Biography傳記
The Beginnings開端
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懸崖是坐落在東北角卑爾根縣在新澤西州和坐在上蓋的帕利塞德堡李直接以北的曼哈頓，石塊投擲全國哈德遜從格里特和gild新的紐約市。 It’sa 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.這是不同的地區和主要是一個舒適的住宅社區給我們的名字一樣，查爾斯林白，文斯隆巴迪，約翰屈伏塔，埃迪墨菲和將在今年秋季的1957年，劉慧卿。
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其實是出生在曼哈頓，並可能有自稱為一個合法的新的紐約客，但她提出的，完全在恩格爾伍德，雖然她花了一個很好的協議的時間在大蘋果，尤其是在她的職業生涯，她一直覺得像，並提到自己作為一個新的澤西女孩。
Emily was from a hard working household, her father a meat broker and her mother in social services.劉慧卿是從一個辛勤工作的家庭，她的父親肉，經紀人和她的母親在社會服務。 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.她有兩個哥哥姐姐，弟弟誰成為美國外交官和是一個業餘吉他手誰擁有臭名昭著的吉布森部330 ，她借來的，決不投降，一個姐妹誰，後來成為一名律師和語文教師在紐約市。
t wasn’ta musical family but it was a family that believed in achieving and doing, with encouragement to pursue individual ideas.噸不是一個音樂世家，但它是一個家庭，相信在實現和所做的事，與鼓勵追求個人的想法。 Here her foundation was laid: if you apply yourself, you will succeed.在這裡，她的基礎，奠定了：如果您申請自己，你一定會取得成功。 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.這早期哲學的表達本身在整個她的職業生涯，因為她undeterred由偏見和懷疑的男性主導的音樂業務，並懷疑她的能力。 She simply let her hard work and natural talent on the guitar do the speaking for her.她只是讓她的辛勤工作和人才對自然的吉他做的發言，為她的。 As she told interviewer Gene Lees in response to his question about the underlying sexism in the industry:正如她告訴採訪基因酒糟在回應他的問題，背後的性別歧視現象在該行業：
I’m not into sitting and crying about it, I’m into doing. 我不是到會議，並哭的話，我到這樣做。 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. 我從來沒有被慘痛的有關事實，即有這麼多的樂隊領導人誰告訴我，面對面，他們不能僱用我，因為我是一名女子，或認為有這麼多的情況下，我是不信任和對音樂他們處理我小心翼翼，因為他們拆散了我，當時不強。 You have to believe in yourself. 你必須相信你自己。 It never did occur to me to stay in one place and bitch about this, about how I wasn’t given a chance. 它從來沒有發生給我留在一個地方和蕩婦關於這一點，有關如何我是沒有機會。 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. 我認為它讓我有更多的好處-得到真正好，好，這不打緊：獲得那麼好，你超越它。
Robert Jospe, friend and performer with Emily offers the following about her confidence and how she carried herself in a man’s world…羅伯特jospe ，朋友和演員，與劉慧卿提供下列有關她的信心和她是如何進行的自己在一個人的世界…
She wasn’t born a virtuoso.她並非天生一能人。
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的很難相信，在年滿16歲，劉慧卿是高中畢業沒有閱讀能力的音樂和一無所知的爵士樂。 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.更難相信，由時間，她會反過來23日，她將錄製她的第一張專輯， 螢火蟲 ，並開始制定了全場轟動，從爵士樂，社會作為一個人才看哪。
She was just 9 years old when she picked up her brother’s electric guitar and taught herself to play folk and rock songs with particular fondness of Hendrix, The Rolling Stones and The Beatles.她只有9歲，當她拿起她的弟弟的電吉他和教導自己發揮民間和搖滾歌曲的特別偏愛的亨德里克斯，滾石樂隊及披頭四的。 Early on it’s mentioned she had formed a small folk band and Buddy Hackett’s son is named as a member, my, my what we wouldn’t give to see the home videos of that now!早在它的提到，她成立了一個民間小樂隊和好友哈克特的兒子命名為成員，我，我什麼，我們不會讓看到的家庭影片的，現在！ She loved rock and roll and referred to it like most teenagers do as “good-time partying music”她喜歡搖滾，並提交給它的大多數青少年一樣，做“善意的時間音樂派對”
but where she left the pack in terms of development is when she began to modify the 3 chords that made up her favorite rock song and explore other ways to make it more interesting to her.但她離開了包在發展方面是，當她開始修改三琴聲，令她最喜愛的搖滾歌曲，並探討其他方法，使其更有趣的她。 She could hear something else beyond the simplified melodies and spent hours jamming out new variations of her favorite songs, it was her way of “leaving the planet” although like many youth she remained direction-less about her life ambitions and had no plans for a musical career.她可以聽到的東西，否則以後的簡化的旋律和花了許多時間花在干擾新的變化，她最喜歡的歌曲，這是她的方式“離開地球”一樣，雖然許多青年，她仍然方向，少講她的生命的野心和沒有計劃為1音樂生涯。
