The Beginnings的起源

E é 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崖坐落在新泽西州的卑尔根县东北角，位于上盖的李堡以北的直接帕利塞德斯曼哈顿，一石对面的闪闪发光的纽约市哈德逊河镀金抛。 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.这是一个多样化的地区，主要是一个舒适的居住社区，让我们像查尔斯林白，文斯隆巴迪，约翰屈伏塔，埃迪墨菲和在1957年秋天的名字，艾米丽。

E é 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.与Mily Remler实际上出生在曼哈顿，可能都声称自己是合法的纽约人，但她提出恩格尔伍德完全，虽然她花了大苹果，尤其是在她的职业生涯一个很好的协议的时间，她总觉得自己并提到自己看成是一个新泽西的女孩。

Emily was from a hard working household, her father a meat broker and her mother in social services.埃米莉是从一个勤奋的家庭，她的父亲和她的经纪人肉社会服务的母亲。 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.她有两个哥哥姐姐，一个哥哥谁成为美国的外交官，是一个业余吉他手谁拥有了臭名昭著的ES 330吉布森说，她借来的，决不投降和一个妹妹谁后来成为一名律师，在纽约市的语文老师。

I 我 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.吨不是一个音乐世家，但它是一个专业的家庭，在实现与鼓励追求个人的想法，并获得音乐和乐器做相信一直是其中的一部分。 Of interest, her precursor to the guitar was the piano.有趣的是，她的前身是钢琴，吉他。 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.朋友还记得她打了几个小时，而她的父母在工作中，虽然是很害羞，如果打，也是花时间画这解释了她早期的愿望参加设计学校问。 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.当然有在家，她的想象力第一蓬勃发展，奠定了基础：如果你申请自己，如果你搜索出来的创意结束后，你就会成功。 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.这种早期的哲学表达她的整个职业生涯，因为她本身是由偏见和男性主导的音乐事业和她的能力持怀疑态度的怀疑不为所动。 She simply let her hard work and natural talent on the guitar do the talking for her.她只是让她的辛勤工作，对吉他的天赋为她做了谈话。 As she told interviewer Gene Lees in response to his question about the underlying sexism in the industry:当她告诉回应他对在同行业中潜在的性别歧视问题采访基因莱斯：

“ I'm not into sitting and crying about it, I'm into doing. “我是坐不进约和哭泣，我将做什么。 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. 我从来就有关事实苦，有这么多的乐队领导人谁也告诉我面对面，他们不能雇用我，因为我是女的，或者说有这么多的情况下和不信任我音乐他们处理手套我的孩子，因为他们想出用我的时间不强。 You have to believe in yourself. 你必须要相信自己。 It never did occur to me to stay in one place and bitch about this, about how I wasn't given a chance. 它从来没有发生在我留在一个地方，挨骂的事，关于我是怎么没有机会。 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. 我认为它给了我更多的价值-要得到非常好的，那么好，没关系：得到如此之好，你超过它。

From The Jazz Scene: An Informal History from New Orleans to 1990从爵士场景：一位来自新奥尔良的非正式至1990年的历史
by W. Royal Stokes comes this excerpt:由W.皇家斯托克斯来此摘录：

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.成为爵士球迷之间的东西在这里和国外的一个家喻户晓的名字由十年中期，艾米莉但不得不应付对艺术形式中的女演奏家挥之不去的偏见。 She expressed her feelings on the double standard she had to contend with everyday.她表示，她的双重标准每天不得不与她的感情。 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.在承认韩国的工作条件得到了改善妇女爵士在1980年的课程，艾米莉感叹道，“但仍然是一个困扰我的事情很多。 Like people worrying about your looks when all you want to think about is the music.”喜欢你看，当所有的人担心你要考虑的是音乐。“
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.埃米莉是恼火，尤其是在一个突出的批评家谁曾反对（印刷），以她断断续续地抱着吉他在她的嘴接转的时候，她裸露的手指打习惯。 The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied:评论家承认，他宁愿把目光移开时，她在做，对此艾米丽暴躁地回答说：

