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崖坐落在東北角卑爾根縣坐落在新澤西州和上蓋的逸李堡北面的曼哈頓，一個橫跨哈得遜扔石頭從鍍金的閃光和紐約市。 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.這是一個多樣化的地區，主要是一個舒適的居住社區，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1957年的秋天，艾米莉。

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.與 Mily Remler實際上出生在曼哈頓，可能都聲稱自己是合法的紐約人，但她提出了完全恩格爾伍德，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中，她總覺得自己並提到自己看成是一個新澤西的女孩。

Emily was from a hard working household, her father a meat broker and her mother in social services.埃米莉是從一個勤奮的家庭，她的父親是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，一個哥哥誰成為美國的外交官，是一個業餘吉他手誰擁有了臭名昭著的ES 330吉布森說，她借來的，決不投降和一個妹妹誰後來成為一名律師，語文教師在紐約市。

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.噸不是一個音樂世家，但它是一個專業的家庭表示，相信在實現和做與鼓勵追求個人的想法，並獲得音樂和樂器一直是部分這一點。 Of interest, her precursor to the guitar was the piano.有趣的是，她的前身是鋼琴，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.朋友還記得她打了幾個小時，而她的父母都在工作，雖然很害羞，如果問及對比賽也花時間畫這解釋了她早期的願望參加設計學校。 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.當然有在家，她的想像力第一蓬勃發展，奠定了基礎：如果你申請自己，如果你搜索出來的創意結束後，你就會成功。 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.這種早期的哲學表達自己在整個職業生涯所嚇倒，因為她的偏見和懷疑的男性為主的音樂業務，懷疑她的能力。 She simply let her hard work and natural talent on the guitar do the talking for her.她只是讓她的勤奮和天賦的吉他來說話她。 As she told interviewer Gene Lees in response to his question about the underlying sexism in the industry:當她告訴面試官基因萊斯在回答他的問題有關基礎行業中的性別歧視：

“ I'm not into sitting and crying about it, I'm into doing. “我不進坐著哭了，我將做什麼。 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. 我從來是苦的這一事實，有這麼多的樂隊領導人誰告訴我面對面，他們不能僱用我，因為我是女的，或者說有這麼多的情況下，我不信任和音樂他們處理我與孩子的手套，因為他們想出我的時間不強。 You have to believe in yourself. 你必須要相信自己。 It never did occur to me to stay in one place and bitch about this, about how I wasn't given a chance. 它從來沒有發生在我留在一個地方，挨罵的事，關於我是怎麼沒有機會。 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. 我認為它給了我更多的價值-要得到非常好的，那麼好，沒關係：得到如此之好，你超過它。

From The Jazz Scene: An Informal History from New Orleans to 1990從爵士場景：一個非正式的歷史從新奧爾良到1990年
by W. Royal Stokes comes this excerpt:由W.皇家斯托克斯來此摘錄：

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.成為一個家喻戶曉的名字的東西爵士球迷之間在國內和國外的十年中期，艾米莉但不得不應付揮之不去的偏見對女性演奏家的藝術形式。 She expressed her feelings on the double standard she had to contend with everyday.她表示感情的雙重標準，她不得不與日常生活。 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.也不願意承認婦女在工作條件改善了爵士隊的過程中進入 80年代，劉慧卿感嘆道，“但還是有很多事情困擾著我。 Like people worrying about your looks when all you want to think about is the music.”喜歡的人擔心自己的外表，當你要考慮的是音樂。“
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.埃米莉是惱火，尤其是在一個突出的批評家誰曾反對（印刷），以她的習慣，間歇性地抱著吉他在她的嘴接轉的時候，她裸露的手指玩。 The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied:評論家承認，他寧願把目光移開時，她在做，對此艾米麗暴躁地回答說：

“ Good ! “ 好！ I wish he'd look away the whole time and picture me as John Coltrane ! 我希望他把目光移開了我的全部時間和圖片作為約翰柯川！

It's clear that preconceptions and prejudice existed for female players, especially those on non traditional instruments or roles in the music community.很顯然，成見和偏見存在女性玩家，特別是那些在非傳統樂器或角色在音樂社區。 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.我想我們都同意，劉慧卿接見了他們的頭顱和處理這些時刻優雅，幽默和決心，決不讓這些障礙帶走任何東西，遠離最要緊的音樂。

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，朋友和表演與 Emily提供下列有關她的信心，以及如何進行她自己在男人的世界...