Still there were moments, dreams of playing the Blues when she listened to the likes of BB King and Johnny Winter and other small events along the way that kept drawing her toward the magic of music as the following story will attest, a poignant memory shared by Emily’s childhood and lifelong friend, Susan Itkin Kurshenoff:仍然有矩，夢想扮演藍調時，她聽取了喜歡的BB心跳國王和約翰尼冬季和其他小事件，在前進的道路上一直在借鑒，她對魔術般的音樂作為以下的故事將證明，一個尖銳的內存共享劉慧卿的童年和終身的朋友， 蘇珊itkin kurshenoff ：
In July 1974, the summer between high school and college, we spent a week or two at the Chautauqua Institution in upstate New York. 在1974年7月，夏季之間的高中和大學，我們花了一個星期或兩個在擴機構在紐約州北部。 I took art classes and Emily took music classes, specifically learning about Indian music by playing it on her guitar and authentic Indian instruments. 我的藝術班，劉慧卿了音樂班，專門學習印度音樂，發揮它放在她的吉他和真實的印度文書。 This was a turning point for Emily or at least part of her musical evolution. 這是一個轉折點，劉慧卿，或至少一部分，她的音樂的演變。 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. 而在晚上，在我們的房間，她教我玩“天堂的階梯”和“鐘底部的藍調 ” （她可以發揮的網頁和克萊普頓，不是我！ ） ，她曾提出的音樂。
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 combinations, half tones and quarter tones, different rhythms and time signatures. 每一個下午後，她的印度音樂的教訓，她不能等待，以發揮我什麼，她的經驗教訓和存在的純高興地在她的臉，因為她扮演的這些新的聲音組合，有一半鈴聲和四分之一音，不同的節奏和時間的簽名。
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.雖然她可能不會有發揮的爵士樂前，她開始參加berklee兩個月後，人們很容易看到她是如何“吸收”繽紛爵士樂，就像她的印度音樂，在她的簡短夏季的經驗。 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.她曾令人難以置信的熱情，所有的音樂可以，每一個複雜的共鳴和節奏，並決心使這些聲音出來了她和她的吉他。 
It’s easy now with hindsight to realize that Emily learning these “weird time signatures” 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.這很容易，現在事後認識到，劉慧卿學習這些“怪異的時間簽字”和接觸到這樣一個多樣化和豐富的調色盤，非傳統的音樂火花，幫助她的利益，後來掌握polyrhythms和巴西的爵士樂風格，她表現出色，在她的發揮。
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.自從高中畢業低馬克，無可否認，從太少，重點對研究，她最初的麻煩找到一個學院產生了嚴重的利益，在招聘她。 Finally she enrolled at Berklee College of Music, not from any particular enthusiasm for school but simply because they had accepted her.最後，她就讀於berklee音樂學院，而不是從任何特定的積極性，為學校，但只是因為他們已經接受了她。 She later mused, “it was easy to get in to, but staying was hard” .後來她裡展示， “這是很容易得到的，但在下榻的是硬” 。 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.這是相當休閒和無憂無慮的態度，從有人認為，接著就倒令人難以置信的大量辛勤工作，到實踐和發揮，但據她的經驗，在berklee這將產生最大影響的是誰，她成為一個藝術家。 It was indeed the first place she ever heard jazz and no less from the likes of Charlie Christian, Paul Desmond, Wes Montgomery, Bill Evans and even the up and coming Pat Metheny.這確實是放在第一位她一次聽到爵士樂，並沒有少從喜歡查理基督教，保羅李汝大，飲水和環境衛生蒙哥馬利，條例草案商務部長埃文斯，甚至和未來八metheny 。 At that point her life became clear to her;在這一點上她的生命，成為她不清楚;
I knew I would be a guitarist. 我知道我將是一個吉他手。
Jazz sounded “ so serious and introverted “ , she immediately knew where to focus her energy and the directions she wanted to explore.爵士樂響起： “如此嚴重和內向” ，她立即知道何處把重點放在她的能量和方向，她想探討。 It was her moment of epiphany .這是她的時刻的頓悟 。 She had finally found her purpose.她終於找到了她的目的。
Still, there was a lot of work and frustration.仍然有大量的工作和沮喪。
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 and completing the four year course in just a little over two.或首六個月的高校，劉慧卿，發現她毫無準備的，以便有重點地強度的表演和太害羞的發揮，在她前面的老師幾個月來，但即使這樣尷尬的缺乏信心，不會阻止她出色完成四年當然，在短短的兩個多一點。 She was a mere 18 when she graduated with a head full of ideas and a growing annoyance of what she considered to be her playing limitations.她是一位僅18歲時，她畢業於頭部充分的思想和越來越多的煩擾什麼，她被認為是她扮演的局限性。