“ Good ! “ 好！ I wish he'd look away the whole time and picture me as John Coltrane ! 我希望他把目光移开的全部时间和约翰柯川图片我作为！

It's clear that preconceptions and prejudice existed for female players, especially those on non traditional instruments or roles in the music community.很明显，对女性的偏见和成见的球员，特别是在非传统乐器或音乐社区角色的存在。 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.我想我们都同意，刘慧卿接见了他们，头部和处理优雅，幽默和决心，决不让这些障碍采取任何东西从什么最要紧，音乐这些时刻。

Robert Jospe, friend and performer with Emily offers the following about her confidence and how she carried herself in a man's world…罗伯特Jospe，好朋友，与Emily表演提供了有关她的信心以下，她是如何进行的一个男人的世界，她自己...

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She wasn't born a virtuoso.她不是天生的演奏家。

I 我 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的很难相信，在16岁毕业埃米莉没有能力读高中音乐Jazz我知道。 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.更难相信的时候，她会变成23，她将录制她的第一张专辑，并开始绘制萤火虫社区作为人才看哪一个时髦的爵士乐。

“ “ In July 1974, the summer between high school and college, we spent a week or two at the Chautauqua Institution in upstate New York. 1974年7月，学院暑期高中之间，在沙托克瓦我们花了一个星期，两个机构在纽约州北部。 I took art classes and Emily took music classes, specifically learning about Indian music by playing it on her guitar and authentic Indian instruments. 我参加了艺术课和音乐课刘慧卿，特别是对印度的音乐学习演奏乐器在她的吉他和正宗的印度。 This was a turning point for Emily or at least part of her musical evolution. 这是一个转折点艾米丽演变的一部分，或至少她的音乐。 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. 虽然我们的房间，晚上在她教我玩“天国的阶梯”和“贝尔博特姆蓝调”（她可以发挥Page和Clapton的，不是我！），但她对音乐感动。
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. 每节课后，下午她的印度音乐，她就迫不及待地玩我她的经验和她的脸有纯粹的喜悦，因为她扮演的这些新的声音组合的，半色调和四分之一色调，不同的节奏和时间的签名。

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.虽然她可能没有玩过爵士乐前，她开始参加伯克利两个月后，很容易看到她如何“吸纳”爵士乐，就像她在她短暂的夏季体验印度音乐。 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.她有令人难以置信的热情所有的，音乐可以，每一个复杂的和弦和节奏和决心让这些声音来，她和她的吉他了。

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.回想起来，很显然，埃米莉学习这些“怪异时间签字”，背诵拉维香卡的记录和被暴露在这样的非传统音乐多元丰富的调色板，引发她的兴趣和polyrhythms后来掌握和巴西爵士乐风格，她表现出色在她玩。

A 一 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. fter毕业，低分高的学校，从对重点研究太少诚然，最初她好不容易才找到一所大学，民政事务总署在招聘她的浓厚兴趣。 She considered going to the Rhode Island School of Design with enthusiasm in graphic design她认为要到罗德岛设计学院平面设计与热情

I did sculpting and drawings and had a choice to make between Rhodes and Berklee but I was so frustrated with art.我没有雕刻和绘画，并有选择的把自己同罗得岛和伯克利，但我是如此的艺术沮丧。 I couldn't get it the way that I wanted it.我无法得到它的方式，我想它。 Music, at least you get more chances and a little more time and the companionship of other musicians.音乐，至少你得到更多的机会和更多一点的时间和其他音乐家陪伴。

She opted for Berklee College of Music because music seemed more forgiving and simply because they had accepted her.她选择了伯克利音乐学院音乐显得比较宽容，因为，只是因为他们已经接受了她。 She later mused, “it was easy to get in to but staying in was hard”.后来她若有所思地说：“这很容易，但要获得在留在了硬”。 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.这是不少人认为，从上倾注了练习和比赛的艰苦努力，但令人难以置信的数额是她在伯克利的经验，而且对谁，她作为一个艺术家成为影响最大的休闲，无忧无虑的态度。 It was indeed the first place she ever heard jazz.这确实是她的第一个地方听过爵士乐。

