The Beginnings Začetki

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 Cliffs je nestled v severovzhodnem kotu Bergen County v New Jersey in sedi na vrhu Palisades od Fort Lee neposredno severno od Manhattan, kamni vrgel čez Hudson iz Blistati in Pozlatiti New York City. 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 raznoliko področje, in predvsem udobno stanovanjske skupnosti, ki nam je dal imena, kot so Charles Lindbergh, Vince Lombardi, John Travolta, Eddie Murphy in v jeseni 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. Milij je Remler dejansko rojen v Manhattan in bi lahko trdil, da je legitimno Yorker New ampak ona je bila v celoti postavljeno v Englewood, in čeprav je preživela veliko časa v Big Apple, zlasti v njenem poklicnem življenju, je vedno počutil in iz sama kot dekle New Jersey.

Emily was from a hard working household, her father a meat broker and her mother in social services. Emily je bila od trdega dela v gospodinjstvu, njen oče mesa posrednik in njena mati v socialne storitve. 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. Imela je dve starejši bratje in sestre, brata, ki je postal diplomat ZDA in je bil amaterski kitarist, ki so v lasti razvpitega Gibson ES 330, ki je izposojena, da nikoli ne predajo in sestra, ki je kasneje postal odvetnik in učiteljev jezikov v New York City.

I I 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 wasn'ta glasbene družine profesionalno, vendar je bilo družine, ki so verjeli v doseganju in tem ter spodbude za opravljanje posameznih zamisli in dostop do glasbe in instrumentov, je bil vedno del tega. Of interest, her precursor to the guitar was the piano. Interesov, njena predhodnica kitaro je bil 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 spomnite njene konkurenčne pogoje za ur, medtem ko njeni starši so bili na delovnem mestu, čeprav precej sramežljiv o igranju na prošnjo in tudi porabe časa, risanje, ki pojasnjuje njeno zgodnje želi, da se udeležijo design šole. 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. Gotovo pa doma, kjer je svojo domišljijo prvi flourished in temelj je bil iz: če ste sami uporabljajo, če iščete določene ustvarjalne konča, boste uspešni. 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. To zgodnje filozofije same, izražena v celotnem svojo kariero kot je bila undeterred ga pristranskost in skepticizem o prevladujejo moški glasbenem poslu in dvomljivci svoje sposobnosti. She simply let her hard work and natural talent on the guitar do the talking for her. Ona enostavno pustila trdo delo in naravni talent za kitaro ne govorim za njo. As she told interviewer Gene Lees in response to his question about the underlying sexism in the industry: Kot je povedala Spraševalec Gene Lees v odgovor na svoje vprašanje o osnovnih seksizmu v industriji:

I'm not into sitting and crying about it, I'm into doing. Nisem v sedenju in jok o tem, da sem v tem. 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. Nikoli nisem bil grenak o tem, da obstaja toliko voditelji band, ki so se mi je povedal, iz oči v oči, da ne bi me najem, ker sem bila ženska, ali da je bilo toliko primerov, ko sem bil ne zaupate in Glasbeno so me ravnati v rokavicah, saj mislil, moj čas ni bil močan. You have to believe in yourself. Moraš verjeti vase. It never did occur to me to stay in one place and bitch about this, about how I wasn't given a chance. To nikoli ni prišlo se mi, da ostanejo na enem mestu in psica o tem, kako sem bil ni imela možnosti. 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, da mi daje več prednosti -, da bi dobili res dobro, tako dobro, da ni pomembno: da bi dobili tako dober, da ga presegajo.

From The Jazz Scene: An Informal History from New Orleans to 1990 Od Jazz Scena: Zgodovina Neformalno od New Orleans do 1990
by W. Royal Stokes comes this excerpt: W. Royal Stokes pride ta odlomek:

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 nekaj gospodinjstvo ime med jazz fans tukaj in v tujini do sredine desetletja, Emily vseeno moral ubadati s dolgotrajne posega proti ženski instrumentalist v oblika umetnosti. She expressed her feelings on the double standard she had to contend with everyday. Izrazila je čustva na dvojna merila se je morala spopadati z vsakdanjimi. 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. Priznanju, da so delovne razmere za ženske v jazz izboljšal v teku leta 1980, Emily pritoževali, "Toda obstaja še veliko stvari, ki me moti. Like people worrying about your looks when all you want to think about is the music.” Tako kot ljudje skrbi, vaš izgleda, ko vse, kar želite, da misliti, je glasba. "
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 bila še posebej motenih na vidnem kritik, ki je nasprotoval (in print), da jo navado občasno gospodarstva kitara kramp v usta, kadar je vklopljena, da prstov igranje golega. The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied: Kritik priznal, da je raje poglejte stran kadarkoli je bila ta način, na katerega Emily jezno odgovoril:

Good ! Dobro! I wish he'd look away the whole time and picture me as John Coltrane ! Želim si, da bi si stran ves čas in me sliko kot 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 predsodki in predsodki obstajajo za ženske igralce, predvsem tistih na netradicionalnih instrumentov ali vloge v glasbeni skupnosti. 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 smo lahko vsi strinjamo, da Emily jim sestal z glavo in z njimi ravnati teh trenutkih z milostjo, humor in odločenost, da se nikoli ne pustite, da takih ovir ničesar proč od tistega, kar najbolj važno, glasbe.

