F or a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. F ili kratko, dok sam je uzeo gitaru lekcija iz jednog od najboljih jazz gitarista od žena Mary Osborne. I never became a great guitarist, but that's because I never put in the time it takes to be a great guitarist. Ja nikada nije postao veliki gitarist, ali to je zato što sam nikada staviti u vrijeme koje je potrebno da bude veliki gitarist. Emily on the other hand, lived and breathed the guitar. Emily je s druge strane, živio i disao gitaru.

O ne day I arrived at Emily's apartment to take a lesson and there she was in a leg cast and on crutches, having not exactly had the greatest time skiing. PRVA dan sam stigao na Emily's Apartment uzeti sat i tu je ona bila u nogu i baci na štake, što baš i nije imala najveća vrijeme skijanja. I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall. Rekao sam joj Joe Pass dolazi u grad i je izvedbom na double-bill sa Jim Hall. She said that she knew about it and she'd really love to go, especially since she was a good friend of Jim Halls, but there's one problem she said “at the moment I can't walk”. Rekla je da je znao o tome i ona je stvarno bih volio ići, pogotovo jer je bila dobar prijatelj Jim Hale, ali postoji jedan problem, rekla je ona "u ovom trenutku ja ne mogu hodati". I said “Emily, you're not heavy, so I'll just get as close to the Blue Note as I can and I'll carry you.” So, sure enough a few nights later I picked Emily up and drove down into Greenwich Village, found a spot on the north side of Washington Square Park and Emily got on my back and I carried her to the Blue Note. Sam rekao: "Emily, tvoj 'ne težak, pa ću samo doći što bliže Blue Note kao što sam ja, a ja ću te nositi." Dakle, je li dovoljno nekoliko noći kasnije sam pokupila Emily gore i odvezli dolje u Greenwich Village, naći mjesto na sjevernoj strani Washington Square Park i Emily dobio na leđa i sam je nosio na Blue Note.

I wish I had a tape recorder with me that night, because up in the dressing room after the first set Emily asked Jim if she could borrow his beautiful cherry colored guitar. JA priželjkivanje JA je kasetofon sa mnom da prenoći, jer se u svlačionici nakon što je prvi set Emily pitali Jim je može li posuditi svoje lijepe trešnje u boji gitare. Joe told her to play a tune with him. Joe joj je rekla da igrati skladu s njim. They had one beautiful interchange after another and it was something the rest audience downstairs never got to see. Imali su jedan prekrasan razmjene za drugom i to je nešto dolje ostalo publika nikada nije dobio za vidjeti.

After playing with Joe, rather than stay for the 2nd set Emily asked me how my back was and wanted to know if I'd mind checking out Leni Stern, because she was playing that night at the 55 Bar on Christopher Street. Nakon igranja sa Joe, a ne ostati za drugi set Emily me pitali kako mi je leđa i ištanje to znati ako bih umu checking out Leni Stern, jer ona je te noći svira na 55 Bar na Christopher Street. So, playing horse again, we made our way over a few more blocks. Dakle, igranje konja opet smo napravili naš put preko nekoliko blokova.

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. Što oduševljen Emily je te noći vidio ne samo dva legendarni gitarista na Blue Note, ali vidim drugi čudan gitarist, koji je također bio veliki pisac. Emily said “hey, I know I've got the chops, but I would love to write like Leni”. Emily je rekao "Hej, znam da sam dobio kotleta, ali bih volio pisati kao Leni".

L eni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. L Eni je igranje te noći s gitaristom plamen zove Wayne Krantz i solo, kao i uvijek joj je glatkim. 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. Ja ću reći više o Leni drugo vrijeme, ali ono što sam vidio te noći me shvatiti da svaki pojedinac ima nešto talentiran skupljati iz druge.
B eautiful music is always an interchange. B eautiful glazba je uvijek petlju.

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. Početkom 1985 sam upoznao Emily Remler, mladi jazz gitarist koji je bio uzimajući neki zasluženu pozornost u to vrijeme. 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. Čuo sam jednu od njezinih zapisa, trio postavku sa mojim starim prijateljima Bob Moses i Eddie Gomez na bubnjevima i bas i bio impresioniran. 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 je kreativan, pametan, ljuljati kao lud, i imao vremena osjećaju da je upravo najbolji sam ikada čuo od bilo gitarist, muško ili žensko.

Emily and I started playing together as a duo. Emily i ja počeo igrati zajedno kao 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. Mi turneje po Sjedinjenim Državama i Europi na off i za oko godinu dana i bili su uključeni romantično nakratko, dok nisam shvatila da smo imali vrlo malo zajedničkog. We made a duet record for Concord Records, Together , which still stands up today, I think, especially as a testament to Emily's genius. Napravili smo duet rekord za Concord Records, zajedno, koja još uvijek stoji do danas, mislim, osobito kao dokaz Emily's genija. When the record was released there was lot of reaction from the jazz guitar community. Kada je objavljena rekord nije bilo puno reakcija iz zajednice jazz gitara. One publication, The Texas Monthly , had a long article analyzing the different soloing approaches we had. Jedna publikacija, Texas Mjesečno, dugo članak analizira različite pristupe soloing smo imali. They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily's and Emily's playing with mine! Oni pretpostavlja da je Neal Tesser, koji je napisao bilješkama s omota, zbunjeni su moje igranje sa Emily i Emily's igranje sa mina! 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. Meni je to bilo nekako smiješno, jer otkad sam počeo raditi dvije stvari gitaru, čak i glazbenika koji je znao oba od nas ponekad nije mogao reći nas 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”. Prvi primjer za to se sjećam došao iz Jack Bruce, koji je također rekao da ne može reći mene od John McLaughlin, kada je prvi put čuo "prostora". But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played. Ali gdje McLaughlin je izašla zvučanje poput rakete leti visoko, Emily je kao pjesnik kad je igrao. I recall one bizarre incident on tour in Germany when we were in a doctor's office. Sjećam se jedne bizarne incident na turneji u Njemačkoj, kada smo bili u liječnička ordinacija. The doctor had a guitar there, an entry-level solid-body, with a small amp. Liječnik je imao gitaru tamo, ulaz-nivo punog tijela, s malim pojačala. Emily picked it up and plugged in and started playing just with her fingers – no pick. Emily ga podići i priključeni i počeo igrati samo s prstima - bez motika. We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity. Bili smo hipnotiziran po sve ono što je događaj: akorda, timing, osjećam, kontrapunkt, i spontanost.

Emily died an untimely and all-too-early death in 1990 at the age of 32. Emily je umro nepravodobno i sve-previše-rane smrti 1990 u dobi od 32. Monty Alexander, her ex-husband, said it best; “She's out of town. Monty Alexander, njezin bivši suprug, rekao je najbolji, "She's izvan grada. She'll be back” – I believe that – the music was just too good. Ona će se vratiti "- vjerujem da je - glazba je samo previše dobro.