It turned me around, she said.原来我身边，她说。 Initially, all I heard was a bunch of notes, so I know what it's like when people hear jazz for the first time.起初，我所听到的是一堆的笔记，所以我知道它是什么样子，当人们第一次听到爵士乐的。 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.当我第一次听到迈尔斯和雷恩，我不喜欢他们，他们害怕了，可是当我听到查理基督徒，与Benny Goodman的吉他手，和保罗德斯蒙德，与中音萨克斯戴夫布鲁贝克，我能听到的旋律，并涉及到它。 Desmond got me into jazz, and then when I heard Wes Montgomery and Pat Metheny, I was totally taken.德斯蒙德钻进爵士乐我，然后当我听到韦斯蒙哥马利和帕特梅特尼，我完全采取。

At that point her life became clear to her; “ I knew I would be a guitarist.在这一点上她的生活她清楚地认识到，“我知道我将是一个吉他手。
Jazz sounded “ so serious and introverted “ , she immediately knew where to focus her energy and the directions she wanted to explore.爵士音乐响起“这么严重，内向”，她马上知道哪些地方需要集中精力和她她想要的方向去探索。 It was her moment of epiphany .这是她顿悟的时刻。 She had finally found her purpose.她终于找到了她的目的。

Still, there was a lot of work and frustration.不过，有一个工作和很多无奈。

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或在大学首六个月内，艾米莉发现她是为执行重点强度措手不及，太害羞了几个月来发挥她的老师面前，但即使这样尴尬的信心缺乏擅长将不会阻止她在学习阅读和播放音乐的全新形式，也是在那里，她偶然接触了巴西的影响，特别是从另一个波萨诺瓦先进，多才多艺的学生节奏 Celia Vaz 西莉亚瓦斯 , that became one of the strongest forms of music attraction for her career ahead. ，即成为音乐吸引她的职业生涯最强的未来形式之一。 While their lessons together were nothing more than sitting in the corridors of classrooms trading techniques and ideas, she credits虽然他们的经验比起来在交易技巧和想法坐在教室的走廊而已，她学分 Celia西莉亚 as a major influence on how she learned and approached the Bossa style.作为对她的教训和如何走近博萨风格产生重大影响。

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. 埃米莉是一个只有18玩时，她毕业于伯克利限制，以新的方向走，全头做她的思想和不断增长的烦恼，她认为什么。
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.她最不满意她的节奏和时机，并着手消除这一长期缺乏激烈的一天，在一个封闭的新泽西州长滩岛之间的海岸出租房内她和她的节拍器门课程。 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.这种自我施加的木材是如何脱落放学后，她花了她的第一个夏天之前，向下移动到新奥尔良大易重投她的男友和同事伯克利音乐家，史蒂夫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.她常常提到这非常集中在夏天她最相关和发展在未来五年连续夏天试图复制，如果没有成功的强度。 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.它原来是在一生的经验，不能根据需要复制一次，但没有，是无一在她的音乐进化的关键点。

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一旦她在新奥尔良鸽子一头扎进了职业生涯第一次工作音乐家，玩似的泰勒俱乐部场地小，酒店业（她是在为费尔蒙特罗斯福饭店房子波段领袖迪克斯塔比尔著名吉他手 Blue Room蓝室 , 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, ，无数的音乐大厅，晚餐休息室，婚礼和其他私人招待会，同时也个别学生的教学，并继续通过与著名的新奥尔良教练和她自己的表演干扰悠闲地研究， Hank Mackie 汉克马茨凯 . 。 It was an incredible period of personal growth for her musically.这是一个音乐人对她的成长令人难以置信的时期。 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和史蒂夫有一个小四方，是一直与所谓FourPlay音乐会忙碌，她也提到要发挥与R＆B组多次

