Remembering the life and music of legendary jazz guitarist Emily Remler Sjećanje na život i glazbu legendarni jazz gitarist Emily Remler

Emily's place in the history of women jazz musicians… Emily je mjesto u povijesti žena jazz glazbenici ...

Y Y ou tell me. ou recite mi.


When asked how she would like to be remembered, she responds: Na pitanje kako bi voljela da se pamtiti, ona odgovara:

Good compositions, memorable guitar playing and my contributions as a woman in music…. Dobra kompozicija, znamenit gitara svira i moje doprinose kao žena u glazbenoj ....
but the music is everything, and it has nothing to do with politics or the women's liberation movement. ali glazba je sve, i to nema nikakve veze sa politikom ili ženskog pokreta oslobođenja. You have to rise above it all by being good. Morat ćete ustajati se sve to tako da mu dobro. You don't get angry, you don't get bitter, and you don't get feminist about the situation. You don't get angry, you don't get gorka, i da ne dobijete feminističke o situaciji. You get so damn good that they'll forget about all that garbage. Dobivate tako prokleto dobro da ćete zaboraviti na sve to smeće.

This is evident as her music advanced, that she was devoted to musical refinement and of broadening her understanding and potential. To je vidljivo kako njezinu glazbu napredna, da je posvećen glazbenoj profinjenosti i širenje njezina razumijevanja i potencijal. 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. Ona nikada nije bila o tome da radiš sama opravdati svog spola ili zaslužnih naslova sa svojim kolegama muški, to je jednostavno o sebi dokazuje dostojan glazbe.

Emily was a pioneer for all women guitar players. Emily je bila pionir za sve žene gitarista. 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 Njen duh će ostati sa mnom, a ja često će razmišljati o njoj kao što sam ući na pozornicu, pokupiti moju gitaru i igra. "~ Leni Stern

And this we also know about those before her: I ovo mi je znati o onima pred njom:

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. Ovdje su mnoge utjecajne žene koje kovani put u svijetu jazza sa svojim glasom, čak i ističe da to nije odabir s klavir, truba, saksofon i bubnjevi, nego kao rijetki kao i da je, popis žena koje su izabrali u potjeru jazz čudo s gitarom u ruci je vrlo kratak popis.

Marian Gange and Carline Ray are the very first names to surface. Marian Gange i Carline Ray su vrlo imena na površinu.

Marian was part of many women only jazz bands, most notably with Ina Ray Hutton's band the Marian je dio mnogih žena samo jazz bendova, od kojih su najpoznatiji i INA Ray Hutton je bend Melodears Melodears that were popular around Harlem and Manhattan in the 1920's and '30's. koji su bili popularni oko Manhattana u Harlemu i 1920-ih i '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: Naravno da gitara nije bila vrlo znatan dio velikih bendova tijekom tog razdoblja jer do kršćanske priključen gitaru u bilo je malo očekuje od instrumenta, osim za pozadinu ritam i Comping, koji je bio divan u marijanska, kao što je vidljivo u ovom Youtube isječak:



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. Nakon II Svjetskog rata počeo, Marian se pridružio još jedan sve žene trio koji je svirao USO ture i bezbroj bolnica za trupe zove Eleanor Sherry i Swing Srca, ali nema puno informacija o karijeri nakon završetka rata. She was still an important and distinguished figure for early women guitarists. Ona je još uvijek važan i istaknutih figura za rano žene gitarista.

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 je talentirana multi-instrument (gitara, bas gitara i klavir) glazbenika i pjevača s diplomom iz Manhattan School of Music, koji je igrao za brojne bendove u cijeloj karijeri, prvi dobiva priznanje od svoje gitare s posla International Sweethearts of Rhythm Međunarodni Sweethearts of Rhythm and as lead singer for the i kao pjevač za 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 . Ona je izvedena u inozemstvo sa svake veličine grupe uvjerljiv, u rasponu od Big Band of Duke Ellington malim kombo predvođeni 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 je oduvijek bio uporan aktivist i uzor za mnoge generacije jazz žena, kako u organizaciji i pokreta. Her contributions are immeasurable. Njezini su nemjerljiv doprinos. Currently Ms. Ray still maintains a full schedule as a teacher at several schools and colleges in the New York-New Jersey area. Trenutno Gospođa Ray i dalje zadržava punu raspored kao nastavnik na više škola i fakulteta u New York-New Jersey području.

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 je poznat kao prvi Gospe od bas, ali je zaboravljena dama jazz gitara koje vjerojatno pojavio kao gostujući gitarista na albumima i više s više umjetnika nego kombinirati nastupe svih žena guitarists in total. Yes, it's that many. Da, to je da su mnogi.
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 svirao i učio jazz gitara profesionalno s početkom u 1949 je bio redovan na bezbroj noćnih klubova oko područja Los Angelesa s grupama kao što su Bob Neal. ( And she's still burning it up, (A ona još uvijek je to gore gori, click here kliknite ovdje to see her take on F Blues with Marco Panascia at NAMM '05 and this amazing footage from da vidi joj se na F blues s Marco Panascia at NAMM '05 i ovom čudesnom snimke iz NAMM '06 NAMM '06 as she jams out with George Benson ! kao što je iz gužve sa 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. Njezin doprinos jazz gitara je uglavnom na zasjenjen svojim majstorstvo (od jednostavno popunjavanjem za odsutni basist) na električni bas, koji je posvetio mnogo godina u igru, učenje i skladanja. Those influenced by her methods include Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster and many, many more. Oni pod utjecajem njezina metode uključuju, Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster i mnogo, mnogo više. 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. Mislim da joj javni utjecaj je izgubio većinu žena tijekom godine, jer je igrao s takvim anonimnost, a nastupa uživo i gotovo isključivo u studiju situacijama s filmske i glazbene industrije na zapadnoj obali, gdje je ona tiho se pojavio na albumima sa Ray Charles, Sam Cooke , Lou Rawls, Henry Mancini, Quincy Jones, Herb Albert, Pravednika Brothers, The Beach Boys i bezbroj drugih.