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. 音頻剪輯：Adobe Flash Player（版本9或以上）必須發揮這一音頻剪輯。 Download the latest version 下載最新版本 here 這裡 . 。 You also need to have JavaScript enabled in your browser. 您還需要啟用JavaScript您的瀏覽器。

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的很難相信，在16歲高中畢業埃米莉沒有能力讀音樂和爵士樂一無所知。 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.更難相信的時候，她會變成23，她將錄製她的第一張專輯，並開始吸引螢火蟲的嗡嗡聲從爵士樂社會的人才為壯觀。

“ “ 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，夏季高中和大學之間，我們花了兩個星期，在沙托克瓦機構在紐約州北部。 I took art classes and Emily took music classes, specifically learning about Indian music by playing it on her guitar and authentic Indian instruments. 我參加了藝術課和音樂課劉慧卿，特別是學習印度音樂打在她的吉他和正宗的印度樂器。 This was a turning point for Emily or at least part of her musical evolution. 這是一個轉折點，或者至少部分艾米麗她的音樂的演變。 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“天國的階梯”和“貝爾博特姆藍調”（她可以發揮Page和Clapton的，不是我！），她已搬到音樂。
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 combination's, half tones and quarter tones, different rhythms and time signatures. 下午，她的印度音樂課之後，她就迫不及待地打我她的經驗教訓和存在是純粹的喜悅在她的臉上，她扮演這些新的聲音組合的，半色調和四分之一色調，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.雖然她可能沒有玩過爵士樂前，她開始參加伯克利兩個月後，很容易看到她如何“吸納”爵士樂印度就像她在她短暫的夏季音樂體驗。 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.她有令人難以置信的熱情所有的，音樂可以，每一個複雜的和弦和節奏和決心，使這些聲音出來她和她的吉他。

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.回想起來，很顯然，埃米莉學習這些“怪異時間簽字”，背誦拉維香卡的記錄和被暴露在這樣一個多樣化的和豐富的調色板非傳統音樂，引發她的興趣，後來掌握的polyrhythms和巴西爵士樂風格，她表現出色在她玩。

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高中畢業的低分，無可否認的重點從對研究太少，最初她好不容易才找到一個學院，有一個嚴重的興趣招募她。 She considered going to the Rhode Island School of Design with enthusiasm in graphic design她認為要到羅德島設計學院平面設計與熱情

I did sculpting and drawings and had a choice to make between Rhodes and Berklee but I was so frustrated with art.我沒有雕刻和繪畫，並有選擇的把自己同羅得島和伯克利，但我是如此沮喪與藝術。 I couldn't get it the way that I wanted it.我無法得到它的方式，我想它。 Music, at least you get more chances and a little more time and the companionship of other musicians.音樂，至少你得到更多的機會和更多一點的時間和陪伴其他音樂家。

She opted for Berklee College of Music because music seemed more forgiving and simply because they had accepted her.她選擇了伯克利音樂學院音樂顯得比較寬容，因為，只是因為他們已經接受了她。 She later mused, “it was easy to get in to but staying in was hard”.後來她若有所思地說：“這很容易，但要獲得在留在了硬”。 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.這是相當隨意，無憂無慮的態度，從有人接著倒海量的辛勤工作納入執業，發揮她的經驗，但它是在伯克利，將產生最大的影響對誰，她後來被一名藝術家。 It was indeed the first place she ever heard jazz.這確實是她的第一個地方聽過爵士樂。

It turned me around, she said.原來我身邊，她說。 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，我所聽到的是一堆筆記，所以我知道是什麼感覺時，人們聽到爵士樂第一次。 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.當我第一次聽到邁爾斯和雷恩，我不喜歡他們，他們害怕了，可是當我聽到查理基督徒，吉他手和Benny Goodman，保羅德斯蒙德，中音薩克斯和Dave Brubeck的，我能聽到的旋律，並涉及到它。 Desmond got me into jazz, and then when I heard Wes Montgomery and Pat Metheny, I was totally taken.德斯蒙德讓我喜歡爵士樂，然後當我聽到韋斯蒙哥馬利和帕特梅特尼，我完全採取。

At that point her life became clear to her; “ I knew I would be a guitarist.在這一點上她的生活她清楚地認識到，“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.爵士音樂響起“這麼嚴重，內向”，她馬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 .這是她時刻的頓悟 。 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.但是還有很多的工作和沮喪。

