Indiana public radio affiliate, WFIU. u to je neobrezani jedan sat format iz Indiane javnom radiju affiliate, WFIU.
Requires real audio player for it's streaming format. Zahtijeva real audio player za to je streaming format.

Read more of David's insight on this issue with his article: Pročitajte više o David's uvid o tom pitanju sa svojim članak:
” Emily Remler, Artist Sites and That Issue.” "Emily Remler, izvođač mjesta i to pitanje."

No matter what your thoughts are concerning Emily's substance abuse there's no denying her incredible spirit, talent and dedication to her music, fans and students. Bez obzira što su vaše misli o Emily's substance abuse nema se uskraćuju joj nevjerojatan duh, talent i predanost na njezinu glazbu, ventilatori i studenata. Emily's influences and indelible impact on the world of Jazz and the people affected so deeply from her contributions even to this day are the most important things to keep center stage as we go forward. Emily's utječe i neizbrisiv utjecaj na svijet Jazz i osobe koje su pogođene, tako duboko iz svoje doprinose da i dan danas su najvažnije stvari koje trebate imati središte pozornosti kao što smo ići naprijed.

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Timeline Kronologija

1957 Born, Sept. 18th. Rođen je 1957, 18. rujna. Manhattan, NY. Manhattan, NY. Raised in Englewood Cliffs, NJ. Odrastao u Englewood Cliffs, NJ.

1970-1974 Dwight Morrow HS/ Windsor Mt. 1970-1974 Dwight Morrow HS / Windsor Mt. School in MA. Škola u MA. Graduates at age 16. Maturanti u dobi od 16 godina.

1974-1976 Berklee School of Music. 1974-1976 Berklee School of Music. Studies with Larry Baione. Studije sa Larry Baione. Graduates at age 18. Maturanti u dobi od 18 godina.

1976-1979 Lived and worked in New Orleans. 1976-1979 živio i radio u New Orleansu. Performed with FourPlay, Little Queenie and the Percolators. Izvodi sa FourPlay, Little Queenie i prekolatora. Studies with Hank Mackie. Studije sa Hank Mackie.

1978 Chance meeting with Herb Ellis, invited to play Concord Jazz Festival for 1st time. 1978 slučajnog susreta s Herb Ellis, pozvan da igra Concord Jazz Festival za prvi put.

1979 Moved back to NY. 1979 se preselio natrag u New York. First recorded guest appearance, Clayton's All In The Family . Prvo zabilježeno gostovanje, Clayton je sve u obitelji.

1980 Plays Concord Jazz Festival, Kool-Newport Festival, Berlin Festival. 1980 Reprodukcije Concord Jazz Festival, Kool-Newport Festival, Berlin Festival.

1981 Records 1st album as leader. 1981 Records prvi album kao vođa. Performs with Los Angeles production of Broadway hit, Sophisticated Ladies . Obavlja s Los Angeles proizvodnju Broadway hit, sofisticirani Ladies. Marries Jazz pianist Monty Alexander. Oženi Jazz pijanist Monty Alexander. Receives “Woman of The Year” award. Dobio "Žena godine" nagradu.

1982 Records second album as leader, Take Two. 1982 Records drugi album kao vođa, Take Two.

1983 Produces 3rd album, Transitions, includes 3 original compositions. 1983 Proizvodi treći album, prijelaza, obuhvaća tri originalne skladbe. Tours Canada & Netherlands. Tours Kanada i Nizozemska.

1984 4th album Catwalk is released. 1984 4. album Catwalk je izdana. Guest appearance on Ray Brown's, Soular Energy . Gostovanje na Ray Brown, Soular energije. Marriage to Alexander ends. Brak Alexander završava.

1985 Duo album Together , with Larry Coryell, released. 1985 Duo album zajedno s Larry Coryell, pušten. Named ' G uitarist O f T he Y ear' by DownBeat Jazz Magazine's international poll. Pod nazivom 'G uitarist O f T je Y uho' za Downbeat Magazine's Jazz međunarodnim anketi.

1986 Collaboration on Clooney's Van Heusen cd, and Colianni's self titled album. 1986 Suradnja na Clooneya je Van Heusen cd, i Colianni's self istoimeni album. Produces lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation. Proizvodi sat videa, bebop i Swing Guitar i Advanced latinskom i jazz improvizacija.

1987 Records live album: Bossa International with Hank Crawford Quintet in France. 1987 Records live album: Bossa Međunarodni s Hank Crawforda Kvintet u Francuskoj. Tours Europe and Asia. Turnejama po Europi i Aziji.

1988 Records East To Wes, featured on No More Blues with McCorkle. 1988 Records istoka do Wes, istaknuta na No More Blues s McCorkle. Plays Las Vegas. Reproducira Las Vegasu. Studies composition in NY with Aydin Esen. Istraživanja sastava u New Yorku s Aydin Esen. Lived in Pittsburgh, Artist in Residence at Duquesne University, studies Composition with Bob Brookmire. Živio je u Pittsburghu, izvođač u rezidenciji na Duquesne University, studij kompozicije s Bobom Brookmire.

1989 Last US recordings as she appears on Benoit's Waiting For Spring, and McCorkle's acclaimed, Sabia, and one song for a homeless benefits album called Christmas Guitars. 1989 Posljednja SAD snimke ona se pojavljuje na Benoit čeka proljeće, i McCorkle hvaljeni, Sabia, i jednu pjesmu za beskućnike koristi album pod nazivom Božić gitare. Tapes Jazz Master's solo performance show started by Les Paul. Trake Jazz Master's solo nastup show je pokrenuo / la Les Paul. Tours Australia and New Zealand. Tours Australija i Novi Zeland.
Receives B erklee’s D istinguished A lumni award. Prima B erklee je D istinguished lumni nagradu.

1990 Lost to us on tour in Sydney, Australia, May 4th. 1990 Izgubljeni nas na turneju u Sydneyu, Australiji, 4. svibnja.

1990 Final solo album, This Is Me released posthumously. 1990 Final solo album, This Is Me pušten posthumno.

Continue to the history of women jazz guitarists. Nastavite ženska povijest jazz gitarista.

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