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 in performer z Emily ponuja naslednje o njeno zaupanje in kako ona sama, ki se v svetu moških ...

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Audio clip: Adobe Flash Player (različica 9 ali več) je potrebno za predvajanje tega avdio posnetek. Download the latest version Prenesite najnovejšo različico here tukaj . . You also need to have JavaScript enabled in your browser. Prav tako morate omogočiti JavaScript v vašem brskalniku.

She wasn't born a virtuoso. Ona se ni rodil virtuoz.

I I 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 težko verjeti, da je v starosti 16 Emily je diplomiral srednjo šolo, ne da bi možnost, da se glasi glasbo in vedel ničesar 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. Močneje še vedno verjame, da do takrat, ko ona bo pa 23 tako bo snemanje svoj prvi album, Firefly in začne oblikovati iskrica od jazz skupnost kot talent, da vidite.

In July 1974, the summer between high school and college, we spent a week or two at the Chautauqua Institution in upstate New York. Julija 1974 je poleti med srednjo šolo in college, ki smo jih preživeli teden ali dva, Chautauqua institucije v podeželju 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. Vzel sem likovne vzgoje in Emily je glasba razrede, zlasti spoznavanje indijske glasbe, ki ga igra na svoji kitari in verodostojno indijske instrumente. This was a turning point for Emily or at least part of her musical evolution. To je bila prelomna točka za Emily ali vsaj del svojega glasbenega razvoja. 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. Medtem ko v večerih v naši sobi je me je naučila igrati "stopnic do nebes" in "Bell Bottom Blues« (lahko je igra Page in Clapton, ne me!), Se je preselila na glasbeno.
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. Vsako popoldne po svojem indijski nauk glasbo, ne bi mogla čakati, da me imajo, kar je izvedela, in tam je bil čisti užitek v obraz, kot je igral te nove zvočne kombinacije, pol tone in tone četrtletju, z različno hitrostjo in čas podpisov.

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. Čeprav je morda niso igrali jazz, preden je začela obiskujejo Berklee dva meseca pozneje, to je težko razumeti, kako je "absorbira" jazz tako kot ona indijske glasbe med svojim kratkim izkušnje poletje. 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. Imela je neverjetno navdušenje o vsem, da je glasba bi se lahko vsak zapleten akord in ritem in odločenost, da ta zvok prihaja iz nje in jo kitaro.

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. In zdaj, naknadno, je očitno, da Emily učenje ti "čudno čas podpisov", pomnenje Ravi Shankar evidence in so izpostavljeni tako raznoliko in bogato paleto netradicionalnih glasba pomagala iskra njenih interesov in pozneje obvladovanje polyrhythms in brazilskih slogov jazz, kjer je odlikoval v njenem igranje.

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. hodnih diplomi visoko šolo z nizko znamkami, sicer iz premalo osredotoča proti študiju je sprva imela težave pri iskanju kolegij, da je resno zanimanje pri zaposlovanju njo. She considered going to the Rhode Island School of Design with enthusiasm in graphic design Dejansko meni, bo Rhode Island School of Design z navdušenjem z grafičnim oblikovanjem

I did sculpting and drawings and had a choice to make between Rhodes and Berklee but I was so frustrated with art. I did kiparskih in risbe in se je morala odločiti, da bi med Rodosom in Berklee, vendar sem bil tako razočaran z umetnostjo. I couldn't get it the way that I wanted it. Nisem mogel dobiti način, da sem hotel. Music, at least you get more chances and a little more time and the companionship of other musicians. Glasba, vsaj boste dobili več priložnosti in malo več časa in tovarištvo drugih glasbenikov.

She opted for Berklee College of Music because music seemed more forgiving and simply because they had accepted her. Ona je odločila za Berklee College of Music, ker je bilo bolj tolerantna glasbe in samo zato, ker so sprejete njo. She later mused, “it was easy to get in to but staying in was hard”. Kasneje je namuznil, "je bilo enostavno priti v, vendar je bilo bivanje v trdo". 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 bilo dokaj casual in brezskrben odnos od nekoga, ki je nato pour neverjetne količine trdega dela v treniranje in igranje, vendar je bil to njen izkušenj na Berklee, da bi največji vpliv na to, kdo je postala kot umetnik. It was indeed the first place she ever heard jazz. To je bil res na prvem mestu je kdaj slišal jazz.

