Emily's place in the history of women jazz musicians… Emily's plads i historien om kvinder jazzmusikere ...

Y Y ou tell me. ou fortælle mig.


When asked how she would like to be remembered, she responds: Adspurgt om, hvordan hun gerne vil blive husket, hun svarer:

Good compositions, memorable guitar playing and my contributions as a woman in music…. Gode kompositioner, mindeværdige guitarspil og mine bidrag som en kvinde i musik ....
but the music is everything, and it has nothing to do with politics or the women's liberation movement. men musikken er alt, og det har intet med politik at gøre, eller kvindernes befrielsesbevægelse. You have to rise above it all by being good. Du er nødt til at stige over det hele ved at være godt. You don't get angry, you don't get bitter, and you don't get feminist about the situation. Du behøver ikke blive vred, får du ikke bitter, og du ikke får feministisk om situationen. You get so damn good that they'll forget about all that garbage. Du får så forbandet godt, at de vil glemme alt det skrald.

This is evident as her music advanced, that she was devoted to musical refinement and of broadening her understanding and potential. Dette er tydeligt som hendes musik avanceret, at hun var afsat til musikalsk raffinement og på at udvide sin forståelse og potentiale. It was never about doing it to prove herself worthy of her gender or of deserving headlines with her male counterparts, it was simply about proving herself worthy of the music. Det var aldrig om at gøre det for at bevise sig værdige til hendes køn eller fortjent overskrifter med hendes mandlige kolleger, var det simpelthen om at bevise sig værdige til musikken.

Emily was a pioneer for all women guitar players. Emily var en pioner for alle kvinder guitarister. Her Spirit will stay with me, and I will often think of her as I enter the stage, pick up my guitar and play.” ~ Leni Stern Hendes Ånden vil blive hos mig, og jeg vil ofte tænke på hende som jeg kommer ind på scenen, hente min guitar og spille. "~ Leni Stern

And this we also know about those before her: Og det vi ved også, om disse foran hende:

T T here were many influential women who forged a way into the world of jazz with their voice, even a notable selection that did it with a piano, trumpet, sax or drums but as rare as that was, the list of women who chose to pursue the wonder of jazz with guitar in hand is a very short list. her var mange indflydelsesrige kvinder, som har skabt en vej ind i jazzens verden med deres stemme, selv en bemærkelsesværdig udvalg, der gjorde det med et klaver, trompet, sax eller trommer, men så sjældent som det var, den liste af kvinder, der valgte at forfølge spekulerer i jazz med guitar i hånd er en meget kort liste.

Marian Gange and Carline Ray are the very first names to surface. Marian twice og Carline Ray er de allerførste navne til overfladen.

Marian was part of many women only jazz bands, most notably with Ina Ray Hutton's band the Marian var en del af mange kvinder kun jazz bands, især med Ina Ray Hutton's band på Melodears Melodears that were popular around Harlem and Manhattan in the 1920′s and '30′s. , der var populære omkring Harlem og Manhattan i 1920 og '30 's Naturally the guitar was not a very significant part of big bands during that era because until Christian plugged his guitar in there was little expected of the instrument except for background rhythm and comping, which Marian was superb at, as is evident in this Youtube clip: Naturligvis guitaren var ikke en meget væsentlig del af big bands i løbet af denne æra, fordi indtil Christian sat sin guitar derinde lille var forventet af instrumentet med undtagelse af baggrunden rytme og Comping, som Marian var superb på, som er sket i denne Youtube klip:



After WW II started, Marian joined another all women trio that played USO tours and countless hospitals for the troops called, Eleanor Sherry and the Swing Hearts but there isn't much information on her career following the end of the war. Efter Anden Verdenskrig begyndte, Marian sluttede anden alle kvinder trio, der spillede USO ture og utallige hospitaler for tropperne kaldes, Eleanor Sherry og Swing Hearts, men der er ikke meget information om hendes karriere efter afslutningen af krigen. She was still an important and distinguished figure for early women guitarists. Hun var stadig en vigtig og fornem tal for tidligt kvinder guitarister.