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.她最不愉快的與她的節奏和時機並著手，以消除這方面的不足與激烈的一天，閉門會議之間的她和她的節拍器，在一出租室對海岸的長灘島在新澤西州。 This self imposed woodshedding 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.這種自我施加的woodshedding是如何她花了她的第一次夏季後，學校之前，向下移動到大易新的新奧爾良重投她的男友和研究員berklee的音樂家，史蒂夫馬薩科夫斯基。
There she dove head first into the professional life of a working musician, playing small clubs and hotels (she was the guitarist in the house band for the Fairmont Hotel with leader Dick Stabile), music halls, weddings and also began teaching while continuing private studies with renowned New Orleans instructor and performer,有她鴿子頭部首先進入職業生涯的一個工作小組，音樂家，玩小會所及酒店業（她是吉他手在眾議院中帶Fairmont酒店與領袖迪克斯塔比爾） ，音樂廳，婚禮和也開始教學，同時繼續私人研究與著名的新紐奧良指導員和演員， Hank Mackie 漢克•麥卡 . 。 It was an incredible period of personal growth for her musically.這是一個令人難以置信的時期，個人的成長，為她的音樂。 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劉慧卿和史蒂夫有一個小四方所謂fourplay一直在忙於演出和她還提到，要發揮多次與在R ＆ B組
Little Queenie and The Percolators . 小queenie和percolators 。 
Others that were woven into her New Orleans experience were Wynton Marsalis, Joel Grey, Ben Vereen, Robert Goulet and Nancy Wilson.別人都被編入她的新紐奧良的經驗，被wynton馬沙利斯的Joel灰色，本vereen ，羅伯特•古萊特和南西威爾森。 It was also the entrance of Herb Ellis into her life, who would become a major influence and mentor.這也是入口的中藥埃利斯到她的生命，誰將會成為一個主要的影響力和導師。 Emily knew his work and found out he was in town.劉慧卿知道他的工作，並發現他是在城市。 Being bold with youth she called him up and requested a lesson.勇於與青年她打電話給他了，並要求一個教訓。
As Herb remembers it,作為藥草記得，
mily was only 20 and he was genuinely impressed. mily只有20和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 and bassist, Ray Brown.她被要求履行在該年康科德爵士音樂節，她似乎與“偉大的吉他” ：藥草埃利斯，查理伯德，喬通過，塔爾阿farlow和貝司手，射線棕色。
From there her career was off and running.從那裡她的職業生涯被關閉，並開始執行。 She left New Orleans in ‘79 but credits Steve and the city as the place that added crucial jazz elements to her growth and of teaching her ” how to get up there and just do it “.她離開新奧爾良在'79學分，但史蒂夫和城市作為地方補充說：爵士樂的關鍵要素，以她的成長和教學她的“如何獲得了有和公正的這樣做” 。
But as you can imagine it was a natural progression to move back to New York and all it’s jazz appeal.但正如你可以想像這是一個自然進展遷回紐約和所有它的爵士樂，提出上訴。 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.她開始干擾與地區的音樂家，形成鬆散的trios靠近城市和支持，多次與喜歡的astrud吉爾伯托（如她深深的愛和指揮巴西爵士樂穩步蓬勃發展） ，約翰克萊頓（她的第一客戶出庭，對1張專輯， ' s所有在家庭中 ） ，南西威爾森在卡奈基音樂廳，和艾迪葛梅茲。 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她還不斷給予的教訓時，可能和她的學生的不是別人，格雷戈里海因斯，誰在把邀請她到洛杉磯的一部份，他的生產 Sophisticated Ladies先進的各位嘉賓， that featured her playing many songs based on Duke Ellington’s work including Satin Doll * Mood Indigo * Take the A Train and Caravan.她認為，精選扮演許多歌曲的基礎上艾靈頓公爵的工作，包括緞娃娃*情緒靛藍*採取一列火車和大篷車。
All her dedication and hard work was beginning to shine.她所有的獻身精神和辛勤工作已經開始照耀。
It was a golden time, it was a time unwinding.這是一個黃金時間，這是一個時間出脫。
And the world was hers… for a while. 和世界的是她… …為了一段時間。
1981 was a very good year. 1981年是一個非常好的年景。 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.她記錄她的第一張專輯，作為領導人： 螢火蟲 ，已婚的輝煌牙買加的爵士樂鋼琴家亞歷山大和蒙哥馬利被選為“女人的一年”爵士樂史學家和音樂評論家，倫納德鴻毛。 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.螢火蟲雖然不被認為具有突破性的批評，這是一個典型的硬的國際收支平衡表的風格專輯，她用來頂禮膜拜的一些她最喜愛的作曲家和偶像。 For a twenty three year old woman jazz guitarist, it was a successful first outing.為二十三年歲女子爵士吉他手，這是一次成功的第一次郊遊。 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.翌年，她帶來了第二張專輯： 需時兩 ，一個具有挑戰性的一套填充材料與obscurities ，而且很少演出的瑰寶，從砲彈雷，德克斯特戈登和麥考伊tyner以及一個美麗的組成由蒙蒂所謂eleuthra ，其中一個最突出的相冊。 She contributed two originals herself, the emotional Waltz For My Grandfather and a fun swinging romp right out of the gate called Pocket Wes .她的貢獻二正本，她的情感圓舞曲為我的祖父和一種有趣的擺動romp的權利，走出門所謂的口袋飲水和環境衛生 。 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.這一年，也贏得了她留在洛杉磯地區播放音樂為一個階段，顯示和外表，在許多節日，即和諧的爵士樂慶祝和柏林和紐波特的節日。
