Remembering the life and music of legendary jazz guitarist Emily Remler Remembering življenje in glasbo legendarnega jazz kitarista Emily Remler

F or a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. F ali kratka, medtem ko sem vzel kitaro lekcije iz ene najlepših ženskih jazz kitaristi, ker 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. Nikoli nisem postal velik kitarist, vendar je to zato, ker nisem dal v času, ki je potreben, da se velik kitarist. Emily on the other hand, lived and breathed the guitar. Emily na drugi strani, je živela in dihala kitaro.

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. O ne dan, ko sem prišel v stanovanje Emily, da sprejme lekcijo in da je bila v nogo litega in na bergle, ki ni ravno imela največji smučanje čas. I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall. Rekel sem ji, Joe Pass prihaja v mesto in je opravljal na dvojni račun z 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 vedel o njej in ona bi res rad šel, saj je bil dober prijatelj Jim dvorane, vendar je en problem, je dejal: "v tem trenutku ne morem hoditi." 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. Rekel sem "Emily, si ni težko, tako da bom šele zaslužiti kot blizu Blue Note, kot sem lahko in bom vam prevoz." Tako, gotovo nekaj dni kasneje sem pobral Emily vozil gor in dol v Greenwich Village, najti mesto na severni strani Washington Square Park in Emily dobil na moj hrbet in jaz, ki jo za 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. Želim si imel kasetofon z mano, da ponoči, ker se v garderobi po prvi niz Emily Jim vprašal, če bi ona sposoditi svoje lepe češnjeve barve kitaro. Joe told her to play a tune with him. Joe ji je rekel, da igrajo melodijo z njim. They had one beautiful interchange after another and it was something the rest audience downstairs never got to see. Imeli so eno lepo izmenjave po drugi pa je bilo nekaj dol občinstvo ostalo nikoli videti.

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. Za igranje z Joe, ne pa bivanje za določen 2. Emily me je vprašal, kako je moj hrbet je bil in je želel vedeti, če želite, da sem srce preveritev jasno Leni Stern, ker je bila tisto noč igral na 55 Bar na Christopher Street. So, playing horse again, we made our way over a few more blocks. Torej, igranje konj spet smo na naši poti čez nekaj blokov.

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. Kaj je navdušen, da je Emily noč je bila videti, ne le dveh legendarnih kitaristov na Blue Note, vendar vidim drugega čudovito kitarist, ki je bil tudi velik pisatelj. Emily said “hey, I know I've got the chops, but I would love to write like Leni”. Emily je dejal: "Hej, vem da imam kotleta, ampak jaz bi rad, da napišete kot 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 igral to noč z neverjetnimi kitarist imenom Wayne Krantz in kot solo so bili vedno njena svilnato gladke. 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. Jaz bom povedal več o Leni drugega časa, ampak kaj sem videl, da je noč sem spoznala, da ima vsak posameznik ima nekaj nadarjenih da bi zbral od druge.
B eautiful music is always an interchange. B eautiful glasba je vedno izmenjavo.

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. V začetku leta 1985 sem spoznal Emily Remler, mlada jazz kitarist, ki je postajal nekaj dobro zasluženo pozornost na čas. 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. Slišal sem enega od svojih zapisov, trio nastavitev s svojimi starimi prijatelji Bob Moses ter Eddie Gomez na bobnih in bas in je bila navdušena. 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 ustvarjalen, pameten, vihtela kot nora, in je čas, meni, da je bil skoraj najboljša kar sem jih kdaj slišal od vseh kitarist, moškega ali ženskega spola.

Emily and I started playing together as a duo. Emily in sem začel igrati skupaj kot 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 turneji ZDA in Evropo, tu in tam na približno leto in so bili vključeni romantično kratko, dokler nisem spoznal, da smo imeli zelo malo skupnega. We made a duet record for Concord Records, Together , which still stands up today, I think, especially as a testament to Emily's genius. Naredili smo duet zapis za Concord Records, Together, ki še vedno stoji še danes, mislim, predvsem kot dokaz, da je genij Emily. When the record was released there was lot of reaction from the jazz guitar community. Ko je zapis ni bilo veliko odziva skupnosti jazz kitara. One publication, The Texas Monthly , had a long article analyzing the different soloing approaches we had. Ena objava, Texas Monthly, je dolgo članek analizira različne pristope soloing smo imeli. They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily's and Emily's playing with mine! Domnevamo, da so Tesser Neal, ki je napisal linijskih ugotavlja, se je moje igranje zamenjati z Emily in igranje z Emily's 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. Mislil sem, da je nekako smešno, saj odkar sem začel delaš dve stvari kitara, tudi glasbeniki, ki so poznali oba včasih ne more nam narazen. 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 primer tega spomnim je prišel iz Jack Bruce, ki je prav tako dejal, da ne bi povedal od John McLaughlin, ko je prvič slišal "prostor". But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played. Ampak če McLaughlin je odpadla sondirne všeč visoke, ki plujejo pod raketami, Emily je kot pesnik, ko je igral. I recall one bizarre incident on tour in Germany when we were in a doctor's office. Spominjam se enega bizarni incident na turneji v Nemčiji, ko smo bili pri zdravniku's office. The doctor had a guitar there, an entry-level solid-body, with a small amp. Zdravnik je kitaro tam, vstop-razina trdna telesa, z majhno amp. Emily picked it up and plugged in and started playing just with her fingers – no pick. Emily ga pobere in priklopljen in začel igrati samo s prsti - no pick. We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity. Smo bili vsi Hipnotiziran je bila s tem, kar počne: Akordi, čas, občutek, kontrapunkt, in spontanost.

Emily died an untimely and all-too-early death in 1990 at the age of 32. Emily umrl prepozno in vse preveč zgodnjih smrti leta 1990 v starosti 32. Monty Alexander, her ex-husband, said it best; “She's out of town. Monty Alexander, njen bivši mož, je dejal, da je najbolje, "She's izven mesta. She'll be back” – I believe that – the music was just too good. Ona bo nazaj "- menim, da - glasba je le preveč dobro.