F或短小，当我采取了吉他教训从其中一个最好的女性爵士乐吉他弹奏者从玛丽Osborne时。 我未曾成为一个了不起的吉他弹奏者，但那是，因为我在它采取是一个了不起的吉他弹奏者的时间从未投入。 另一方面Emily，居住和呼吸吉他。

One天我到达在Emily的公寓采取教训，并且那里她是在腿塑像和在拐杖，不确切地有最伟大的时间滑雪。 我告诉了通行证来临到镇的她的乔，并且他在双重票据执行与吉姆·霍尔。 她说她知道关于它，并且她真正地会愿意去，特别是从她是吉姆大厅的一个好朋友，但有她说“的一个问题，在我不可能走”之时。 我说“Emily，您不是重的，因此我将得到和紧挨悲伤的音符，我能，并且我将运载您”。 几个夜后如此，足够肯定我在华盛顿方形的公园的北边接Emily并且压低入格林威治村庄，发现了一个斑点，并且Emily在我的后面得到了，并且我运载了她对悲伤的音符。

I 愿望I有一台录音机与我那夜，因为在化装室，在第一个集合Emily问吉姆之后，如果她可能借用他美丽的樱桃色的吉他。 乔告诉她演奏一个声调与他。 他们有一美好的互换在另以后，并且它是某事休息观众楼下未曾得到看。

在演奏与乔，而不是逗留以后为第2个集合Emily问我怎么我的后面并且想知道我是否会介意检查Leni船尾，因为她在克里斯托弗街道演奏那夜在55酒吧。 如此，再演奏马，我们做了方式几个更多块。

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. Emily said “hey, I know I’ve got the chops, but I would love to write like Leni”.

Leni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. 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.
Beautiful music is always an interchange.

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. 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. 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 and I started playing together as a 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. We made a duet record for Concord Records, Together, which still stands up today, I think, especially as a testament to Emily’s genius. When the record was released there was lot of reaction from the jazz guitar community. One publication, The Texas Monthly, had a long article analyzing the different soloing approaches we had. They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily’s and Emily’s playing with 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. 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”. But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played. I recall one bizarre incident on tour in Germany when we were in a doctor’s office. The doctor had a guitar there, an entry-level solid-body, with a small amp. Emily picked it up and plugged in and started playing just with her fingers - no pick. We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity.

Emily died an untimely and all-too-early death in 1990 at the age of 32. Monty Alexander, her ex-husband, said it best; “She’s out of town. She’ll be back” - I believe that - the music was just too good.