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. 過渡在1983年顯著她的第三個人專輯正如顧名思義，它標誌著的變化和成熟，她的音樂和寫作技巧。 Her own voice was beginning to emerge with great Latin overtones.她自己的聲音開始出現，與偉大的拉丁美洲色彩。 Meanwhile she continued to build her reputation around the New York scene, gigging with jazz groups and touring.同時她繼續建立她的聲譽，周圍設在紐約的現場，適合與爵士樂團體和旅遊。 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.高勢頭的職業生涯確實有它的壞處的關係，因為它創造了太多的不懈衝突的處理，由於許多“偶然會議”所造成的，他們反對旅行日程和其他更多的個人問題開始緊張，年輕的婚姻，劉慧卿和蒙蒂在離婚'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.這似乎並不緩慢，她的任何， 貓道 ，一所有原始成分的努力，被釋放非常同年。 摩卡香料來自這張專輯和她的也許是最有名的歌曲，但也許是最被忽略她的成分是踏板 ，一個非常coltrane 29首歌的旋律與困擾詞組。 Her writing had developed great range and complexity.她以書面形式制定了偉大的範圍和複雜性。 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 crowing achievement for a jazz guitar duo album.她還出現在射線布朗的soular能源的一首歌曲，接著說，與偉大的兩名男子張專輯在1985年與長期的朋友和吉他手-拉里c oryell召集，許多人認為是一個擁擠的成就，為爵士樂結他二重奏專輯。 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.它的難忘如何麻木不仁，置若罔聞，最好的擺動藍調版本的命名有誤八馬蒂諾調重彈， 思科列為gerri的藍調對這張專輯。
It was a non stop schedule of playing and touring for the now seasoned twenty seven year old veteran and rising star.這是一個非停止附表發揮和旅遊為現在的風乾二十七年歲的老將和新星。 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 .她是在高需求，作為一個特寫客戶為相冊與羅斯瑪麗克魯尼和約翰colianni以及許多現場表演及節日前，她的下一個個人專輯，似乎之一，她最成功的'87 ，從東到飲水和環境衛生 。 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 Browns Daahound .這麼大的專輯從開始到完成所強調的，她的敬意藥草埃利斯所謂的藍調為藥草 ，除其他外擺動波普的標準，她走上新的台階一樣，高偉紳律師行褐daahound 。 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.相互交織，在被歐洲和亞洲的旅遊和錄音與漢克克勞福德的管樂五重奏，而在法國就得多忽視的爵士樂演奏專輯所謂巴西波國際和幾個巡迴演出場地與Larry 。 More circuits and guest appearances followed in ‘87 - ‘89 (Susannah McCorkle and David Benoit are the most notable names).更多的集成電路和客戶露面，其次是在'87 -' 89（蘇珊娜m ccorkle和大衛貝努瓦是最顯著的名稱） 。 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.她還簡要地轉移到匹茲堡壩，在那裡她是藝術家在居住與duquesne大學和蓬勃發展，在地方俱樂部，仍試圖以克服她就前往個人問題，與物質濫用，保持老習慣，在紐約州在距離和新的，更積極挑戰陣線和中心，但生活也變得更為緊張和要求。
Time was flying, but time was grinding.當時的飛行，但當時的磨削。
Jan Leder, a jazz flutist in the NY area shares this remembrance: 1月leder ，爵士長笛演奏家，在紐約地區的股票，這懷念：
“I met Emily at DeFemeo’s in Yonkers one night at a jam session. “我見到劉慧卿在defemeo的在楊克斯一晚，在堵塞會議。 She was an amazing player. 她是一個了不起的球員。 She had just returned from a trip to Japan and had not slept, but here she was jamming away. 她剛剛返回從一個出訪日本並沒有睡，但在這裡她被干擾消失。 We somehow got to talking, and talked for quite a while. 我們有點到了談，交談相當長的一段時間。 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. 這裡是有人誰，我以為已經一切我要想過要，即“成功”的爵士樂生涯和承認，更遑論真正的設施，對她的文書。 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. 經過聊天，她告訴我她羨慕我的更“正常”的生活，而且使我重新考慮的方式，我看東西的時間。 She was clearly hurting, and yet she played so incredibly well. 她顯然是傷害，但她所發揮的這麼令人難以置信。 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.” 我會永遠記住她如何漂亮，她扮演的那天晚上，也訂定我直而言，欣賞什麼，我並沒有看到“ 。
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 ，不安與她的音樂和想採取一個不同的方向，劉慧卿的跡象，一個錄音合同與正義的紀錄，並釋放她最後和最恰當的自我保證專輯， 這是我 。