At that point her life became clear to her; Na tej točki je njeno življenje postalo jasno, da ji; I knew I would be a guitarist. Vedel sem, bi bil kitarist.
Jazz sounded “ so serious and introverted “ , she immediately knew where to focus her energy and the directions she wanted to explore. Jazz je zvenel "tako resen in zaprt vase," je takoj vedel, kje se osredotoči svojo energijo in smeri je hotela raziskati. It was her moment of epiphany . To je bil njen trenutek Sveti trije kralji. She had finally found her purpose. Imela je končno našla namen.

Still, there was a lot of work and frustration. Še vedno je bilo veliko dela in frustracije.

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 ali v prvih šestih mesecih na šoli, Emily je bila ugotovljeno, nepripravljeni za osredotočila intenzivnosti izvajanja in je bila preveč sramežljiva, da igrajo pred svojim učiteljem za mesece, vendar tudi to nerodna pomanjkanje zaupanja, ne bi ji preprečuje, zelo uspešne pri učenju branja in imajo popolnoma nove oblike glasbe in je tudi, kjer je Naključje prišla v stik z brazilskimi vplivi, posebej bossa nova ritmov iz druge napredne in multi-nadarjenih učencev Celia Vaz Celia Vaz , that became one of the strongest forms of music attraction for her career ahead. , Ki je postal ena od najmočnejših oblik atrakcija glasbe za svojo kariero pred nami. While their lessons together were nothing more than sitting in the corridors of classrooms trading techniques and ideas, she credits Medtem ko je njihova spoznanja skupaj je bilo nič več kot sedel na hodnikih učilnice trgovanja tehnik in idej, ona krediti Celia Celia as a major influence on how she learned and approached the Bossa style. kot velik vpliv na to, kako je izvedela, in se približal slog Bosa.

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 bila le 18, ko je diplomirala Berklee, z novo smer slediti, polno glavo idej in rastoče sitnost o tem, kaj ona šteje, da je njeno igranje omejitve.
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 bila najbolj zadovoljen s svojim ritmom ter čas in se lotil za odpravo te pomanjkljivosti z močnim dan dolg, zaprta vrata zasedanje med njo in njenim Metronom v soba na obali Long Beach Island v NJ. 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. To samo nalaga les izgubljata je bilo, kako je preživela prvo poletje po šoli, preden se gibljejo navzdol, da Big Easy of New Orleans, da ponovno svojega fanta in kolegi Berklee glasbenik, 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 pogosto imenuje ta izjemno osredotočen poletje, kot je njena najpomembnejša pri razvoju in poskušali v prihodnjih petih zaporednih poletjih, da posnemajo, da intenzivnost brez uspeha. 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. Izkazalo se je, da se enkrat v življenju izkušnje, ki ni bilo mogoče ponoviti na zahtevo, vendar je bil kljub-the-manj osrednjo točko v svoji glasbeni razvoj.

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 Ko v New Orleans je golob glavo najprej v poklicnem življenju delovne glasbenik, ki igra majhnih mestih, kot so Tyler Club, hoteli (bila je kitarist v hiši trak za Hotel Fairmont-Roosevelt z vodjo Dick Stabile v slaven 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, nešteto dvorane glasba, večerja saloni, poroke in drugih zasebnih sprejemih, hkrati pa tudi poučevanje posameznih študentov in nadaljuje svojo lagodno študij, ki jih za motenje z uglednimi inštruktorja New Orleans in izvajalec, Hank Mackie Hank Mackie . . It was an incredible period of personal growth for her musically. Bilo je neverjetno obdobje osebne rasti za njeno glasbeno. 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 in Steve je majhen kvartet z imenom FourPlay, ki vodijo zaseden z nastopov in je tudi navedeno, da so imeli večkrat z R & B skupina

Little Queenie and The Percolators . Little Queenie in precejalnikih.

Others that were woven into her New Orleans experience were Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet and Nancy Wilson. Drugi, ki so vtkana v svoje izkušnje New Orleans so Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet in Nancy Wilson. It was also the entrance of Herb Ellis into her life, who would become a major influence and mentor. Prav tako je bilo Herb Ellis vstop v svojem življenju, ki bi postal velik vpliv in mentor. Emily knew his work and found out he was in town. Emily poznal njegovo delo in ugotovili, da je bil v mestu. 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. Njena stopala v vratih je prišel, ko mu je stopila v stik za nasvet glede popravila svoj Herb Ellis model kitare, tako da so se srečali in končal motenje ure in ure.

As Herb remembers it, Kot Herb je spominja,

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. Delal sem v New Orleansu leta 1977, ko je to mlado dekle, ji ne bi bilo 20, je prišel in me prosil za lekcijo. I asked her to play something for me, and when she did, I just couldn't believe what I heard. Vprašal sem jo, da igrajo nekaj za mene, in ko je naredil, nisem mogel verjeti, kaj sem slišal. Forget about “girl”, she's going to be one of the greatest jazz guitar players who ever lived. Pozabi na "dekle", ona je tekoč, da je eden od največjih igralcev kitara jazz, ki je kdaj živel. She can do anything. Ona more storiti ničesar.

