Remembering the life and music of legendary jazz guitarist Emily Remler懷念的生活和音樂的傳奇爵士樂吉他手埃米莉Remler

F or a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. F或一會兒我把吉他課從一個最優秀的女爵士吉他手，因為瑪麗奧斯本。 I never became a great guitarist, but that's because I never put in the time it takes to be a great guitarist.我從來沒有成為一個偉大的吉他手，但那是因為我從來沒有把所花費的時間是一個偉大的吉他手。 Emily on the other hand, lived and breathed the guitar.埃米莉另一方面，居住和呼吸的吉他。

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. 隆河一天，我來到艾米莉的公寓採取的教訓，有她在一條腿和拐杖投後，不完全有最大的一次滑雪。 I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall.我告訴她，喬通是到城裡來，他表演的雙法案，吉姆霍爾。 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”.她說，她知道它，她就真的很想去，特別是因為她是一個好朋友吉姆會堂，但是有一個問題，她說：“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.我說：“埃米莉，你不重，所以我就可以接近的藍注意，我可以，我會帶你們去。”因此，果然幾個晚上以後，我挑選劉慧卿，並駕駛著分成格林威治村，發現了一個點上，北面的華盛頓廣場公園和Emily在我回來了，我抱著藍說明。

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. 我希望我有一台錄音機和我那天晚上，因為在更衣室後，在第一盤吉姆劉慧卿問她是否可以借用他的美麗的櫻花色的吉他。 Joe told her to play a tune with him.喬告訴她扮演一個調他。 They had one beautiful interchange after another and it was something the rest audience downstairs never got to see.他們有一個美麗的交換，這又是什麼，其餘的觀眾樓下一直沒能看到的。

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.喬後玩，而不是停留在第二集劉慧卿問我我的背部，想知道如果我介意檢查出萊妮斯特恩，因為她是在比賽當晚就在克里斯托弗55酒吧街。 So, playing horse again, we made our way over a few more blocks.所以，打馬，我們再次提出我們的方式對數塊。

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.什麼激動埃米莉之夜，看到不僅是兩個傳奇吉他手在藍注意，但看到另一種美妙的吉他手，誰更是一個偉大的作家。 Emily said “hey, I know I've got the chops, but I would love to write like Leni”.劉慧卿說：“嘿，我知道我已經得到印章，但我喜歡寫這樣萊尼”。

L eni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. 蜇埃尼打得那麼晚上，燃燒的吉他手名為韋恩克蘭茨一如既往她的獨奏是流暢的。 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.我會告訴更多萊妮另一個時間，但我所看到的那個晚上，讓我看到每一個人有一定的人才，以蒐集從另一個。
B eautiful music is always an interchange. 乙 eautiful音樂始終是一個交流。

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. 1985年初我見到了埃米莉Remler，一個年輕的爵士吉他手是誰得到了一些比較值得關注的時間。 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.我聽到她的一個紀錄，三人設置與我的老朋友鮑勃摩西和艾迪葛梅茲鼓，低音和留下了深刻印象。 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.埃米莉是創造性的，聰明，隨即像瘋了似的，而且一時間覺得大概是最好的，我聽說過任何吉他手，男性或女性。

Emily and I started playing together as a duo.艾米莉和我開始玩在一起，二人。 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.我們參觀了美國和歐洲斷斷續續大約一年被短暫浪漫的故事，直到我意識到，我們只有很少的共同點。 We made a duet record for Concord Records, Together , which still stands up today, I think, especially as a testament to Emily's genius.我們提出了二重唱記錄Concord Records公司， 在一起 ，今天仍然站起來，我認為，尤其是作為證明Emily的天才。 When the record was released there was lot of reaction from the jazz guitar community.當記錄被釋放有很多反應，從爵士樂吉他社區。 One publication, The Texas Monthly , had a long article analyzing the different soloing approaches we had.一份出版物， 德州月刊 ，有一個長文分析了不同的做法，我們有獨奏。 They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily's and Emily's playing with mine!他們推測，奧尼爾 Tesser，誰寫的班輪指出，混淆了我玩埃米莉和艾米莉玩我的！ 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.我認為這是有點兒滑稽，因為自從我開始做兩個吉他的事情，甚至音樂家誰知道我們倆有時不能告訴我們分開。 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”.第一個例子，我記得這個來自傑克布魯斯，誰也說，他不能告訴我的麥克勞林當他第一次聽到“空間”。 But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played.但是，在麥克勞克林出場聽起來像一個高速飛行的火箭，埃米莉就像一個詩人，她的作用。 I recall one bizarre incident on tour in Germany when we were in a doctor's office.我記得一個尋常的事件在德國巡迴演出時，我們在醫生的辦公室。 The doctor had a guitar there, an entry-level solid-body, with a small amp.醫生那裡有一個吉他，一個入門級固體機構，由一個小的揚聲器。 Emily picked it up and plugged in and started playing just with her fingers – no pick.埃米莉拾起來插入，並開始同她只打了手指 - 沒有選擇。 We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity.我們都迷住了她在做什麼：和弦，時間，感覺，旋律，和自發性。

Emily died an untimely and all-too-early death in 1990 at the age of 32.劉慧卿死亡的時候，有全過早死亡在1990年時 32歲。 Monty Alexander, her ex-husband, said it best; “She's out of town.蒙蒂亞歷山大，她的前夫表示，最好的，“她出城。 She'll be back” – I believe that – the music was just too good.她一會兒就回來“ - 我相信 - 音樂是太好。