In this clear break from her earlier 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 .在這方面明確的突破，從她以前的辦法，劉慧卿是分支列於電子方面的爵士樂，把聲音一卡西歐合成吉他到她的新組合的音樂仍是嚴重影響她繼續愛與奉獻的巴西音樂，可見一斑carenia和simplicidaje ，以及共鳴的旋律，展示的歌曲一樣， 你知道我sayin '和第二次的童年 。 With the exception of one title composed by David Beniot, it was another album full of her unique evolving sound and dreams.與除1標題組成，由David beniot ，這是另一張專輯充滿了她的獨特的演變健全和夢想。
Robert Jospe recalls how Emily envisioned her future.羅伯特jospe回顧如何劉慧卿設想她的未來。
All along she kept winning respect and acknowledgment for her ever growing presence and dedication to jazz.一直以來，她不斷贏得尊重和承認，她日益增加的存在和奉獻精神，以爵士樂。 She was no longer the novelty woman jazz guitarist but simply a great guitar player in her own right.她已不再是新鮮的女子爵士吉他手，但只是一個偉大的吉他手，在她自己的權利。 She was becoming comfortable with her own voice and vision in music and stronger in her attitude about style and substance.她成為舒適，與她自己的聲音和遠見，在音樂和更強的在她的態度和作風的實質內容。
She was making lesson videos, taping live performances on The Jazz Master’s series of television shows, still finding some time for teaching and her own personal studies.她是決策的教訓，影片，錄像，現場表演，對爵士樂大師的一系列電視節目，仍發現了一些時間為教學和她自己的切身研究。 It seemed to be another good year.它似乎是另一個好年。
” I was unprepared for the sheer strength of her playing. “我當時毫無準備為純粹的力量，她的發揮。 She was an extraordinarily daring player, edging close to the avant-garde, and she swung ferociously. 她是一個非常大膽的球員，邊緣接近的先鋒，她宣布， ferociously 。 There was also a deeply lyrical quality to her playing. 此外，還有深深的抒情品質，以她的發揮。 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. 她是一位吉他手的不尋常的權威和個性，一個天才的球員誰是一個聰明的現象在爵士吉他的世界，她的十年。 Harmonically, melodically and rhythmically, she had it all. 諧波， melodically ，並有節奏地，她的一切。 ” “
Gene Lees基因酒糟
he end as we all know was too sudden, too soon and without our permission.他結束，大家都知道是太突然，太快，沒有我們的許可。 What could have been, what notes we’ll never hear is known only to the moon and stars.有什麼可以已經注意到什麼，我們將永遠不會聽到是只知道向月球和星級。 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.真相與美容留下在後，可以發現在她的音樂和她的哲學和這足以讓我們以反映過去，借鑒和分享在相當長的時間來。
We are lucky to have had the time and pleasure of her company at all.我們是幸運，有時間和高興，她的公司在所有。
~ Emily Remler died suddenly on tour, in Sydney, Australia on May 4th, 1990, officially listed as heart failure. 〜劉慧卿remler突然死亡之旅，在悉尼，澳大利亞在1990年5月4日，正式被列為心臟衰竭。 She was 32 years young. 她是32年，年輕的。 ~ 〜
There’s no refuting the drug issues attached to Emily’s name.有沒有批駁了毒品問題的重視，劉慧卿的名稱。 It may have been a contributing factor in her death, many rumors exist about what happened that last day and the days leading up to it but there is no evidence or statements released from official sources to conclusively document the event.它可能已被一個促成因素在她的死因，很多謠言，存在什麼湊巧的最後一天，和天領先到它，但並沒有證據或陳述，從公佈的官方消息來源，以得出結論文件的活動。 This part of her history is merely a footnote in a few books or articles available about her private life.這部分的她的歷史只是一個腳註，在幾本書或文章，提供有關她的私人生活。 It was not considered or treated as a public topic by any of her family and friends, then or now.這是沒有考慮或視為一種公共的話題，任何她的家人和朋友，然後或現在。
There are of course many threads and links on the internet that swirl with talk of her known drug problems although the information offered is mostly unverified.當然有很多線索和聯繫，在互聯網上指出，渦流與談她的著名的毒品問題雖然提供的信息大多是未經證實的。 This website does not wish to linger on the subject because any of our opinions would be purely speculative.本網站不希望揮之不去，就此事，因為我們的任何意見，將純屬揣測。
Emily’s official memoir is for someone else to write.劉慧卿的官方回憶錄，是為別人寫。