E E mily was only 19 and he was genuinely impressed. Milij je bilo le 19 in je bil resnično navdušen. 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. Bila je zaprosi, da izvajajo na ta let Concord Jazz Festival, kjer je nastopil z »Velika kitare": Herb Ellis, Charlie Byrd, Joe Pass, Tal Farlow, Barney Kessel in basist, Ray Brown. From there her career was off and running. Od tam svoji karieri je bil off in teče. 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'. Odšla je New Orleans, v 79 pa kreditov svojega časa tam, kot najpomembnejši v svoji rasti jazz in kraj, kjer je "dobil dobro".

I had really just screwed around at Berklee, I didn't concentrate that hard, I was a child, a total beginner. Imel sem res samo okrog zajebali na Berklee, nisem koncentrat, ki trdi, sem bil otrok, skupaj začetnik. I came out not playing that great but with a lot of knowledge of chords and theory. Prišel sem ven, ne igra, da je veliko, vendar z veliko znanja o akordov in 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. Rekel bi, da je bila Berklee dobro za mene v teoriji in harmonijo in ušesa usposabljanja, vendar, ko sem v New Orleans sem bil prisiljen, da bi dobili boljši in boljši. I played all these show gigs and jazz gigs, and I had 25 students. Sem igral vse te kažejo nastopov in jazz koncertih, in sem imel 25 učencev. I was forced to come up to a certain level of playing. Bil sem prisiljen, da pridejo do določene ravni igranja. It was great. Bilo je super. There's a modern jazz thing happening down in there. There's modernega jazza stvar dogaja določa tam. It's much hipper than New York because the people want to be a part of it. To je veliko Hipper kot New York, saj ljudje želijo biti del tega. In New York, it's very serious, in New Orleans everybody jumps up and down, there's an R&B kind of feeling. V New Yorku, to je zelo resna, v New Orleans vsi skoki gor in dol, tam je R & B vrste občutek. I sort of stole that rich culture and applied it to my own music. Sem nekako ukradel, da bogato kulturo in uporablja, da moje glasbe. If I had stayed in Boston, I'd be playing Giant Steps like a madman- like everybody else. Če bi jaz ostal v Bostonu, sem se igra Giant koraki, kot norec, kot vsi ostali.

But as you can imagine it was a natural progression to move back to New York and all it's jazz appeal. Ampak kot si lahko predstavljate, da je fizično napredovanje, da se premaknete nazaj v New York in vse to je jazz pritožbo. 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. Začela je motenje s površinami glasbeniki, ki so ohlapno triov po mestu in podporo ob številnih priložnostih pri enaki Astrud Gilberto (če jo globoko ljubezen in znanje brazilske Jazz stalno flourished), John Clayton (njen prvi gost nastop na albumu, It's All V družino), Nancy Wilson v Carnegie Hall, in 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 Sterotypes where she played a Les Paul with pink dust in her hair. Navaja, da je igral vsak koncert je lahko kar je privedlo do nekaj nastopov v punk rock vseh stvari, ki se imenuje Sterotypes, kjer je igral Les Paul z roza prah v laseh. True story. Resnični zgodbi. 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 prav tako ohranila daje lekcije, če je mogoče med njenimi učenci je bil nihče drug kot Gregory Hines, ki pa jo povabil v Los Angeles, da bi del svoje proizvodnje Sophisticated Ladies Sofisticirana Ladies that featured songs based on Duke Ellington's work da pokaže pesmi, ki temelji na delu Duke Ellington je
including Satin Doll, Mood Indigo, Take The A Train and Caravan . vključno Satin Doll, Mood Indigo, Bodite Train in Caravan.
All her dedication and hard work was beginning to shine. Vse svoje predanosti in trdega dela, je že sijalo.

Click image to read an interview with Emily about the show in 1982 from The Los Angeles Times. Klikni na sliko, da se glasi intervju z Emily o oddaji leta 1982 iz Los Angeles Times.

It was a golden time, it was a time unwinding. To je bil zlati čas, je bil čas reševanja.

And the world was hers… for a while. In svet je bil njen ... za nekaj časa.



1981 1981 was a very good year. je bilo zelo uspešno leto. 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. Je posnela svoj prvi album kot vodja: Firefly, briljantno Jamajški jazz pianist Monty Alexander in je bila poročena, izbrana "Woman of the Year", ki jih jazz zgodovinar in glasbeni kritik, 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. Čeprav je bila Firefly ne šteje za prelomen s kritiki, je bil klasičen težko bop stil album, ki je porabljen za plačilo Spoštovanje do nekaterih njenih najljubših skladateljev in idole. For a twenty three year old woman jazz guitarist, it was a successful first outing. Za obdobje dvajsetih treh let stara ženska jazz kitarist, je bil uspešen 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. Naslednje leto je njen drugi album: Vzemi dva, izziv za skupino snovi poln nejasnosti in redko izvaja draguljev iz Cannonball Adderley, Dexter Gordon in McCoy Tyner, kot tudi lep sestave iz Monty imenovano Eleuthra, eden od vrhuncev 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 . Je prispevala dva sama izvirnikih, čustveno Waltz Za Moj ded in zabavno zamahi razposajenost desno od vrat imenovane 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. To leto tudi prislužila bivanje v Los Angelesu področju predvajanja glasbe za fazi show in nastopi na številnih festivalih in sicer Jazz Concord's Celebration in Berlin in Newport Festivali.