Little Queenie and The Percolators . 小奎尼和The Percolators。

Others that were woven into her New Orleans experience were Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet and Nancy Wilson.被她的新奥尔良经验梭织另一些人温顿马萨利斯，乔尔灰色，本弗林，罗伯特古利特和南希威尔逊。 It was also the entrance of Herb Ellis into her life, who would become a major influence and mentor.这也是草本埃利斯把她的生命，谁就会成为一个入口重大影响和导师。 Emily knew his work and found out he was in town.刘慧卿知道他的工作，并发现他在城里。 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.她在门脚来到时，她接触到的意见，他就修理她香草埃利斯模型吉他，所以他们遇到了好几个小时，最后干扰。

As Herb remembers it,由于香草记得它，

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.我在新奥尔良工作于1977年，当这个年轻的女孩，她不能在20，都跑来问我一个教训。 I asked her to play something for me, and when she did, I just couldn't believe what I heard.我问她玩我的东西，当她那样，我简直不敢相信我所听到的。 Forget about “girl”, she's going to be one of the greatest jazz guitar players who ever lived.忘记“女孩”，她将是最伟大的爵士乐吉他手谁有史以来之一。 She can do anything.她可以做任何事情。

E é mily was only 19 and he was genuinely impressed.与Mily才19岁，他是真正深刻的印象。 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.她被要求在该年执行协和爵士音乐节，她与“大吉他”出现了：香草埃利斯，查理伯德，乔通，塔尔法洛，巴尼凯瑟尔和贝斯手，雷布朗。 From there her career was off and running.她的职业生涯是从那里起飞和运行。 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'.她离开了新奥尔良，但在'79学分那里她的时间在她的成长最爵士乐和地点，她有好'的关键。

I had really just screwed around at Berklee, I didn't concentrate that hard, I was a child, a total beginner.我真的只是拧在伯克利的时候，我没有集中难，我还是个孩子，共初学者。 I came out not playing that great but with a lot of knowledge of chords and theory.我出来打的不是很好，但与一对和弦和理论知识很多。 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.我会说，伯克利是为我好，理论与和谐，听力训练，但是当我到新奥尔良我不得不让自己变得更好。 I played all these show gigs and jazz gigs, and I had 25 students.我打了所有这些表明音乐会和爵士音乐会，我有25名学生。 I was forced to come up to a certain level of playing.我被迫到了一定的演奏水平。 It was great.这是伟大的。 There's a modern jazz thing happening down in there.有一个现代爵士乐的事情发生在那里了。 It's much hipper than New York because the people want to be a part of it.它比纽约更时髦，因为人们希望成为其中的一部分。 In New York, it's very serious, in New Orleans everybody jumps up and down, there's an R&B kind of feeling.在纽约，这是非常严重，每个人都在新奥尔良上下跳动，有一种感觉的R＆B类。 I sort of stole that rich culture and applied it to my own music.我有点儿偷的丰富的文化，并将其应用到我自己的音乐。 If I had stayed in Boston, I'd be playing Giant Steps like a madman- like everybody else.如果我当时住在波士顿，我想象着巨人像一个疯子，像其他人一样的步骤。

But as you can imagine it was a natural progression to move back to New York and all it's jazz appeal.但你可以想像这是一个自然的过程搬回纽约和所有它的爵士乐上诉。 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.她开始音乐家干扰与地区，形成了专辑的第一首客串松散（她的三重奏约克莱顿镇和支持，多次与喜欢（附艾斯特吉芭托在她深深的爱和指挥巴西），约翰爵士不断蓬勃发展， 这一切都在家庭 ），南希威尔逊在纽约卡内基大厅，埃迪戈麦斯。 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.她表示，她扮演的每一个演出，导致她在所有的东西朋克摇滚乐队几场表演，被称为刻板印象，她在她的头发打了粉红色的尘埃莱斯保罗。 True story.真实的故事。 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她还不停地给教训时，可能和她的学生之间的不是别人，正是格雷戈里汉斯，谁反过来邀请她到洛杉矶是他的一部分的其他生产 Sophisticated Ladies 先进的女士们 that featured songs based on Duke Ellington's work艾灵顿公爵上的工作的基础上精选歌曲
including Satin Doll, Mood Indigo, Take The A Train and Caravan .包括色丁娃娃，心情靛蓝，以火车和车队 。
All her dedication and hard work was beginning to shine.她所有的奉献和辛勤工作开始闪耀。