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今年頭六個月或在大學，艾米莉發現她毫無準備的聚焦強度，表演和太害羞，在她面前扮演老師個月，但即使這樣尷尬缺乏信心不會阻止她從擅長於學習讀書玩全新形式的音樂，也是她偶然接觸來與巴西的影響，特別是從另一個波薩諾瓦節奏先進，多才多藝的學生 Celia Vaz 西莉亞瓦斯 , that became one of the strongest forms of music attraction for her career ahead. ，即成為一個最強的形式的音樂吸引了她的事業前進。 While their lessons together were nothing more than sitting in the corridors of classrooms trading techniques and ideas, she credits雖然他們的經驗無非是一起坐在教室的走廊交易技巧和想法，她學分 Celia西莉亞 as a major influence on how she learned and approached the Bossa style.作為一個主要的影響如何走近她的經驗教訓和博薩風格。

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. 埃米莉是一個只有18伯克利畢業時，她，一個新的方向走，一個腦袋充滿創意和不斷增長的煩惱是什麼，她認為她的演奏限制。
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.她最不滿意她的節奏和時機並著手消除這一缺陷激烈整天閉門會議之間她和她的節拍器在租來的房間裡海岸的新澤西州長灘島。 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.這種自我施加的木材脫落是如何度過她的第一個夏天，她放學後，才進入下到大易重返新奧爾良的男友和同事伯克利音樂家，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.她常常提到這非常集中夏天她最相關的開發，並試圖在未來五年夏季連續複製的強度都沒有成功。 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.它原來是一生中只有一次的經驗，無法複製，但沒有按要求，在無一個關鍵點，她的音樂的演變。

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一旦她在新奧爾良鴿子元首首次進入職業生涯的一個工作音樂家，打小場地像泰勒俱樂部，酒店業（她是樂隊的吉他手在屋裡的費爾蒙特羅斯福飯店與領導者，在著名的迪克斯塔比爾 Blue Room藍室 , 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, ，無數的音樂大廳，晚餐休息室，婚禮和其他私人招待會，同時也個別學生的教學和繼續自己的悠閒與著名的研究干擾新奧爾良教練和表演， Hank Mackie 漢克馬茨凱 . 。 It was an incredible period of personal growth for her musically.這是一個令人難以置信的時期音樂對她個人的成長。 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和史蒂夫有一個小四方稱為 FourPlay是一直忙於演出，她還提到要發揮多次與 R＆B組

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.別人認為她被編入新奧爾良經驗的溫頓馬薩利斯，喬爾灰色，本弗林，羅伯特古利特和南希威爾遜。 It was also the entrance of Herb Ellis into her life, who would become a major influence and mentor.這也是中藥埃利斯入口進入她的生活，誰就會成為一個重要的影響和指導。 Emily knew his work and found out he was in town.劉慧卿知道他的工作，並發現他在城裡。 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.她的腳在門來到時，她接觸到他請教有關修復她的香草埃利斯模型吉他，所以他們見面了，最後干擾了幾個小時。

As Herb remembers it,由於香草記得它，

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.我工作在新奧爾良在1977年，這個年輕的女孩，她不能在20來了，問我的一個教訓。 I asked her to play something for me, and when she did, I just couldn't believe what I heard.我問她演一些對我而言，當她那樣，我簡直不敢相信我所聽到的。 Forget about “girl”, she's going to be one of the greatest jazz guitar players who ever lived.忘記“女孩”，她將是一個最偉大的爵士樂吉他手，誰曾住。 She can do anything.她可以做任何事情。

E é mily was only 19 and he was genuinely impressed.與 Mily才19歲，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.她被要求在該年執行協和爵士音樂節，她似乎與“大吉他”：香草埃利斯，查理伯德，喬通，塔爾法洛，巴尼凱瑟爾和貝斯手，雷布朗。 From there her career was off and running.她的職業生涯是從那裡起飛和運行。 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'.她離開了新奧爾良在79年時間，但她有學分的最重要的爵士樂在她的成長和地點，她有好'。