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. Prehodi leta 1983 označena njena 3. solo album in prav tako kot pove že samo ime, je pomenila spreminjanje in zrelost svojo glasbo in pisne sposobnosti. Her own voice was beginning to emerge with great Latin overtones. Lastnega glasu je začel pojavljati z veliko Latinsko pridihom. Meanwhile she continued to build her reputation around the New York scene, gigging with jazz groups and touring. Medtem je še naprej graditi svoj ugled okoli scene New York, gigging z jazz skupine in touring. 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 dinamika karieri imela je negativno na odnose, saj je ustvaril preveč neizprosnega v nasprotju z obravnavo in zaradi na veliko "naključno srečanja" so jo povzročile s svojim nasprotujočim si urnikih potovanja in druge bolj osebnih vprašanj, ki je začela sev young zakonske zveze, Emily in Monty ločila leta '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. Da ni videti, da ji upočasnili nobenih, Catwalk, vse originalne skladbe napora je izšla zelo istega leta. Moka Spice prišel iz tega albuma in morda je njena najbolj znana pesem, vendar morda najbolj spregledala njenih skladb je Pedala, zelo Coltrane-esque pesem z preganja melodično stavki. Her writing had developed great range and complexity. Njeno pisanje je razvila zelo obseg in kompleksnost. 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. Prav tako se je pojavila na Brown's Soular Ray Energija za eno pesem, nato pa sledi, da z veliko album dua leta 1985 z dolgoletnega prijatelja in kitarista - Larry Coryell sklical, po mnenju mnogih, da se vrhunec dosežek za kitaro jazz album duo. 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 nepozabno za Kako Neobčutljivost in najboljše swing blues različico misnamed Martino melodijo Pat, Cisco navedene kot's Blues Gerri na album.


It was a non stop schedule of playing and touring for the now seasoned twenty seven year old veteran and rising star. To je bil non stop razpored igranje in gostovanja za zdaj začinjeno twenty sedemletnega star veteran in vzhajajoča zvezda. 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 v veliko povpraševanje, kot izrazit gost za albume z Rosemary Clooney in John Colianni kot tudi veliko nastopov v živo in festivalih, preden je njen naslednji album solo se zdi, in eden od njenih najbolj uspešen v 87., East, da 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 . Tako velik album začetka do konca od poudaril njen poklon Herb Ellis ti Blues Za Herb, med drugim mahati bebop standardi, ki je vzela v nove višave, kot Clifford Brown's 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. Prepleta v bili evropskih in azijskih ture in posnetkov s Crawford's Quintet, medtem ko Hank v Franciji na veliko spregleda jazz album jam imenovanih Bosa International in več touring prizorišč z Larry. More circuits and guest appearances followed in '87 – '89 (Susannah McCorkle and David Benoit are the most notable names). Več vezij in gost nastopov sledila v 87. - '89 (Susannah McCorkle in David Benoit so najbolj opazni 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. Imela je tudi na kratko preselil v Pittsburgh PA, kjer je bila Artist in Residence s Duquesne University in cvetel v lokalnih klubih, ki poskušajo še z njo premagati trenutni osebnih vprašanjih z zlorabo snovi, ki jih gojijo stare navade v NY na daljavo in novih, bolj pozitivne izzive sprednje in center, ampak življenje je bilo tudi vedno veliko bolj Grozničav in zahtevno.
Time was flying, but time was grinding. Čas je letelo, vendar je bil rok brušenje.


Jan Leder, a jazz flutist in the NY area shares this remembrance: Jan Leder, jazz flavtist na področju delnic, NY to spomin:

I met Emily at DeFemeo’s in Yonkers one night at a jam session. Spoznal sem Emily na DeFemeo v Yonkers eno noč na jam session. She was an amazing player. Bila je neverjetna igralka. She had just returned from a trip to Japan and had not slept, but here she was jamming away. Ona je pravkar vrnil s potovanja na Japonsko in ni spal, ampak tukaj je bila za motenje stran. We somehow got to talking, and talked for quite a while. Mi nekako moraš govoriti, in se pogovarjali zakaj precej prebiti. 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. Tu je nekdo, ki misli sem imel vse, kar sem kdaj hotel, in sicer "uspešen" jazz kariero in priznanje, da ne omenjam pravi objekt na njen instrument. 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. Čez nekaj časa klepetate mi je povedala, da se mi zavidali za mojo bolj "normalno" življenje, in da me ponovno tako, kot sem bil ki je videti v stvari, v tistem času. She was clearly hurting, and yet she played so incredibly well. Bila je očitno boli, in vendar je igral tako neverjetno 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. Jaz bom vedno jo spomnite, kako lepo je igral to noč in dan, tudi za mene nastavitev naravnost v smislu apreciacije, kar sem imel in je ne vidim.

