F or a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. F或一会儿我把玛丽奥斯本吉他以来的经验教训从一个女爵士乐吉他手最优秀的。 I never became a great guitarist, but that's because I never put in the time it takes to be a great guitarist.我从来没有成为一个伟大的吉他手，但是那是因为我从来没有在所花费的时间是一个伟大的吉他手付诸表决。 Emily on the other hand, lived and breathed the guitar.刘慧卿另一方面，生活和呼吸的吉他。

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. Ø东北一天，我来到艾米莉的公寓采取的教训，在那里她拄着拐杖和一条腿投后，不完全有最大的滑雪时间。 I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall.我告诉她，乔通到城里来了，他是在一个双与吉姆霍尔法案表演。 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”.她说，她知道它，她就非常喜欢去，特别是因为她是一个很好的朋友吉姆会堂，但有一个问题，她说，“目前我不能走。” 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.我说：“刘慧卿，你不重，所以我就把尽可能靠近蓝注意我可以，我会带你。”因此，果然几个晚上后，我拿起刘慧卿起来，开车到格林威治村，发现一对华盛顿广场公园北侧现场和Emily在我的背上了，我把她带到蓝注。

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. 我希望我有一个录音机与我那天晚上，因为在第一盘更衣室后，刘慧卿吉姆问她是否可以借用他的美丽的樱花色的吉他。 Joe told her to play a tune with him.乔告诉她扮演一个与他格格不入。 They had one beautiful interchange after another and it was something the rest audience downstairs never got to see.他们一个又一个美丽的交汇处，它是什么，其余的观众楼下一直没有看到。

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.乔后玩，而不是停留在第二刘慧卿问我如何设置我的背部，想知道我是否会介意检查出莱尼斯特恩，因为她打了斯托弗街55酒吧的夜晚。 So, playing horse again, we made our way over a few more blocks.因此，再次打马，我们作出了数块我们的方式。

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.什么是兴奋，那天晚上看到艾米莉在蓝不仅注意两个传奇吉他手，但看到另一种美妙的吉他手，谁更是一个伟大的作家。 Emily said “hey, I know I've got the chops, but I would love to write like Leni”.刘慧卿说：“嘿，我知道我已经得到了印章，但我喜欢像雷妮写”。

L eni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. L埃尼打得她的独奏和一如既往的夜晚燃烧的吉他手与韦恩克兰茨被命名为如丝般光滑。 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.我会告诉莱尼更多另一个时间，但我所看到的那个晚上让我意识到，每个人都有一些人才，以收集从另一个。
B eautiful music is always an interchange. 乙 eautiful音乐始终是一个交换。

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. 1985年初我遇到埃米莉Remler，一个年轻的爵士乐吉他手是谁得到一些当之无愧当时的关注。 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.我听到她的一个记录，三人与我的老朋友鼓手和贝司鲍勃摩西和艾迪葛梅兹设置和留下了深刻印象。 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.埃米莉是创造性的，聪明，像疯了似的挥舞，并一时间觉得这仅仅是对我曾经从任何吉他手，最佳男，女听到。

Emily and I started playing together as a duo.埃米莉和我开始扮演一个两人在一起。 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.我们参观了美国和欧洲和关闭约1年并简要浪漫的故事，直到我意识到，我们有共同之处很少。 We made a duet record for Concord Records, Together , which still stands up today, I think, especially as a testament to Emily's genius.我们提出了协和记录二重唱记录， 一起 ，仍然站起来的今天，我认为，特别是作为一个天才见证埃米莉的。 When the record was released there was lot of reaction from the jazz guitar community.当纪录被释放有来自爵士乐吉他社会的反应很多。 One publication, The Texas Monthly , had a long article analyzing the different soloing approaches we had.一个出版，得克萨斯月刊 ，有一长文分析了不同的做法，我们有独奏。 They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily's and Emily's playing with mine!他们推测，尼尔Tesser，谁写的班轮注意到，混淆了我与埃米莉的矿山和埃米莉的玩游戏！ 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.我认为这是有点滑稽，因为自从我开始做双吉他的事情，甚至音乐家谁知道我们俩有时不能告诉我们分开。 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”.这个我记得第一个例子来自杰克布鲁斯，谁也说，他无法分辨麦克劳林我第一次听到时，他来到“空间”。 But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played.但是，在麦克劳克林脱落像高空飞行探空火箭，埃米莉是像一个诗人，她的角色。 I recall one bizarre incident on tour in Germany when we were in a doctor's office.我记得一位在德国之行不寻常的事件时，我们在医生的办公室。 The doctor had a guitar there, an entry-level solid-body, with a small amp.医生那里有一个吉他，一个入门级固体组织，一个小安培。 Emily picked it up and plugged in and started playing just with her fingers – no pick.艾米莉把它捡起来，并插上电源，开始玩弄她的手指只是 - 没有选秀权。 We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity.我们都被她在做什么迷惑：和弦，时间，感受，对位，和自发性。

Emily died an untimely and all-too-early death in 1990 at the age of 32.刘慧卿死亡1不合时宜，全过早死亡1990年32岁。 Monty Alexander, her ex-husband, said it best; “She's out of town.蒙蒂亚历山大，她的前夫，说得好，“她的出城。 She'll be back” – I believe that – the music was just too good.她会回来的“ - 我相信 - 音乐太好。