Carline Ray Carline Ray is a talented multi-instrument (guitar, electric bass and piano) musician and vocalist with a degree from the Manhattan School of Music, who played for numerous bands throughout her career, first gaining recognition from her guitar work with the er en talentfuld multi-instrument (guitar, elektrisk bas og klaver) musiker og sanger med en grad fra Manhattan School of Music, der spillede for mange bands i hele sin karriere, først opnå anerkendelse fra sin guitar arbejde med International Sweethearts of Rhythm Internationale Kærestefolkene of Rhythm and as lead singer for the og som forsanger for Erskine Hawkins Orchestra Erskine Hawkins Orchestra . . She has performed internationally with every size group conceivable, ranging from the big band of Duke Ellington to small combos led by Mary Lou Williams. Hun har optrådt internationalt med enhver størrelse gruppe tænkelige, lige fra den store skare af Duke Ellington til små comboer ledet af Mary Lou Williams. Carline has always been a steadfast activist and role model for many generations of jazz women both in the organization and the movement. Carline har altid været en trofast aktivist og rollemodel for mange generationer af jazz kvinder både i organisationen og bevægelse. Her contributions are immeasurable. Hendes bidrag er uoverskuelige. Currently Ms. Ray still maintains a full schedule as a teacher at several schools and colleges in the New York-New Jersey area. I øjeblikket Ms Ray stadig fastholder et komplet program som lærer på flere skoler og gymnasier i New York-New Jersey området.

Carol Kaye is known as the first Lady of Bass but is the forgotten lady of jazz guitar who probably appeared as guest guitarist on more albums and with more artists than the combined appearances of all women guitarists in total. Carol Kaye er kendt som den første Lady of Bass, men er glemt Dame af jazz guitar, der formentlig optrådt som gæst guitarist på flere albums og med flere kunstnere end den samlede optrædener af alle kvinder guitarister i alt. Yes, it's that many. Ja, det er, at mange.
Carol played and taught jazz guitar professionally starting in 1949 and was a regular at countless nightclubs around the Los Angeles area with groups such as Bob Neal. Carol spillet og undervist jazz guitar professionelt begynder i 1949 og var en regelmæssig på utallige natklubber rundt om i Los Angeles-området med grupper som Bob Neal. ( And she's still burning it up, (Og hun er stadig brænder det op, click here klik her to see her take on F Blues with Marco Panascia at NAMM '05 and this amazing footage from at se hende tage på pige Blues med Marco Panascia på NAMM '05 og denne fantastiske optagelser fra NAMM '06 NAMM '06 as she jams out with George Benson ! som hun marmelade ud med George Benson! ) )

Her contributions to jazz guitar were largely over shadowed by her mastery (from simply filling in for an absentee bassist) on the electric bass, which she devoted many years to in playing, teaching and composing. Hendes bidrag til jazz guitar var stort set over skygget af hende beherskelse (fra blot udfylde en fraværende bassist) på det elektriske bas, som hun brugt mange år i at spille, undervisning og komponere. Those influenced by her methods include Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster and many, many more. Disse påvirket af hendes metoder omfatter Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster og mange, mange flere. I think her public influence was lost to most women over the years because she played with such anonymity while performing live and almost exclusively in studio situations with the film and music industry on the west coast where she quietly appeared on albums with Ray Charles, Sam Cooke, Lou Rawls, Henry Mancini, Quincy Jones, Herb Albert, The Righteous Brothers, The Beach Boys and countless others. Jeg tror, hendes offentlig indflydelse blev tabt til de fleste kvinder over år, fordi hun spillede med sådan anonymitet, mens de udfører live og næsten udelukkende i studiet situationer med film-og musikindustrien på vestkysten, hvor hun stille og roligt optrådte på albums med Ray Charles, Sam Cooke , Lou Rawls, Henry Mancini, Quincy Jones, Herb Albert, The Righteous Brothers, The Beach Boys og utallige andre.

Carol's influence to the many musicians and groups she has worked with over the years is immense and why she cannot be overlooked here. Carol's indflydelse til de mange musikere og grupper hun har arbejdet med i årenes løb er enorm, og hvorfor hun ikke kan overses her. Read her full story at Læs hendes fulde historie på Carol Kaye website Carol Kaye hjemmeside and also don't miss this excerpt on og heller ikke glip af denne uddrag på Youtube Youtube from a documentary about her life. fra en dokumentarfilm om hendes liv. Carol Kaye is one of the true legends of jazz and is still teaching and playing today. Carol Kaye er en af de virkelige legender jazz og er stadig undervisning og spille i dag.

The next and more prominent name you will see in the history of women jazz guitarists is Den næste og mere fremtrædende navn, du vil se i historien om kvinder jazz guitarister er Mary Osborne Mary Osborne a mid-western girl from North Dakota. en mid-vestlige pige fra North Dakota.