I I n '89, restless with her music and wanting to take it a different direction, Emily signs a recording contract with Justice Records and released her last and fittingly most self assured album, This Is Me . n '89, nemirni z njo glasbo in želijo, da ga sprejme drugačno smer, Emily znaki posnetek pogodbo z Records pravosodje in sprosti njen zadnji ter primeren samo najbolj prepričani album, To sem jaz.

In this clear break from her earlier and more traditional approaches Emily was branching out on the electronic side of jazz, incorporating the sounds of a Casio Synth guitar into her new mix of music that was still heavily influenced by her continued love and devotion of Brazilian melodies, evident in “Carenia” and “Simplicidaje”, as well as chord melody showcase songs like “You Know What I'm Sayin' and “Second Childhood”. V tem jasno odmor od njene prej in bolj tradicionalne pristope Emily je bila razvejanjem izvajajo na elektronski strani jazz, ki vsebujejo zvoke kitare Casio sintetični v svojo novo mešanico glasbe, ki je bila še vedno močno vpliva njeno nadaljevanje ljubeznijo in predanostjo brazilske melodije , očitno v "Carenia" in "Simplicidaje", kot tudi akorda pesmi izložba melodijo, kot je "veste, kaj sem rekel in" drugo otroštvo. " With the exception of one title, it was another album full of her unique evolving sound and dreams. Z izjemo enega naslova, da je bil drugi album poln njen edinstven zvok razvija in sanje. Pretty good for someone that considered their grasp of technical things to be below average. Precej dobro za nekoga, ki šteje svoje razumevanje tehnične stvari, da je bila pod povprečjem.

Let me tell you first that in my aptitude test in high school I scored 98 and 99 in verbal usage and spelling, 35 in technical reading. Naj vam povem, prvič, da v mojem preizkus usposobljenosti v srednji šoli sem dosegel 98 in 99, in sicer ustno uporabe in črkovanje, 35 v tehničnih obravnavi. Mechanical reasoning – I'ma moron. Mehanske obrazložitev - sem bedak. I plug the guitar into the amp and it's a big deal. I plug kitaro v amp in to je velik posel. When I get one of those pedals – chorus, flanger, digital delay – I fool with it all night long. Ko sem dobil enega od teh pedalov - pevski zbor, Flanger, digitalni zamudo - sem bedak z njim celo noč. For me, maybe one day I will learn how to use that. Za mene, morda nekega dne bom izvedeti, kako uporabljati to. I respect and envy Pat (Metheny) because he took the time to learn that stuff and how can you compete with the beautiful sounds that you can get out of those machines? Spoštujem in zavisti Pat (Methenyjem), ker je vzel čas, da se naučijo, da se stvari in kako lahko tekmujejo z lepo zveni, da lahko dobiš od teh strojev? I mean, sounds like the sun coming up, for God's sake. Mislim, zveni kot ne prihaja, za božjo voljo.

A delightful self observation from an interview in 1985 following the release of her fourth album, Catwalk. Čudovito self opazovanje iz intervjuja v letu 1985 po sprostitvi svoj četrti album, Catwalk. But really her electronic interests and mastery would reveal themselves in later recordings. Vendar pa bi jo res elektronskih interesov in mojstrstva se razkrivajo v poznejših posnetkov.

Robert Jospe recalls how Emily envisioned her future. Robert Jospe spomni, kako Emily envisioned njeno prihodnost.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Audio clip: Adobe Flash Player (različica 9 ali več) je potrebno za predvajanje tega avdio posnetek. Download the latest version Prenesite najnovejšo različico here tukaj . . You also need to have JavaScript enabled in your browser. Prav tako morate omogočiti JavaScript v vašem brskalniku.

All along she kept winning respect for her ever growing musicianship and dedication to jazz. Vse skupaj je nenehno zmagovalni spoštovanje za njo vse večje glasbenih in predanost jazz.

“Just Incredible.” ~ Jim Hall "Samo Neverjetno." ~ Jim Hall
“I'm taken by the great authority with which she plays” ~ Charlie Byrd "Jaz sem, ki jih veliko oblast, s katero je igra" ~ Charlie Byrd
“The new superstar of the guitar” ~ Herb Ellis "Novi superstar za kitaro" ~ Herb Ellis

She was no longer the novelty woman jazz guitarist but simply a great guitar player in her own right. Ko ni bila več novost ženska jazz kitarist, temveč le veliko kitarist v svojem lastnem imenu. She was becoming comfortable with her own voice and vision in music and stronger in her attitude about style and substance. Bila je vedno prijetno s svojim lastnim glasom in vizija v glasbi in močnejše v njen odnos o stil in vsebino. 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 kar lekcija video posnetki, snemanje nastopov v živo na Jazz seriji Master's televizijskih oddaj, medtem ko še vedno najti čas za poučevanje in lastne osebne študij.