Click image to read an interview with Emily about the show in 1982 from The Los Angeles Times.点击图片阅读与Emily关于1982年从洛杉矶时报节目的采访。

It was a golden time, it was a time unwinding.这是一个黄金时期，这是一个时间放松。

And the world was hers… for a while. 世界就像一对，而她...。



1981 1981年 was a very good year.是一个非常好的一年。 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.作为领导者，她录制了她的第一张专辑： 萤火虫 ，已婚辉煌牙买加爵士乐钢琴家亚历山大蒙蒂，并选择和伦纳德音乐评论家，羽毛“女人的年”爵士乐的历史学家。 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.萤火虫虽然没有突破性被评论家认为，这是一个典型的硬波普风格的专辑，她用祭奠她最喜欢的作曲家和偶像一些。 For a twenty three year old woman jazz guitarist, it was a successful first outing.在二十三岁的女子爵士吉他手，这是一个成功的第一次郊游。 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.次年，使她的第二张专辑： 取两个 ，一个具有挑战性的材料一套充满了晦涩蒙蒂进行宝石，很少从炮弹阿德利，德克斯特戈登和McCoy Tyner的组成，以及从一个美丽叫Eleuthra，专辑之一的亮点。 She contributed two originals herself, the emotional Waltz For My Grandfather and a fun swinging romp right out of the gate called Pocket Wes .她自己捐了两正本，一个有趣的摇摆的情绪华尔兹我的祖父和嬉戏的权利出了大门叫掌上韦斯 。 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.那年她还获得在洛杉矶地区逗留玩了舞台剧，在许多节日，即协和的爵士的庆祝活动，柏林和新港音乐节亮相。


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. 1983年她的第三跳了鲜明的个人专辑，只是作为顾名思义，它象征着不断变化和成熟，她的音乐和写作技巧。 Her own voice was beginning to emerge with great Latin overtones.她自己的声音已开始出现以极大的拉丁色彩。 Meanwhile she continued to build her reputation around the New York scene, gigging with jazz groups and touring.同时她继续为她周围的纽约现场的声誉，起绒与爵士乐团体和旅游。 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.高势头事业确实有它的关系不利，因为它创造了太多的不屈不挠的冲突处理和由于许多“偶然会”由他们反对的旅行日程及其他更多的个人问题，开始紧张的年轻人结婚，艾米莉造成蒙蒂在84年离婚。


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.似乎没有任何放慢了下来， 猫道 ，一个所有原创作品发布的非常努力是同一年。 摩卡香料来自这张专辑，也许是她最有名的歌，但也许是最被忽视的作品她是踏板 ，一个困扰旋律词组非常科尔特兰尼去年秋季的歌曲。 Her writing had developed great range and complexity.她的写作有很大的发展范围和复杂性。 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.她还出现在雷Brown的一首歌曲Soular能源 ，其次，随着一专辑在1985年，吉他手大朵的老朋友和拉里-科耶尔召集在一起 ，许多人认为的是阿朵专辑的最高成就的爵士乐吉他。 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.它的专辑难忘的不敏感，如何最好的摇摆蓝调版本的命名错误八马蒂诺调上， 格里的蓝调思科列为。