What I am sure of is that there is much more to Emily than her addiction and why my focus remains strong on other positive aspects.有什麼我可以肯定的是，有更多的劉慧卿比她成癮和為什麼我的重點仍然是強烈的對其他積極的方面。 While the matter is debatable and even discussed in articles and links provided on the site, further incorporation into this unlicensed biography will be limited.而此事是值得商榷的，甚至討論了在文章和鏈接提供在該網站上，進一步納入本無牌經營的傳記將是有限的。 Additional information can be found on the Library page (see side menu) where books available about Emily’s life story can provide greater insight and authority than available here.額外的資料可以發現，對圖書館的網頁（見側邊菜單）凡書籍可供約劉慧卿的生命故事，可以提供更大的有識之士和權威，比上載這裡。
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.儘管如此，音頻下面是一個很好的揭示採訪所進行的大衛布倫特約翰遜主機夜間燈光爵士樂程序之一，劉慧卿的研究員音樂家和朋友羅伯特jospe ，誰給了我們一個角度來看，處理這個微妙的問題，有人從接近的情況，因為這是發生。
Click anywhere on this sentence and listen to the entire NPR program點擊任何地方的這句話，並聽取他們的整個計劃的NPR
Night Lights presenting “Emily Remler: a Musical Remembrance” 夜間燈光介紹“劉慧卿remler ：一出音樂劇的懷念”
in it’s uncut one hour format from Indiana public radio affiliate, WFIU.在它的uncut一小時的格式由印第安納公共電台的分支機構， wfiu 。
It requires real audio player for it’s streaming format.它需要真正的音頻播放器，為它的流格式。
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.大衛還張貼了一個精闢的博客給他的意見如何記憶劉慧卿的處理，以及他相當大的集體思考關於這個問題有這麼多的爵士樂音樂家的較量對手。 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.大衛是一個專門研究和熟悉是在爵士音樂，尤其是傳奇的球員，一個強大的熱情，他說，誘導突然一邊聽錄音計數basie在他的學院年。 We are both from the same school of thought on the matter and I couldn’t have summarized this “issue” any better.我們都來自同一所學校的思想就此事和我不能總結了這個“問題”任何更好。 Worth your time to check out.值得您的時間來檢查。
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.不管您的想法是關於劉慧卿的物質濫用有無可否認，她的令人難以置信的精神，人才和獻身精神，以音樂，她的歌迷和她的學生。 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.她的影響和不可磨滅的影響，對世界的爵士樂和人民的影響如此深地從她的貢獻，甚至在這一天是最重要的事情保持舞台的中心，因為我們往前走。
Emily’s place in the history of women jazz musicians.劉慧卿的地方，在歷史上婦女的爵士樂音樂家。
ou tell me.歐告訴我。
When asked about how she would most like to be remembered for musically, she responds:當問及她是如何將最想被記住的音樂，她的回應：
Good compositions, memorable guitar playing and my contributions as a woman in music….良好的成分，難忘的吉他演奏和我的貢獻，作為一名女性，在音樂… … 。
but the music is everything, and it has nothing to do with politics or the women’s liberation movement.但音樂就是一切，和它與政治無關，或婦女的解放運動。 You have to rise above it all by being good.你必須超越它的所有由好。 You don’t get angry, you don’t get bitter, and you don’t get feminist about the situation.你不生氣，你不要痛苦，您沒有獲得女性的有關情況。 You get so damn good that they’ll forget about all that garbage.你這麼可惡好，他們會忘記所有的垃圾。
This we knew about her, the selfless devotion to the music itself, it was never about doing it because of her gender, it was about doing to for the love of the music.這是我們知道她的，無私奉獻的音樂本身，這是從來沒有約這麼做，是因為她的性別，這是關於做了為愛的音樂。
“Emily was a pioneer for all women guitar players. “劉慧卿是一個先驅，為所有婦女的吉他球員。 Her Spirit will stay with me, and I will often think of her as I enter the stage, pick up my guitar and play.” 她的精神會留我，我會常想，她正如我進入審議階段，拿起我的吉他和發揮“ 。
~ Leni Stern 〜 leni斯特恩
And this we also know about those before her:這我們也知道，那些之前她：
There were many influential women who forged a way into the world of jazz with their voice, even a notable few that did it with a trumpet, piano , sax or drums, but as rare as that was, the list of women who chose to pursue the wonder of jazz with guitar in hand is a very short list and 有許多有影響力的婦女誰偽造了一份的方式融入世界爵士樂與他們的聲音，甚至一個顯著的少數幾個沒有與小號，鋼琴，薩克斯，或鼓，但作為難得的作為，這是，名單中的婦女誰選擇追求奇妙的爵士樂與吉他手是一個很短的名單和
Mary Osborne 瑪麗奧斯本 is one of the first mentioned names you will cross.是第一個提到的名字，您將兩岸關係。