“I was unprepared for the sheer strength of her playing. "Bil sem nepripravljen za odklon moči ji igranje. She was an extraordinarily daring player, edging close to the avant-garde, and she swung ferociously. Bila je izredno drznega igralca, na robu blizu avantgarde, in ona zavihtel ferociously. There was also a deeply lyrical quality to her playing. Slišati je bilo tudi globoko lirična kakovosti, z njo igrajo. 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 kitarist nenavadnih organa in individualnosti, nadarjeni igralec, ki je bil eden od najsvetlejših dogajanje na jazz kitare svetu svojega desetletja. Harmonically, melodically and rhythmically, she had it all. Harmonično, melodična in ritmična, je imela vse. ” "
Gene Lees Gene Lees

It seemed to be another good year. Zdelo se je, da se drugi dobro leto.

T T he end as we all know was too sudden, too soon and without our permission. je konec, saj vsi vemo, je bilo preveč nenadno, prekmalu in brez našega dovoljenja. What could have been, what notes we'll never hear is known only to the moon and stars. Kaj bi bilo, kar ugotavlja, nikoli ne bomo slišali le znano, da luna in zvezde. 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. Resnica in lepota pustil pri odpravljanju posledic je mogoče najti v njeni glasbi in jo filozofije in to je dovolj za nas, da odraža več, črpati iz in delež za dolgo časa.

We are lucky to have had the time and pleasure of her company at all. Imamo srečo, da so imeli čas in veselje svojega podjetja na vseh.

~ Emily Remler died suddenly on tour, in Sydney, Australia on May 4th, 1990, ~ Emily Remler nenadoma umrl na turneji, v Sydneyju, Avstralija 4. maja 1990,
officially listed as heart failure. kotira kot srčnega popuščanja. She was 32 years young. Bila je 32 let mlad. ~ ~
View New York Times Obituary Ogled New York Times Obituary

That said, the audio below is an excellent and revealing interview conducted by David Brent Johnson host of Night Lights Jazz program with one of Emily's fellow musicians and friend Robert Jospe, who gives us one point of view dealing with this delicate matter from someone closer to the situation as it was happening then. To je dejal, avdio spodaj je odlično in razkrivajo razgovorom, ki ga David gostiteljica Brent Johnson Luči Night program Jazz z enim svojih kolegov glasbenikov Emily in prijatelj Robert Jospe, ki nam daje eno stališče, ki se ukvarjajo s to občutljivo vprašanje od nekoga bližje stanje, kot je bilo takrat dogajalo.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Audio clip: Adobe Flash Player (različica 9 ali več) je potrebno za predvajanje tega avdio posnetek. Download the latest version Prenesite najnovejšo različico here tukaj . . You also need to have JavaScript enabled in your browser. Prav tako morate omogočiti JavaScript v vašem brskalniku.

Click anywhere on this sentence and listen to the entire NPR program Kliknite kjerkoli na ta stavek in poslušati celoten program NPR
Night Lights presenting “Emily Remler: a Musical Remembrance” Night Lights, ki predstavljajo "Emily Remler: Musical spomina"
in it's uncut one hour format from Indiana public radio affiliate, WFIU. v svoj 'nerezane eno uro format iz javnih affiliate Indiana radio, WFIU.
It requires real audio player for it's streaming format. To zahteva resnično glasbeni predvajalnik za svoj 'streaming format.

David also posted an insightful blog giving his opinion of how the memory of Emily was handled, as well as his considerable collective thoughts regarding this issue that so many jazz musicians have battled. David tudi objavil vpogled blog dati svoje mnenje o tem, kako z Emily je bil obravnavan spomina, kot tudi njegov velik kolektivne misli o tem vprašanju, ki to glasbeniki bojeval z veliko jazz. David is a devoted researcher and is well versed in Jazz music, especially the legendary players, a powerful passion for him that induced suddenly while listening to a recording of Count Basie in his college years. David je namenjen raziskovalcem in je dobro seznanjeni v glasbi Jazz, zlasti legendarna igralka, močna strast do tistega, ki povzroča nenadoma med poslušanjem posnetek Count Basie v svoji šoli letih. We are both from the same school of thought on the matter and I couldn't have summarized this “issue” any better. Mi smo tako iz iste šole misli o zadevi in jaz ne bi mogel povzeti to "vprašanje", nič bolje. Worth your time to check out. Vredna vašega časa, da preverim.

Click this title to read: ” Emily Remler, Artist Sites and That Issue.” Kliknite tem naslovu, da se glasi: "Emily Remler, Umetnik Mesta in to vprašanje."