It was a non stop schedule of playing and touring for the now seasoned twenty seven year old veteran and rising star.这是一个公平和现在经验丰富的二十七年岁的老将，冉冉升起的明星巡回不停时间表。 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 .她在高需求与个人专辑唱片罗斯玛丽克鲁尼和约翰Colianni作为以及许多现场表演和节日前，她的下一个作为特邀嘉宾的出现，将她最成功之一的'87， 东韦斯 。 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 .这样一个伟大的专辑，从开始到结束埃利斯强调了她的敬意称为香草香草蓝调，除其他摆动比波普标准，她走上的Daahoud像克利福德布朗新的高度。 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.交织在了欧洲和亚洲的旅行和法国的录音与Hank Crawford的五重奏，而在上一个更忽视的爵士乐果酱专辑名为博萨国际以及多个场地巡回演出与拉里。 More circuits and guest appearances followed in '87 – '89 (Susannah McCorkle and David Benoit are the most notable names).更多的电路，并在87年之后客串 - '89（苏珊娜麦科克尔和大卫伯诺伊特是最显着的名称）。 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.她还简要地搬到了宾夕法尼亚州匹兹堡市，在那里她与艺术家，居住杜肯大学和当地俱乐部蓬勃发展，仍然试图通过保持持续克服旧的习惯，在纽约与药物滥用在她的个人问题和新的距离，更正前方的挑战和中心，但生活也变得更加紧张和困难。
Time was flying, but time was grinding.时间飞行，但是时间磨。


Jan Leder, a jazz flutist in the NY area shares this remembrance:日星彩，在纽约地区共享此纪念爵士长笛：

I met Emily at DeFemeo’s in Yonkers one night at a jam session. 我遇到了艾米莉在DeFemeo的一晚在Yonkers卡纸会议。 She was an amazing player. 她是一个了不起的球员。 She had just returned from a trip to Japan and had not slept, but here she was jamming away. 她刚从日本之行，也没有睡觉，但在这里她干扰了。 We somehow got to talking, and talked for quite a while. 我们以某种方式开始了聊天，虽然谈了不少。 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. 在这里，我还以为是有人谁拥有了一切我所想要的，即“成功”的爵士乐生涯和认可，更何况她的仪器设备的实际。 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. 过了一会儿聊天，她告诉我她羡慕我，为我的生活更“正常”，这使我重新考虑我的样子时间寻找在万事通。 She was clearly hurting, and yet she played so incredibly well. 她显然伤害，但她打得如此出乎意料的好。 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. 我会永远记得一天夜里，她如何漂亮，她扮演的是，我也看到直接设置在条件不欣赏我，是什么。

I 我 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 . ñ '89，不安与她的音乐和想要采取一个不同的方向，刘慧卿签订唱片合约与司法纪录并最终推出了她的最后的，最恰当的自我保证专辑， 这是我 。

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”.在这从她早期的传统做法划清界线再往更多的电子艾米莉在这里，纳入卡西欧合成器在她新的音乐组合吉他的声音，还严重影响其继续热爱巴西的旋律，在“Carenia”如此明显和“ Simplicidaje“，以及和弦旋律展现像”你知道我的意思和“第二个童年”。
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 .随着一题例外，这是另一张专辑，她独特的声音和不断发展的梦想，她扩大到爵士乐的利益方充分融合。

Robert Jospe recalls how Emily envisioned her future.罗伯特Jospe回忆刘慧卿设想她的未来。

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. 音频剪辑：Adobe Flash Player（版本9或以上）必须发挥这一音频剪辑。 Download the latest version 下载最新版本 here 这里 . 。 You also need to have JavaScript enabled in your browser. 您还需要有JavaScript的浏览器中启用。

All along she kept winning respect for her ever growing musicianship and dedication to the music.沿着她都一直为她赢得不断增长的音乐才能，奉献于音乐的尊重。

“Just Incredible.” ~ Jim Hall “简直令人难以置信。”〜吉姆霍尔
“I'm taken by the great authority with which she plays” ~ Charlie Byrd “我被伟大的权威与她扮演”〜查理伯德
“The new superstar of the guitar” ~ Herb Ellis 巨星的 〜香草的吉他“埃利斯说：”新