Mary was taught some early lessons on by Charlie Christian himself, and that right there, if it is the only teacher you list, should be golden.瑪麗是教導一些早期的經驗教訓，由查理基督教自己，並且有權利，如果這是唯一的老師，您的名單，應黃金。 She was immediately taken by the sound of Christian, and recalls她立即採取的聲音，基督教，並回顧
” I had walked into the Dome Ballroom, where the Alphonso Trent Orchestra was playing, and heard what I took to be a tenor saxophone, I asked where the guitarist was at , then realized that the saxophone sound was coming from a crude amplifier attached to a guitar played by Charlie Christian. “當時我走進宴會廳的穹頂，那裡的阿方索特倫特樂團玩，並聽取了什麼，我是一個男高音薩克斯管，我問那裡的吉他手在，然後意識到，薩克斯管聲音來自原油放大器重視吉他所扮演的查理基督教。 I was so inspired all I wanted to do was imitate him.當時，我非常鼓舞，我想做的事是模仿他。 From then on I had myself a mad little trio.從那時起我自己瘋狂的小三重奏。 “
Mary was in the right place at the right time and believed fearlessly in what she could do and what she wanted to know.瑪麗是在正確的地方在正確的時間，並相信無畏無懼地在什麼她可以做什麼她想知道。 There is also a reference to Marian Gange, who played guitar around the same time, in an all female orchestra, but the most impressive woman player Miss Osborne can ever remember hearing was in Chicago in the late 30’s.此外，還有一項參考瑪麗安gange ，誰發揮的吉他約在同一時間，在一所有女樂團，但最令人印象深刻的女子球員小姐奧斯本可以以往任何時候都記得，聽證會是在芝加哥，在30月底的。 They were jamming for warm up in one of the downtown theaters, and Mary recalls,他們表示熱烈的干擾，在一個市中心的電影院，和瑪麗回憶說，
” an older woman approached and asked, “Do you mind if I sit in?” I said, OK, and she got out the biggest Epiphone guitar I’ve ever seen. “一老年婦女接觸，並詢問： ”你介意我坐嗎？ “我說，好，和她失控的最大epiphone吉他我從未見過。 She didn’t look like a guitar player, but when she started to play, I was so surprised at how good she was that I started to laugh.”她並沒有像吉他手，但是當她開始發揮，我是如此奇怪，有多好，她是我開始笑“ 。
Her name was Sidney Bell and I’ve not seen her name mentioned or in print other than Mary’s recollection.她的名字西德尼鐘和我已經沒有看到她的名字提到，或在打印以外的其他瑪麗的回憶。
This was all taking place mid 1940’s through the 60’s, when she worked with some of the great names of the times: Coleman Hawkins, Dizzy Gillespie and Art Tatum, Mercer Ellington, and Mary Lou Williams.這是所有正在發生的1940年年中的，通過60年代，當她與一些偉大的名字時代：科爾曼霍金斯，暈眩吉萊斯皮和藝術塔特姆，美世艾靈頓公爵，和瑪麗婁威廉斯。
Mary went on to form her own trio and also her own business the Osborne Guitar Company in Bakersfield, California where she lived and performed until her passing in 1992.瑪麗接著就形成自己的三重奏，也是她自己的業務奧斯本吉他公司在貝克斯菲爾德，加州，她生活和演出，直到她通過在1992年。 Her recordings are mostly out of print and hard to find at reasonable prices but her A Memorial CD of her best is well worth having.她的唱片，大多已絕版，並很難找到價格合理，但她的紀念光碟，她最好是非常值得考慮。
Click Here 點擊這裡 to view her discography.檢視她的唱片。
It seems there was an extended void of featured women guitar players in Jazz that Emily filled, and filled so gracefully, between the name of Mary Osborne and the growing list of really talented women jazz guitarists today: (Click names to learn more)似乎有一個延長無效的精選婦女吉他球員在爵士樂認為，劉慧卿填補，填補了這麼優雅，之間的名稱瑪麗奧斯本和日益增長的好友名單真的人才，婦女的爵士樂吉他手今天： （按姓名，以了解更多信息）
Sheryl Bailey Sheryl的貝雷 ~ 〜 Joyce Cooling喬伊斯冷卻 ~ 〜 Mimi Fox ~咪咪狐狸〜 Janet Marlow珍妮特馬洛
Jane Miller簡米勒 ~ 〜 Amanda Monaco阿曼達摩納哥 ~ 〜 Carline Ray carline射線 ~ 〜 Leni Stern leni斯特恩
Margaret Stowe吳斯托 ~ 〜 Dawn Thomson黎明湯姆遜
and all you beautiful ladies everywhere out there, taking the lessons, putting in the time and passing it on. 和所有你美麗的女士們，到處都在那裡，走的經驗教訓，把在規定的時間，並通過它。
For more information on women in jazz see these titles or websites: 更多信息，對婦女在爵士樂看到這些書籍或網站：