Mary was fortunate enough to be given a few lessons by Charlie Christian himself, which makes her one of a select group of guitarists that can not only list him as an influence but a teacher as well. Mary var så heldig at have et par lektioner af Charlie Christian selv, hvilket gør hende til en af en udvalgt gruppe af guitarister, som ikke blot kan liste ham som en indflydelse, men en lærer så godt. She was immediately taken by the sound of Christian, and recalls; Hun blev straks taget ved lyden af kristne, og minder;

I had walked into the Dome Ballroom, where the Alphonso Trent Orchestra was playing, and heard what I took to be a tenor saxophone, I asked where the guitarist was at , then realized that the saxophone sound was coming from a crude amplifier attached to a guitar played by Charlie Christian. Jeg havde gået ind i Dome Ballroom, hvor Alphonso Trent Orkester spillede, og hørte, hvad jeg antog for at være en tenor saxofon, jeg spurgte, hvor guitaristen var på, så indså, at saxofonen lyden kom fra en rå forstærker knyttet til en guitar spillet af Charlie Christian. I was so inspired all I wanted to do was imitate him. Jeg var så inspireret alt, hvad jeg ønskede at gøre, var efterligne ham. From then on I had myself a mad little trio. Fra da af havde jeg mig en gal lidt trio.

She was just in the right place at the right time and believed in what she could do and where she wanted to go. Hun var bare på det rigtige sted på det rigtige tidspunkt og troede på, hvad hun kunne gøre, og hvor hun ønskede at gå. Ms. Osborne also makes reference to a musician in Chicago in the late 30′s that was maybe the most impressive woman player she could ever remember hearing. Ms Osborne også henvises til en musiker i Chicago i slutningen af 30's, der var måske det mest imponerende kvinde spiller hun nogensinde kunne huske hørelse. They were jamming for warm up in one of the downtown theaters, and Mary remembers: De var jamming for varme op i et af downtown teatre, og Mary husker:

An older woman approached and asked, “Do you mind if I sit in?” I said okay and she got out the biggest Epiphone guitar I've ever seen. En ældre kvinde henvendte sig og spurgte: "Har du noget imod, hvis jeg sidder i?" Jeg sagde okay, og hun kom ud den største Epiphone guitar jeg nogensinde har set. She didn't look like a guitar player, but when she started to play, I was so surprised at how good she was that I started to laugh. Hun lignede ikke en guitarist, men da hun begyndte at spille, var jeg så overrasket over, hvor god hun var, at jeg begyndte at grine.

Her name was Sidney Bell and I've not seen her name mentioned or in print other than Mary's recollection. Hendes navn var Sidney Bell og jeg har ikke set hendes navn er nævnt, eller på print, bortset fra Marias erindring.

This was all taking place mid 1940′s through the 60′s, when she worked with some of the great names of the times: Coleman Hawkins, Dizzy Gillespie, Art Tatum, Mercer Ellington, Mary Lou Williams and Billie Holiday and appeared many times on the Arthur Godfrey show. Det var alt, der finder sted i midten 1940's gennem 60-erne, hvor hun arbejdede med nogle af de store navne i den tid: Coleman Hawkins, Dizzy Gillespie, Art Tatum, Mercer Ellington, Mary Lou Williams og Billie Holiday og syntes mange gange om Arthur Godfrey show. Here is a rare clip from Billie that shows Mary clearly in charge of the guitar despite being stuck behind a smoking trombonist ! Her er en sjælden klip fra Billie, der viser Mary klart ansvar for guitaren på trods af at være fanget bag en rygende trombonist!

Mary went on to form her own trio and also her own business the Osborne Guitar Company in Bakersfield, California where she lived and performed until her passing in 1992. Mary gik på at danne sin egen trio, og også hendes egen virksomhed Osborne Guitar Company i Bakersfield, Californien, hvor hun boede og udførte indtil hendes død i 1992. Her recordings are mostly out of print and hard to find at reasonable prices but her A Memorial CD of her best is well worth having. Hendes optagelser er for det meste ude af print og svære at finde til rimelige priser, men hendes A Memorial cd med hendes bedste er vel værd at have. Click Here Klik her to view her discography. til at se hendes diskografi.

I Jeg t seems there was an extended void of featured women guitar players in Jazz that Emily filled, and filled so gracefully, between the name of Mary Osborne and the now growing list of really talented women jazz guitarists today and notable jazz guitar luthiers: (Click names to learn more) t synes der var en udvidet tomrum af fremhævede kvinder guitar spillere i Jazz at Emily fyldte, og fyldt så yndefuldt, mellem navn Mary Osborne og den nu voksende liste af virkelig talentfulde kvinder jazz guitarister i dag, og bemærkelsesværdige jazz guitar luthiers: (Klik navne til at lære mere)

and all you beautiful ladies everywhere out there, og alt hvad du smukke damer overalt derude,
taking the lessons, putting in the time and passing it on. tager de erfaringer, sætte i gang og går det videre.

For more information on women in jazz see these titles or websites: For mere information om kvinder i jazz se disse titler eller hjemmesider:

To view these and other videos from ladies of jazz visit the For at se disse og andre videoer fra damer jazz besøge Players Spillere page. side.

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