She was no longer the novelty woman jazz guitarist but simply a great guitar player in her own right.她已不再是新奇的女人爵士乐吉他手，而只是在她自己的权利伟大的吉他手。 She was becoming comfortable with her own voice and vision in music and stronger in her attitude about style and substance.她正在和她自己的声音和视觉的音乐和她的风格和内容的态度有关更强舒适。 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.她在影片制作的教训，贴扎对爵士大师的系列电视节目的现场表演，同时还找到了自己的教学和个人学习的时间。

“I was unprepared for the sheer strength of her playing. “我打得毫无准备为她的纯粹的力量。 She was an extraordinarily daring player, edging close to the avant-garde, and she swung ferociously. 她是一个非常大胆的球员，边接近前卫，她狠狠摇摆。 There was also a deeply lyrical quality to her playing. 还有一个更深刻的抒情品质，她玩。 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. 她是一个不寻常的十年吉他手的权威和个性，有才华的球员谁是她的吉他之一，世界上最聪明的爵士乐发生的事情。 Harmonically, melodically and rhythmically, she had it all. 和声，旋律和节奏，她拥有了一切。 ” “
Gene Lees基因莱斯

It seemed to be another good year.这似乎是一个好年头。

T T he end as we all know was too sudden, too soon and without our permission.他结束，因为我们都知道发生得太突然，太快，没有我们的许可。 What could have been, what notes we'll never hear is known only to the moon and stars.本来是什么，我们永远不会注意到什么听到的是只知道月亮和星星。 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.真相与美留在身后余波中可以找到她的音乐和她的理念，这就是足以让我们反映过来，借鉴和分享很长一段时间。

We are lucky to have had the time and pleasure of her company at all.我们很幸运能够有时间和她的公司很高兴的。

~ Emily Remler died suddenly on tour, in Sydney, Australia on May 4th, 1990, 〜刘慧卿Remler突然死亡巡演澳大利亚，在悉尼，5月4日，1990年，
officially listed as heart failure. 正式列入心力衰竭。 She was 32 years young. 她是32岁的青年。 ~ 〜
View New York Times Obituary查看纽约时报讣告

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.同样，下面是一个音频，戴维约翰逊，夜景灯的NPR和Emily的同胞罗伯特Jospe音乐家，一个人从里面查看爵士主机揭示交谈。

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. 音频剪辑：Adobe Flash Player（版本9或以上）必须发挥这一音频剪辑。 Download the latest version 下载最新版本 here 这里 . 。 You also need to have JavaScript enabled in your browser. 您还需要有JavaScript的浏览器中启用。

Click and listen to the entire NPR program按一下并听取他们的整个全国公共广播电台节目
Night Lights presenting “Emily Remler: a Musical Remembrance” 夜间照明灯呈现“埃米莉Remler：音乐剧回忆”
in it's uncut one hour format from Indiana public radio affiliate, WFIU.在它的完整无缺的一个来自印第安纳州公共广播子公司，WFIU小时格式。
Requires real audio player for it's streaming format. 真正需要它的音频播放器的流媒体格式。

Read more of David's insight on this issue with his article:读他的文章在这个问题上与大卫的洞察力更多：
” Emily Remler, Artist Sites and That Issue.” “埃米莉Remler，艺术家网站和问题。”

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.不管你的想法，是关于Emily的药物滥用有没有否认她的令人难以置信的精神，尊重人才，竭诚为她的音乐，歌迷和学生。 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的影响和对爵士乐世界不可磨灭的影响和受影响人士的贡献如此之深，甚至从她的这一天是最重要的事情保持中心的阶段，我们前进。

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Timeline时间轴

1957 Born, Sept. 18th. 1957年出生，9月18日。 Manhattan, NY.曼哈顿，纽约。 Raised in Englewood Cliffs, NJ.提出恩格尔伍德悬崖，新泽西州。

1970-1974 Dwight Morrow HS/ Windsor Mt. 1970-1974德怀特莫罗协/温莎吨。 School in MA.学校硕士学位。 Graduates at age 16.毕业生在16岁。

1974-1976 Berklee School of Music. 1974-1976年伯克利音乐学院。 Studies with Larry Baione.研究与Larry Baione。 Graduates at age 18.毕业生在18岁。