I had really just screwed around at Berklee, I didn't concentrate that hard, I was a child, a total beginner.我真的只是在伯克利附近擰，我沒有集中難，我還是個孩子，共初學者。 I came out not playing that great but with a lot of knowledge of chords and theory.我出來打的不是很好，但有很多的知識和理論的和弦。 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.我認為對我來說是好的伯克利理論，和諧和聽力訓練，但是當我到新奧爾良我不得不讓自己變得更好。 I played all these show gigs and jazz gigs, and I had 25 students.我打了所有這些表明音樂會和爵士音樂會，我有25名學生。 I was forced to come up to a certain level of playing.我被迫到了一定水平的比賽。 It was great.這是偉大的。 There's a modern jazz thing happening down in there.有一個現代爵士樂的事情發生了在那裡。 It's much hipper than New York because the people want to be a part of it.它更時髦，比紐約，因為人們希望它成為一個組成部分。 In New York, it's very serious, in New Orleans everybody jumps up and down, there's an R&B kind of feeling.在紐約，這是非常嚴重，每個人都在新奧爾良上下跳動，有R＆B的那種感覺。 I sort of stole that rich culture and applied it to my own music.我有點兒偷的豐富的文化，並將其應用到我自己的音樂。 If I had stayed in Boston, I'd be playing Giant Steps like a madman- like everybody else.如果我當時住在波士頓，我想像著大步像一個瘋子，像其他人一樣。

But as you can imagine it was a natural progression to move back to New York and all it's jazz appeal.但你可以想像這是一個自然的過程搬回紐約和所有它的爵士樂上訴。 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，形成鬆散的三重奏城鎮周圍和支持，多次與喜歡的艾斯特吉芭托（在那裡她深深的愛和指揮的巴西爵士不斷蓬勃發展），約翰克萊頓（她的第一位客人出現在相簿， 這一切都在家庭 ），南希威爾遜在卡內基音樂廳，埃迪戈麥斯。 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.她說，她每次演出，她能發揮這導致了幾場表演在一個朋克樂隊的一切事物，所謂的刻板印象，她發揮了萊斯保羅與粉紅色的灰塵在她的頭髮。 True story.真實的故事。 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她還不停地給教訓時，可能和她的學生之間無非是格雷戈里漢斯，誰反過來邀請她到美國洛杉磯的一小部份，他生產 Sophisticated Ladies 先進的女士們 that featured songs based on Duke Ellington's work歌曲的基礎上，內容是艾靈頓公爵的工作
including Satin Doll, Mood Indigo, Take The A Train and Caravan .包括色丁娃娃，心情靛藍，以火車和車隊 。
All her dedication and hard work was beginning to shine.她所有的奉獻和辛勤工作開始閃耀。

Click image to read an interview with Emily about the show in 1982 from The Los Angeles Times.點擊圖片閱讀採訪劉慧卿關於展會於 1982年從洛杉磯時報。

It was a golden time, it was a time unwinding.這是一個黃金時期，這是一個時間放鬆。

And the world was hers… for a while. 而世界是她的...一段時間。



1981 1981年 was a very good year.是一個非常好的一年。 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.她錄製了她的第一張專輯，作為領導者： 螢火蟲 ，已婚輝煌牙買加爵士樂鋼琴家亞歷山大蒙蒂，並選擇了“女人的年”爵士樂歷史學家和音樂評論家，倫納德羽毛。 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.雖然螢火蟲不被視為突破性的批評，這是典型的硬波普風格的專輯，她用來祭奠一些她最喜歡的作曲家和偶像。 For a twenty three year old woman jazz guitarist, it was a successful first outing.在二十三歲的女子爵士吉他手，這是一個成功的第一次郊遊。 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.次年，使她的第二張專輯： 取兩個 ，一個充滿挑戰性的集料與晦澀，很少進行寶石從砲彈阿德利，德克斯特戈登和McCoy Tyner的以及從一個美麗的組成蒙蒂稱為Eleuthra，其中一個突出的專輯。 She contributed two originals herself, the emotional Waltz For My Grandfather and a fun swinging romp right out of the gate called Pocket Wes .她自己捐了兩原件，情感圓舞曲我的祖父和一個有趣的擺動歡蹦亂跳的權利出了大門叫掌上韋斯 。 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.那年她還獲得留在洛杉磯地區播放音樂的舞台表演和表現在許多節日，即協和的爵士的慶祝活動，柏林和新港節日。


