Remembering the life and music of legendary jazz guitarist Emily Remler Remembering ang buhay at musika ng maalamat jazz Guitarist Emily Remler

F or a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. F o isang maikling habang Ininom ko ang guitar lessons mula sa isa sa Finest babae jazz guitarists since Maria Osborne. I never became a great guitarist, but that's because I never put in the time it takes to be a great guitarist. Hindi ako naging isang dakilang Guitarist, ngunit iyan ay dahil hindi ko ilagay sa oras na kinakailangan upang maging isang dakilang Guitarist. Emily on the other hand, lived and breathed the guitar. Emily sa iba pang mga kamay, at nanirahan breathed ang gitara.

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 araw dating ko sa Emily's apartment na kumuha ng isang aral at doon siya sa isang cast binti at sa panaklay, sa pagkakaroon ng hindi eksakto ay ang pinakamalaking skiing oras. I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall. Sinabi ko sa kanya Joe Pass ay nanggagaling sa bayan at siya ay gumaganap sa isang 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”. She said na siya alam tungkol sa mga ito at gusto niya talagang pag-ibig upang pumunta, lalo na mula noong siya ay isang mabuting kaibigan ng Jim Halls, ngunit may isang problema sa kanyang sinabi "sa ngayon ay hindi ko lakad". 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. I said "Emily, hindi ka malakas, kaya kukunin ko na lang makakuha ng malapit sa Blue Tandaan na ko at kailangan ko dalhin mo." Kaya, sapat na ba ng ilang gabi mamaya ko matutunan Emily up at kawan down sa mga Greenwich Village, natagpuan ng isang spot sa ang hilaga bahagi ng Washington Square Park at Emily got sa aking likod at dinala ko siya sa mga Tandaan Blue.

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. Nais ko ay nagkaroon ng isang tape recorder sa akin na ang gabi, dahil hanggang sa dressing room matapos ang unang set Emily nagtanong Jim kung siya ay maaaring hiramin ang kanyang magandang Cherry kulay na gitara. Joe told her to play a tune with him. Joe sinabi sa kanya na maglaro ng tune sa kanya. They had one beautiful interchange after another and it was something the rest audience downstairs never got to see. Sila ay isang magandang pagpapalitan pagkatapos ng isa at ito ay isang bagay na ang mga natitirang madla sa lupa ay hindi kailanman got makita.

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. Pagkatapos ng play sa Joe, sa halip na manatili sa 2nd set Emily nagtanong sa akin kung paano aking likod ay at nais na malaman kung gusto ko isip Lalabas na Leni Stern, dahil siya ay naglalaro na ang gabi at ang 55 sa mga Bar Christopher Street. So, playing horse again, we made our way over a few more blocks. Kaya, paglalaro ng kabayo muli, gumawa kami ng aming mga paraan sa paglipas ng ilang mga bloke.

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. Ano nanginginig Emily na gabi ay nakikita hindi lamang ng dalawang maalamat guitarists sa Tandaan Blue, ngunit nakakakita sa iba pang kahanga-hangang Guitarist, na din ang isang magaling na manunulat. Emily said “hey, I know I've got the chops, but I would love to write like Leni”. Emily said "hey, alam ko ako got ang chops, ngunit nais kong ibigin sa pagsulat tulad ng Leni".

L eni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. L eni ay naglalaro na gabi na may isang nagliliyab Guitarist pinangalanan Wayne Krantz at gaya ng lagi ang kanyang solos ay malasutla makinis. 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. Kailangan ko bang sabihin ang nalalaman tungkol sa Leni ng isa pang oras, ngunit kung ano ang nakita ko na gabi na ginawa sa akin napagtanto na ang bawat indibidwal na may ulo ay may isang bagay na mamulot mula sa iba pang.
B eautiful music is always an interchange. B eautiful musika ay palaging isang pagpapalitan.

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. Noong unang bahagi ng 1,985 ko pa nakikilala Emily Remler, ang isang batang Guitarist jazz na sa pagkuha ng ilang mga well-marapat ng pansin sa panahon. 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. Narinig ko ang isa sa kanyang mga rekord, ang isang tatlong magkakasama sa mga setting ng aking mga lumang kaibigan ni Bob kay Moises at Eddie Gomez sa drums at bass at noon ay 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 ay malikhain, matalino, swung tulad ng mabaliw, at nagkaroon ng oras na pakiramdam na lamang tungkol sa mga pinakamahusay na kailanman ako ay narinig mula sa anumang Guitarist, lalaki o babae.

Emily and I started playing together as a duo. Emily at ako nagsimula paglalaro ng sama-sama bilang isang 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. Toured kami sa Estados Unidos at Europa off at para sa mga tungkol sa isang taon at madaling sabi ay kasangkot romantically, hanggang sa natanto ko na kami ay masyadong maliit sa pangkaraniwan. We made a duet record for Concord Records, Together , which still stands up today, I think, especially as a testament to Emily's genius. Aming ginawa ang isang dalawahang-tinig-record para sa Concord Records, Magkasama, na nakatayo pa rin hanggang ngayon, sa tingin ko, lalo na bilang isang tipan sa Emily's likas na talino. When the record was released there was lot of reaction from the jazz guitar community. Kapag ang mga talaan ay inilabas diyan ay pulutong ng reaksyon mula sa mga komunidad na jazz guitar. One publication, The Texas Monthly , had a long article analyzing the different soloing approaches we had. Isa sa publikasyon, Ang Texas Buwanang, ay isang mahabang artikulong pag-aaral ang iba't-ibang pamamaraang soloing namin ay. They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily's and Emily's playing with mine! Sila surmised na Neal Tesser, na ang mga wrote tala aliner, ay nalilito ang aking paglalaro may Emily at Emily's play sa akin! 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. Akala ko na kinda funny dahil mula pa ko nagsimula paggawa ng dalawang-gitara mga bagay-bagay, kahit na musikero na alam pareho ng sa amin paminsan-minsan ay hindi maaaring sabihin sa amin ang agwat. 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”. Ang unang halimbawa ng pagpapabalik ko ay nagmula sa Jack Bruce, na din sinabi na hindi siya maaaring sabihin sa akin mula sa John McLaughlin kapag siya unang narinig "puwang". But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played. Subalit kung saan McLaughlin dumating off tunog tulad ng isang mataas ang lipad rocket, Emily ay tulad ng isang makata kapag siya nilalaro. I recall one bizarre incident on tour in Germany when we were in a doctor's office. Sumariwa sa alaala ko ang isang insidente kakaiba sa tour sa Alemanya kapag kami ay sa tanggapan ng isang doktor. The doctor had a guitar there, an entry-level solid-body, with a small amp. Ang mga doktor na nagkaroon ng gitara doon, isang entry-level na solid-katawan, may isang maliit na amp. Emily picked it up and plugged in and started playing just with her fingers – no pick. Emily matutunan ito at plugged in at nagsimula naglalaro lang sa kanyang mga daliri - hindi na pick. We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity. Namin ang lahat ng mesmerized sa pamamagitan ng kung ano ang siya ang gumagawa ng: Chords, tiyempo, sa tingin, kontrapunkta, at spontaneity.

Emily died an untimely and all-too-early death in 1990 at the age of 32. Emily namatay ang isang wala sa oras at lahat-ng-masyadong-maagang pagkamatay sa 1,990 na nasa edad na 32. Monty Alexander, her ex-husband, said it best; “She's out of town. Monty Alexander, ang kanyang ex-asawa, said ito pinakamahusay na; "She's out of town. She'll be back” – I believe that – the music was just too good. Kailangan niya maging back "- sa tingin ko na - musika ay na lang masyadong good.