[ف]أو قصيرة بينما أنا أخذت قيثار دروس من واحدة من الدقيقة أنثويّة جاز عازف القيثار منذ ميري [أسبورن]. أنا أبدا أصبحت عازف القيثار عظيمة, غير أنّ أنّ لأنّ أنا أبدا أضع في الوقت هو يأخذ أن يكون عازف القيثار عظيمة. [إميلي] [أن ث ون هند], يعيش ويتنفّس القيثار.

[و][ن] يوم وصل أنا في [إميلي] شقة أن يأخذ دروس وهناك هو كان في ساق قالب جبس وعلى ركائز, يتلقّى لا تماما يتلقّى العظيمة وقت تزحلق على الثلج. أنا قلت [جو] ه ممر كان أتى إلى مدينة وأنجز هو كان على [دووبل-بيلّ] مع جيم [هلّ]. هو قال أنّ عرف هو حول هو وهو حقّا أحبّ أن يذهب, خصوصا بما أنّ هو كان صديقة جيّدة من جيم قاعات, غير أنّ هناك واحدة مشكلة هو قال "[أت ث مومنت] أنا يستطيع لا يمشي". أنا قلت "[إميلي], أنت ليس ثقيلة, لذلك سيحصل أنا فقط بما أنّ [كلوس تو] ال [بلو نوت] بما أنّ أنا علبة وأنا سأحمل أنت." هكذا, يوقن بكفاية [ا فو] ليال فيما بعد التقط أنا [إميلي] فوق وقاد إلى أسفل داخل [غرينويش فيلّج], أسّس بقعة على الجانب شماليّة من واشنطن متنزهة مربّعة و [إميلي] حصل على ظهري وأنا حملته إلى ال [بلو نوت].

[إي] تلقّى أمنية [إي] [تب ركردر] مع ي أنّ ليلة, لأنّ فوق في العمليّة تلبيس غرفة عقب المجموعة أولى [إميلي] سأل جيم إن هو استطاع اقترضت ه جميلة كرز يلوّن قيثار. [جو] قاله أن يلعب نغم مع ه. هم تلقّوا واحدة تبادل جميلة بعد آخر وكان هو شيء الإستراحة استماع تحت أبدا يحصل أن يرى.

سألني بعد يلعب مع [جو], [رثر ثن] إقامة ل ال [2ند] مجموعة [إميلي] كيف ظهري كان وأراد أن يعرف إن أنا باليت يفحص خارجا [لني] كوثل, لأنّ هو كان لعب أنّ ليلة في ال 55 قضيب على [كريستوفر] شارع. هكذا, يلعب حصان حجر السّامة ثانية, جعل نحن نا طريق على [ا فو] كثير قوالب.

What thrilled Emily that night was seeing not only two legendary guitarists at the Blue Note, but seeing another wonderful guitarist, who was also a great writer. Emily said “hey, I know I’ve got the chops, but I would love to write like Leni”.

Leni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. I’ll tell more about Leni another time, but what I saw that night made me realize that every talented individual has something to glean from another.
Beautiful music is always an interchange.

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. I heard one of her records, a trio setting with my old friends Bob Moses and Eddie Gomez on drums and bass and was impressed. Emily was creative, smart, swung like crazy, and had a time feel that was just about the best I had ever heard from any guitarist, male or female.

Emily and I started playing together as a duo. We toured the United States and Europe off and on for about a year and were briefly involved romantically, until I realized that we had very little in common. We made a duet record for Concord Records, Together, which still stands up today, I think, especially as a testament to Emily’s genius. When the record was released there was lot of reaction from the jazz guitar community. One publication, The Texas Monthly, had a long article analyzing the different soloing approaches we had. They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily’s and Emily’s playing with mine! I thought that was kinda funny because ever since I started doing two-guitar things, even musicians who knew both of us sometimes couldn’t tell us apart. The first example of this I recall came from Jack Bruce, who also said he couldn’t tell me from John McLaughlin when he first heard “Spaces”. But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played. I recall one bizarre incident on tour in Germany when we were in a doctor’s office. The doctor had a guitar there, an entry-level solid-body, with a small amp. Emily picked it up and plugged in and started playing just with her fingers - no pick. We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity.

Emily died an untimely and all-too-early death in 1990 at the age of 32. Monty Alexander, her ex-husband, said it best; “She’s out of town. She’ll be back” - I believe that - the music was just too good.