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.她在1983年顯著變第三張個人專輯，只是作為顧名思義，它象徵著不斷變化和成熟，她的音樂和寫作能力。 Her own voice was beginning to emerge with great Latin overtones.她自己的聲音已開始出現以極大的拉丁色彩。 Meanwhile she continued to build her reputation around the New York scene, gigging with jazz groups and touring.同時她繼續她的聲譽建立在紐約周圍的場景，起絨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.高勢頭事業確實有它的缺點對關係，因為它創造了太多的不懈衝突處理和由於許多“偶然會”由於他們反對的旅行日程及其他更多的個人問題，開始緊張的年輕人結婚，艾米莉和蒙蒂在84年離婚。


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.似乎沒有任何放慢了下來， 貓道 ，一個所有原創作品發布的非常努力是同一年。 摩卡香料來自這張專輯，也許是她最有名的歌，但也許是最容易被忽視她的作品是踏板 ，一個非常科爾特蘭尼去年秋季歌曲旋律詞組與困擾。 Her writing had developed great range and complexity.她的寫作有很大的發展範圍和複雜性。 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 crowning achievement for a jazz guitar duo album.她還出現在雷Brown的一首歌曲Soular能源 ，其次，隨著一大朵專輯在1985年的老朋友和吉他手拉里-科耶爾召集在一起 ，被許多人認為是最高成就的爵士樂吉他二重奏專輯。 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.這是難忘的不敏感，如何最好的搖擺藍調版本的命名錯誤八馬蒂諾調， 思科列為格里的藍調專輯。


It was a non stop schedule of playing and touring for the now seasoned twenty seven year old veteran and rising star.這是一個不間斷的比賽日程和現在經驗豐富的體育旅遊二十七年歲老將，冉冉升起的明星。 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 .她在高需求作為特邀嘉賓為專輯與羅斯瑪麗克魯尼和約翰Colianni以及許多現場表演和節日前，她的下張個人專輯將出現，一個她最成功的87年， 東韋斯 。 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 .這樣一個偉大的專輯，從開始到完成強調了她的敬意香草埃利斯稱為藍調草本 ，除其他擺動比波普標準，走上新的台階，她像克利福德布朗的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.交織在了歐洲和亞洲的旅行和錄音與Hank Crawford的五重奏而大大忽視法國爵士樂果醬專輯名為博薩國際以及多個旅遊地點與拉里。 More circuits and guest appearances followed in '87 – '89 (Susannah McCorkle and David Benoit are the most notable names).更多的電路和客串隨後在'87 - '89（蘇珊娜麥科克爾和大衛伯諾伊特是最顯著的名稱）。 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.她還簡要地搬到了賓夕法尼亞州匹茲堡市，在那裡她與駐地藝術家和繁榮杜肯大學在當地的俱樂部，試圖克服她還是個人問題要通過保持與藥物濫用的老習慣，在距離紐約州和新的，更正前方的挑戰和中心，但生活也變得更加緊張和困難。
Time was flying, but time was grinding.時間飛行，但是時間磨。


Jan Leder, a jazz flutist in the NY area shares this remembrance:日星彩，爵士長笛演奏家在紐約地區共享此紀念：

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卡紙會議。 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. 她剛從日本之行，也沒有睡覺，但在這裡她干擾了。 We somehow got to talking, and talked for quite a while. 我們以某種方式開始了聊天，談了好一陣子。 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. 在這裡，我還以為是有人誰擁有了一切我所想要的，即“成功”的爵士樂生涯和認可，更遑論真正的基金關於她的工具。 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. 過了一會兒聊天，她告訴我她羨慕我為我的更“正常”的生活，這使我重新考慮我的樣子看的東西，時間。 She was clearly hurting, and yet she played so incredibly well. 她顯然傷害，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. 我會永遠記住她如何漂亮，她扮演那個晚上，我也直接設置在哪些方面欣賞我，並沒有看到。

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，不安與她的音樂和想要採取一個不同的方向，劉慧卿簽訂唱片合約與司法紀錄，最終推出了她的最後的，最恰當的自我保證專輯， 這是我 。

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”.在這種劃清界線，從她早期的傳統方法深入研究了更多的電子艾米莉在這裡，結合了卡西歐的聲音合成器吉他在她的新組合的音樂，還嚴重影響其繼續熱愛巴西的旋律，如此明顯的“Carenia”和“ Simplicidaje“，以及和弦旋律展現像”你知道我的意思和“第二個童年”。
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 .隨著例外之一稱號，這是她的另一張專輯充滿了獨特的聲音和不斷發展的夢想和她的利益，擴大到面的融合爵士樂。

