F or a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. F或一小会儿我把玛丽奥斯本吉他以来的经验教训，从一女爵士乐吉他手是最好的。 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时间才能成为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，生活和呼吸着吉他。

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Emily的公寓采取的教训，在那里，她拄着拐杖在一条腿的演员和，虽然没有确切的时间有最大的滑雪。 I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall.我告诉她，乔传球是前来拜访时，他是在双吉姆霍尔法案与表演。 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，她知道这事，她真的很想去，特别是因为她是一个好朋友吉姆大厅，但是有一个问题，她说：“此刻我不能走。” 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，所以我就把接近蓝注意，因为我可以，我会支持你。”因此，果然有几个晚上后，我拿起刘慧卿和压低到格林尼治村，发现一对华盛顿广场公园北侧现场和埃米莉在我背上了，我把她带到了蓝音符。

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. 我希望我有一台录音机和我那天晚上，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.乔告诉她和他一起玩一首曲子。 They had one beautiful interchange after another and it was something the rest audience downstairs never got to see.他们有一个又一个美丽的交汇处，它是楼下的东西，其余的观众从来没有看到的。

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，而不是停留在第二盘，艾米莉问我怎么了我的后背，想知道我是否会介意检查出雷妮斯特恩，因为她是在玩上斯托弗街55酒吧那一夜。 So, playing horse again, we made our way over a few more blocks.所以，打马，我们再次作出了几个街区的道路。

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.刘慧卿什么激动，那天晚上是看到不仅是两个在Blue Note的传奇吉他手，但看到另一个精彩的吉他手，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，我知道我的印章，但我喜欢写这样雷妮”。

L eni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. L埃尼打得流畅，她的独奏是一个炽热的夜晚，吉他手叫韦恩将军和往常一样。 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.我会告诉更多的雷妮另一个时间，但我所看到的那个夜晚让我意识到，每个人都有一些才华，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年初我遇到刘慧卿Remler，一个年轻的爵士乐吉他手谁是得到一些当之无愧的时候注意。 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.我听到她的记录之一，一个三重奏与我的鲍勃摩西和埃迪戈麦斯鼓手和低音和老朋友设置留下了深刻印象。 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，像疯了似的摇晃，并有时间觉得只是我从未从任何吉他手，最佳男，女听到了。

Emily and I started playing together as a duo. Emily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.我们参观了关于美国和欧洲关闭，大约一年进行了简要的恋爱，直到我意识到，我们有许多共同的很少。 We made a duet record for Concord Records, Together , which still stands up today, I think, especially as a testament to Emily's genius.我们为协和记录了合唱纪录，携手并肩，今天仍然站起来向艾米莉的天才，我认为遗嘱，特别是作为一个。 When the record was released there was lot of reaction from the jazz guitar community.当记录被释放有爵士乐吉他从社会的反应很多。 One publication, The Texas Monthly , had a long article analyzing the different soloing approaches we had.一个出版，德州月刊 ，有很长的文章分析了不同，我们有独奏办法。 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，谁写的内页，打了我的困惑与Emily的和埃米莉的与我打！ 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.我认为这是挺有意思的，因为自从我开始做双吉他的事，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，他不能告诉我，当从麦克劳林他第一次听到“空间”。 But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played.但是，在麦克劳克林掉下来像一个高飞扬探空火箭，像一个诗人艾米莉是当她玩。 I recall one bizarre incident on tour in Germany when we were in a doctor's office.我记得一个在德国巡演离奇事件，当我们在医生的办公室里。 The doctor had a guitar there, an entry-level solid-body, with a small amp.医生那里有一个吉他，一个入门级固体体，用小功放。 Emily picked it up and plugged in and started playing just with her fingers – no pick.艾米莉把它捡了起来，接通电源，然后开始打，这正好与她的手指 - 没有选择。 We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity.我们都被迷住了她在做什么：和弦，定时，感受，对位，和自发性。

Emily died an untimely and all-too-early death in 1990 at the age of 32.艾米莉去世，享年32岁，在1990年不合时宜和全过早死亡。 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 - 音乐是太好。