NPR Profiles Women In Jazz: Parts 1 & 2. 的NPR概況婦女在爵士樂：部分1 ＆ 2 。 ~ Margaret Howze 〜吳豪茲
Jazzwomen jazzwomen ~ Enstice-Stockhouse. 〜 enstice - stockhouse 。
American Women In Jazz 美國婦女在爵士樂 ~ Sally Placksin. 〜薩利placksin 。
Jazz Women 爵士樂婦女 ~ website. 〜網站。
Ladyslipper ladyslipper ~ website and radio 〜網站和電台
Jazz Grrls 爵士樂grrls ~ website. 〜網站。
Timeline時間
1957 Born, Sept. 18th. 1957年出生， 9月18日。 Manhattan, NY.曼克頓，紐約州。 Raised in Englewood Cliffs, NJ.提出在恩格爾伍德的峭壁，新澤西州。
1970-1973 Dwight Morrow HS/ Boarding School in MA. 1970年至1973年德懷特莫羅房協/寄宿學校在馬。 Graduates at age 16.畢業生在年滿16歲。
1973-1975 Berklee School of Music. 1973年至1975年 berklee音樂學院。 Studies with Larry Baione.研究與Larry巴約內。 Graduates at age 18.畢業生在18歲以下。
1975-1979 Lived and worked in New Orleans. 1975年至1979年居住和工作在新的新奧爾良。 Performed with FourPlay, Little Queenie and the Percolators.與fourplay ，小queenie和percolators 。 Studies with Hank Mackie.研究與漢克•麥卡。
1978 Chance meeting with Herb Ellis, invited to play Concord Jazz Festival for 1st time. 1978年會議的機會與藥草埃利斯，邀請發揮和諧爵士音樂節，為第一時間。
1979 Moved back to NY. 1979年搬回紐約。 First recorded guest appearance, Clayton’s All In The Family.首次記錄客戶的外觀，克萊頓的所有在家庭中。
1980 Concord Jazz Festival, Kool-Newport Festival, Berlin Festival. 1980年康科德爵士音樂節， kool -紐波特節，柏林藝術節。
1981 Recorded 1st album as leader. 1981年錄得的第一張專輯，作為領導人。 Married Jazz pianist Monty Alexander.已婚的爵士樂鋼琴家蒙蒂亞歷山大。 Receives “Woman of The Year” award.收到“女人的年獎” 。
1981-1982 Played with LA version of Broadway hit, Sophisticated Ladies. 1981年至1982年起到與La版本的百老匯衝擊，先進的女士們。
1982 Records second leader album, Take Two. 1982年的紀錄，第二張專輯的領導人，採取2 。
1983 Produces 3rd album, Transitions, includes 3 original compositions. 1983年生產的第三張專輯，過渡，包括3個原來的成分。 Tours Canada & Netherlands.加拿大旅遊及荷蘭。
1984 4th album Catwalk is released. 1984年第四張專輯的Catwalk是釋放。 Appearance on Brown’s, Soular Energy.出庭，對布朗的， soular能源。 Marriage to Alexander ends.婚姻亞歷山大結束。
1985 Duo album Together , with Larry Coryell, released. 1985年兩人一起專輯，與Larry coryell ，釋放。 Named ‘ G uitarist O f T he Y ear’ by DownBeat Jazz Magazine’s international poll.名為' 克 uitarist 度噸他y耳'悲觀的爵士樂雜誌的國際調查。
1986 Collaboration on Clooney’s Van Heusen cd, and Colianni’s self titled album. 1986年協作的克魯尼的車heusen CD和colianni的自我名為專輯。 Plays Boston.發揮波士頓。
1987 Records live with Hank Crawford Quintet in France on . 1987年的紀錄，生活與漢克克勞福德五重奏在法國進行。 Toured Europe and Asia.參觀歐洲和亞洲。
1988 Records East To Wes, featured on No More Blues with McCorkle. 1988年的紀錄，東到飲水和環境衛生，精選就沒有更多的藍調與mccorkle 。 Plays Las Vegas.發揮拉斯維加斯。 Produces lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation.生產的教訓，影片，比博普＆擺動吉他和先進拉丁美洲＆爵士即興。 Studies composition in NY with Aydin Esen.研究組成，在紐約與艾登葉先。 Lived in Pittsburgh, Artist in Residence at Duquesne University, studies Composition with Bob Brookmire.住在匹茲堡，藝術家在居住在duquesne大學，研究報告的組成與Bob brookmire 。
1989 Last collaboration recordings. 1989年最後的合作錄音。 Appears on Benoit’s Waiting For Spring, and McCorkle’s acclaimed, Sabia, and one song for a homeless benefits album called Christmas Guitars.出現在貝努瓦的等待春天，和mccorkle的讚譽，薩比亞，和一首歌曲為無家可歸的好處專輯所謂的聖誕吉他。 Tapes Jazz Master’s solo performance show started by Les Paul.錄音帶爵士樂大師的獨奏表現，顯示本港就業輔導組開始由保羅。 Tours Australia and New Zealand.旅行團的澳大利亞和新西蘭。
Receives B erklee’s D istinguished A lumni award.收到b erklee的d istinguished 一 lumni獎。
1990 Lost to us on tour in Sydney, Australia, May 4th. 1990年失去了我們的巡迴賽在悉尼，澳大利亞， 5月4日。
1990 Final solo album, This Is Me released posthumously. 1990年最後的個人專輯， 這是我發表追授。