Robert Jospe recalls how Emily envisioned her future.羅伯特 Jospe回憶劉慧卿設想她的未來。

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. 音頻剪輯：Adobe Flash Player（版本9或以上）必須發揮這一音頻剪輯。 Download the latest version 下載最新版本 here 這裡 . 。 You also need to have JavaScript enabled in your browser. 您還需要啟用JavaScript您的瀏覽器。

All along she kept winning respect for her ever growing musicianship and dedication to the music.一直以來，她一直為她贏得尊重日益增長的音樂修養和奉獻精神的音樂。

“Just Incredible.” ~ Jim Hall “簡直令人難以置信。”〜吉姆霍爾
“I'm taken by the great authority with which she plays” ~ Charlie Byrd “我被偉大的權威與她扮演”〜查理伯德
“The new superstar of the guitar” ~ Herb Ellis “新的超級巨星的吉他”〜香草埃利斯

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樂吉他手，而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.她正在和她自己的聲音舒適和視覺的音樂和她的態度強於有關樣式和內容。 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.她是在課視頻，錄音現場表演的爵士大師的系列電視節目，還抽空為教學和她自己的個人研究。

“I was unprepared for the sheer strength of her playing. “我是純粹的實力毫無準備的她玩。 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，邊接近前衛，她狠狠搖擺。 There was also a deeply lyrical quality to her playing. 還有一個更深刻的抒情品質，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. 她是一個不尋常的權威和吉他手的個性，有才華的球員之一，誰是最亮的精彩世界，在她的爵士吉他十年。 Harmonically, melodically and rhythmically, she had it all. 和聲，旋律和節奏，她擁有了一切。 ” “
Gene Lees基因萊斯

It seemed to be another good year.這似乎是一個好年頭。

T T he end as we all know was too sudden, too soon and without our permission.他結束，因為我們都知道發生得太突然，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.本來是什麼，我們永遠不會注意到什麼聽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.真相與美中留下的後遺症，可以發現在她的音樂和她的理念，這就是足以讓我們反映過來，借鑒和分享很長一段時間。

We are lucky to have had the time and pleasure of her company at all.我們很幸運能夠有時間和快樂，她的公司的。

~ Emily Remler died suddenly on tour, in Sydney, Australia on May 4th, 1990, 〜劉慧卿Remler突然死亡巡演，在澳大利亞悉尼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歲的青年。 ~ 〜
View New York Times Obituary查看紐約時報訃告

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.同樣，音頻下面是一個揭示，戴維約翰遜交談，主機的NPR夜景燈爵士與 Emily的同胞音樂家羅伯特 Jospe，有一種觀點從某人在裡面。

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. 音頻剪輯：Adobe Flash Player（版本9或以上）必須發揮這一音頻剪輯。 Download the latest version 下載最新版本 here 這裡 . 。 You also need to have JavaScript enabled in your browser. 您還需要啟用JavaScript您的瀏覽器。

Click and listen to the entire NPR program按一下並聽取他們的整個全國公共廣播電台節目
Night Lights presenting “Emily Remler: a Musical Remembrance” 夜間照明燈呈現“埃米莉Remler：音樂劇回憶”
in it's uncut one hour format from Indiana public radio affiliate, WFIU.在它的完整無缺的一小時格式，從印第安納州公共廣播子公司，WFIU。
Requires real audio player for it's streaming format. 真正需要的音頻播放器為它的流媒體格式。

Read more of David's insight on this issue with his article:了解更多大衛的洞察力和他對這個問題的文章：
” Emily Remler, Artist Sites and That Issue.” “埃米莉Remler，藝術家網站和問題。”

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，是關於 Emily的藥物濫用有沒有否認她的令人難以置信的精神，尊重人才，竭誠為她的音樂，歌迷和學生。 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的影響和不可磨滅的影響，對世界爵士樂和人民深深影響她的貢獻甚至這一天是最重要的事情保持中心的階段，我們前進。

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Timeline時間軸

1957 Born, Sept. 18th. 1957年出生，9月18日。 Manhattan, NY.曼哈頓，紐約。 Raised in Englewood Cliffs, NJ.提出恩格爾伍德懸崖，新澤西州。

1970-1974 Dwight Morrow HS/ Windsor Mt. 1970-1974德懷特莫羅協/溫莎噸。 School in MA.學校碩士學位。 Graduates at age 16.畢業生在16歲。