No matter what your thoughts are concerning Emily's substance abuse there's no denying her incredible spirit, talent and dedication to music, to her fans and to her students. Ne glede na to, kakšne so vaše misli o poživilih Emily je tam 'ne zanikati njeno neverjetno duh, talent in predanost glasbi, da bi jo navijači in ji študente. Her 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. Njena vplivi in neizbrisna vpliv na svet Jazz in ljudi, ki tako globoko iz njenih prispevkov še do danes so najbolj pomembne stvari, da v središču pozornosti, kot gremo naprej.

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Timeline Timeline

1957 Born, Sept. 18th. Rojen 1957, 18. september. Manhattan, NY. Manhattan, NY. Raised in Englewood Cliffs, NJ. Postavljeno v Englewood Cliffs, NJ.

1970-1974 Dwight Morrow HS/ Windsor Mt. 1970-1974 HS Morrow Dwight / Windsor Mt. School in MA. Šola v MA. Graduates at age 16. Diplomanti v starosti 16.

1974-1976 Berklee School of Music. 1974-1976 Berklee School of Music. Studies with Larry Baione. Študije z Larry Baione. Graduates at age 18. Diplomanti v starosti 18.

1976-1979 Lived and worked in New Orleans. 1976-1979 živel in delal v New Orleans. Performed with FourPlay, Little Queenie and the Percolators. Izvedene z FourPlay, Little Queenie in precejalnikih. Studies with Hank Mackie. Študije z Hank Mackie.

1978 Chance meeting with Herb Ellis, invited to play Concord Jazz Festival for 1st time. 1978 Chance srečanje z Herb Ellis, povabljene, da igrajo Concord Jazz Festival za 1. časa.

1979 Moved back to NY. 1979 preselil nazaj v NY. First recorded guest appearance, Clayton's All In The Family . Prvi zabeleženi gost videz, Clayton's All In The Family.

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

1981 Records 1st album as leader. 1981 Records 1. album kot vodja. Performs with Los Angeles production of Broadway hit, Sophisticated Ladies . Opravlja s proizvodnjo Angeles Los za Broadway hit, nenaraven dame. Marries Jazz pianist Monty Alexander. Poroči Jazz pianist Monty Alexander. Receives “Woman of The Year” award. Dobi »Woman of the Year" nagrado.

1982 Records second album as leader, Take Two. 1982 Records drugi album kot vodja, vzemite dve.

1983 Produces 3rd album, Transitions, includes 3 original compositions. 1983 Proizvede 3. album, Prehodi, vsebuje 3 avtorskih skladb. Tours Canada & Netherlands. Tours Kanada in Nizozemska.

1984 4th album Catwalk is released. 1984 4. album Catwalk se sprosti. Guest appearance on Ray Brown's, Soular Energy . Gost nastop na Ray Brown's, Soular energijo. Marriage to Alexander ends. Zakonske zveze Alexander konča.

1985 Duo album Together , with Larry Coryell, released. 1985 Duo album Skupaj z Larryjem Coryell sprosti. Named ' G uitarist O f T he Y ear' by DownBeat Jazz Magazine's international poll. "G Named uitarist O f T je Y uho", ki ga Magazine's mednarodni anketi downbeat Jazz.

1986 Collaboration on Clooney's Van Heusen cd, and Colianni's self titled album. 1986 Sodelovanje na's Van Heusen Clooney cd, in istoimenski album Colianni's self. Produces lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation. Proizvaja učne ure videoposnetkov, Bebop & Swing kitara in Advanced Latinsko & Jazz improvizacija.

1987 Records live album: Bossa International with Hank Crawford Quintet in France. 1987 Records živi album: Bosa International s Hank Crawford Quintet v Franciji. Tours Europe and Asia. Tours Evropi in Aziji.

1988 Records East To Wes, featured on No More Blues with McCorkle. 1988 Records East želite Wes, pokaže na No More Blues z McCorkle. Plays Las Vegas. Predvaja Las Vegas. Studies composition in NY with Aydin Esen. Študije sestavo v NY z Aydin Esen. Lived in Pittsburgh, Artist in Residence at Duquesne University, studies Composition with Bob Brookmire. Živel v Pittsburgh, Artist in Residence na Duquesne University, študije Sestava z Bob 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 Last ZDA posnetkov kot ona pojavlja na's Waiting Benoit Pomladni, in McCorkle's odmevnih, Sabia, in eno pesem za brezdomce album koristi pozval Christmas kitare. Tapes Jazz Master's solo performance show started by Les Paul. solo uspešnosti Tapes Jazz magistrski študij kažejo, ki jih je začel Les Paul. Tours Australia and New Zealand. Tours Avstralijo in Novo Zelandijo.
Receives B erklee’s D istinguished A lumni award. Prejme B erklee's D istinguished lumni nagrado.

1990 Lost to us on tour in Sydney, Australia, May 4th. 1990 Lost, da nas na turneji v Sydneyju, Avstralija, 4. maj.

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

Continue to the history of women jazz guitarists. Še naprej zgodovine žensk jazz kitaristov.

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