1976-1979 Lived and worked in New Orleans. 1976-1979年曾在新奥尔良居住和新建。 Performed with FourPlay, Little Queenie and the Percolators.演出，FourPlay，小奎尼和Percolators。 Studies with Hank Mackie.研究与Hank马茨凯。

1978 Chance meeting with Herb Ellis, invited to play Concord Jazz Festival for 1st time. 1978年的机遇，香草埃利斯会见应邀第一次玩协和爵士音乐节。

1979 Moved back to NY. 1979年搬回纽约。 First recorded guest appearance, Clayton's All In The Family .第一次记录客串，克莱顿的家庭都在 。

1980 Plays Concord Jazz Festival, Kool-Newport Festival, Berlin Festival. 1980年剧协和爵士音乐节，库尔-纽波特节，柏林电影节。

1981 Records 1st album as leader. 1981年第一张专辑，作为领导者的记录。 Performs with Los Angeles production of Broadway hit, Sophisticated Ladies .百老汇执行与洛杉矶的洛杉矶产量达到， 精良的女士们 。 Marries Jazz pianist Monty Alexander.嫁爵士钢琴家亚历山大蒙蒂。 Receives “Woman of The Year” award.荣获“女人年度奖”。

1982 Records second album as leader, Take Two. 1982年第二张专辑唱片，作为领导者，需要两个。

1983 Produces 3rd album, Transitions, includes 3 original compositions. 1983年第三张专辑产生，转换，包括3个原创作品。 Tours Canada & Netherlands.加拿大和荷兰旅游。

1984 4th album Catwalk is released. 1984年第四张专辑的Catwalk被释放。 Guest appearance on Ray Brown's, Soular Energy .基于光线布朗客串的，Soular能源 。 Marriage to Alexander ends.亚历山大的婚姻结束。

1985 Duo album Together , with Larry Coryell, released. 1985年双专辑一起 ，拉里科耶尔释放。 Named ' G uitarist O f T he Y ear' by DownBeat Jazz Magazine's international poll.命名的 g uitarist o C的T这活儿Ÿ耳'的悲观爵士杂志的国际调查。

1986 Collaboration on Clooney's Van Heusen cd, and Colianni's self titled album. 1986年赫森上的合作克鲁尼的Van CD和Colianni的自我同名专辑。 Produces lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation.生产课视频，波普＆秋千吉他和高级拉丁舞及爵士即兴。

1987 Records live album: Bossa International with Hank Crawford Quintet in France. 1987年记录的现场专辑： 博萨法国国际与Hank Crawford的五重奏英寸 Tours Europe and Asia.旅游欧洲和亚洲。

1988 Records East To Wes, featured on No More Blues with McCorkle. 1988年记录东韦斯，麦科克尔商品更多蓝调与编号。 Plays Las Vegas.戏剧拉斯维加斯。 Studies composition in NY with Aydin Esen.研究组成与艾登也先纽约。 Lived in Pittsburgh, Artist in Residence at Duquesne University, studies Composition with Bob Brookmire.住在匹兹堡，艺术家驻杜肯大学，研究与Bob Brookmire组成。

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.美国1989年最后的录音专辑，因为她出现在Benoit的等待，因为春天和麦科克尔的好评，萨比亚，无家可归的利益和一个叫圣诞节吉他歌曲。 Tapes Jazz Master's solo performance show started by Les Paul.胶带爵士大师的独奏节目开始由Les保罗。 Tours Australia and New Zealand.游澳大利亚和新西兰。
Receives B erklee’s D istinguished A lumni award. 接收到B erklee 的 D istinguished 一个 lumni奖。

1990 Lost to us on tour in Sydney, Australia, May 4th. 1990年向我们迷失在悉尼4日游，澳洲，五月。

1990 Final solo album, This Is Me released posthumously. 1990年最后个人专辑， 这是我死后发表。

Continue to the history of women jazz guitarists.继续提高妇女爵士乐吉他手的历史。

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