1974-1976 Berklee School of Music. 1974-1976年伯克利音樂學院。 Studies with Larry Baione.研究與 Larry Baione。 Graduates at age 18.畢業生在18歲。

1976-1979 Lived and worked in New Orleans. 1976-1979年生活和工作在新奧爾良。 Performed with FourPlay, Little Queenie and the Percolators.演出，FourPlay，小奎尼和Percolators。 Studies with Hank Mackie.研究與 Hank馬茨凱。

1978 Chance meeting with Herb Ellis, invited to play Concord Jazz Festival for 1st time. 1978年邂逅香草埃利斯，請進協和爵士音樂節的第一時間。

1979 Moved back to NY. 1979年搬回紐約。 First recorded guest appearance, Clayton's All In The Family .第一次記錄客串，克萊頓的所有家庭中 。

1980 Plays Concord Jazz Festival, Kool-Newport Festival, Berlin Festival. 1980年劇協和爵士音樂節，庫爾-紐波特節，柏林電影節。

1981 Records 1st album as leader. 1981年第一張專輯，作為領導者的記錄。 Performs with Los Angeles production of Broadway hit, Sophisticated Ladies .執行與洛杉磯生產的百老匯命中， 精良的女士們 。 Marries Jazz pianist Monty Alexander.嫁爵士鋼琴家亞歷山大蒙蒂。 Receives “Woman of The Year” award.榮獲“女人年度獎”。

1982 Records second album as leader, Take Two. 1982年第二張專輯唱片，作為領導者，需要兩個。

1983 Produces 3rd album, Transitions, includes 3 original compositions. 1983年第三張專輯產生，轉換，包括3個原創作品。 Tours Canada & Netherlands.加拿大和荷蘭旅遊。

1984 4th album Catwalk is released. 1984年第四張專輯的Catwalk被釋放。 Guest appearance on Ray Brown's, Soular Energy .基於光線布朗客串的，Soular能源 。 Marriage to Alexander ends.亞歷山大的婚姻結束。

1985 Duo album Together , with Larry Coryell, released. 1985年雙專輯一起 ，拉里科耶爾日獲釋。 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這活兒Ÿ耳'的悲觀爵士雜誌的國際調查。

1986 Collaboration on Clooney's Van Heusen cd, and Colianni's self titled album. 1986年克魯尼合作的Van赫森CD和Colianni的自我同名專輯。 Produces lesson videos, Bebop & Swing Guitar and Advanced Latin & Jazz Improvisation.生產課視頻，波普＆鞦韆吉他和高級拉丁舞及爵士即興。

1987 Records live album: Bossa International with Hank Crawford Quintet in France. 1987年記錄的現場專輯： 博薩國際與Hank Crawford的五重奏在法國。 Tours Europe and Asia.旅遊歐洲和亞洲。

1988 Records East To Wes, featured on No More Blues with McCorkle. 1988年記錄東韋斯，功能上沒有更多的藍調與麥科克爾。 Plays Las Vegas.戲劇拉斯維加斯。 Studies composition in NY with Aydin Esen.在紐約組成的研究與艾登也先。 Lived in Pittsburgh, Artist in Residence at Duquesne University, studies Composition with Bob Brookmire.住在匹茲堡，駐地藝術家在杜肯大學，研究與 Bob Brookmire組成。

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. 1989年上一次美國錄音，因為她出現在Benoit的等待，因為春天和麥科克爾的好評，薩比亞，一首歌曲為無家可歸的利益專輯稱為聖誕節吉他。 Tapes Jazz Master's solo performance show started by Les Paul.膠帶爵士大師的獨奏節目開始由Les保羅。 Tours Australia and New Zealand.遊澳大利亞和新西蘭。
Receives B erklee’s D istinguished A lumni award. 接收到B erklee 的 D istinguished 一個 lumni獎。

1990 Lost to us on tour in Sydney, Australia, May 4th. 1990年丟失給我們巡演在澳大利亞悉尼，5月4日。

1990 Final solo album, This Is Me released posthumously. 1990年最後個人專輯， 這是我死後發表。

Continue to the history of women jazz guitarists.繼續對婦女的歷史爵士樂吉他手。

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