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 je utjecaj na mnoge glazbenike i grupe radila je s više godina je ogromna i zašto se ona ne može previdjeti ovdje. Read her full story at Pročitajte njezin puni priča u Carol Kaye website Carol Kaye website and also don't miss this excerpt on a isto tako nemojte propustiti ovaj izvod na Youtube Youtube from a documentary about her life. iz dokumentarnog filma o svom životu. Carol Kaye is one of the true legends of jazz and is still teaching and playing today. Carol Kaye je jedan od istinskih legendi jazza i još uvijek je nastavu i danas svira.

The next and more prominent name you will see in the history of women jazz guitarists is Sljedeći i više istaknutih imena ćete vidjeti u povijesti žena jazz gitarista je Mary Osborne Marija Osborne a mid-western girl from North Dakota. mid-western girl from 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. Marija je bio dovoljno sretan da se dati nekoliko lekcija: Charlie Christian sebi, što ju čini jednom od odabrati skupinu gitarista koji ne samo da mogu da ga liste kao utjecaj, ali kao i učitelja. She was immediately taken by the sound of Christian, and recalls; Ona je odmah poduzeti zvuk kršćanske, i podsjeća;

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. Imao sam hodio u kupola dvorana, gdje Alphonso Trent je orkestar svira, a čuo što sam uzeo da se tenor saksofon, sam pitao gdje je bio gitarista u, onda je shvatio da saksofon zvuk je dolazio iz grub pojačalo pridružen gitara koju glumi Charlie Christian. I was so inspired all I wanted to do was imitate him. Bio sam tako inspirirana sve što sam htjela učiniti ga je imitirati. From then on I had myself a mad little trio. Od tada sam imao sam malo ludog tria.

Mary was just in the right place at the right time and believed in what she could do and where she wanted to go. Marija je bila baš na pravom mjestu u pravo vrijeme i vjerovali u ono što je ona mogla učiniti i gdje je htjela da ide. 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. Gospođa Osborne također referira glazbenika u Chicagu, u kasnim 30-im da je možda najimpresivniji igrač žena je ona ikad mogla sjetiti sluha. They were jamming for warm up in one of the downtown theaters, and Mary remembers: Oni su za prigušivanje zagrijati u nekom od kina u centru grada, i Mary pamti:

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. Starija žena približio i upitao: "Da li smeta ako ja sjedim u?", Rekao sam u redu i ona je dobila od najvećih Epiphone gitara koje sam ikad vidio. 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. Ona nije izgledao kao gitarist, no kada je počeo igrati, bio sam toliko iznenađen koliko je dobar je bila da sam se počeo smijati.

Her name was Sidney Bell and I've not seen her name mentioned or in print other than Mary's recollection. Njeno ime je Sidney Bell i nisam vidio njeno ime spominje ili u tiskanom osim Marije sjećanje.

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. To je bilo sve odvija sredinom 1940-a kroz 60-tih godina, kada je radio s nekim od velikih imena puta: Coleman Hawkins, Dizzy Gillespie, Art Tatum, Mercer Ellington, Mary Lou Williams i Billie Holiday i pojavila se mnogo puta na Arthur Godfrey pokazati. Here is a rare clip from Billie that shows Mary clearly in charge of the guitar despite being stuck behind the chain smoker and the trombonist ! Ovdje je rijedak isječak iz Billie Marija jasno pokazuje da je zadužen za gitaru unatoč tome što je zaglavio iza strastveni pušač i 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. Marija je otišao na obrascu vlastitu trio i svoj posao Osborne Guitar Company u Bakersfield, Kalifornija, gdje je živjela i izvode sve dok ju prolazu u 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. Njeni snimci su uglavnom iz tiska i teško naći po povoljnim cijenama, ali joj Spomen CD njezin najbolji je kvalitetno vrijedan vlasništvo. Click Here Click Here to view her discography. da biste vidjeli svoju diskografiju.

I Ja 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: (Click names to learn more) t izgleda došlo je produžen praznina od istaknutih žena u jazz gitarista koji Emily ispunjen, i napuni tako graciozno, između ime Marije Osborne i sada rastući popis stvarno talentiranih žena jazz gitarista danas: (Kliknite na nazive kako biste saznali više)

and all you beautiful ladies everywhere out there, i sve vas lijepe žene svugdje vani,
taking the lessons, putting in the time and passing it on. uzimajući lekcije, stavljajući u vrijeme i na prolazu.

For more information on women in jazz see these titles or websites: Za više informacija o ženama u jazz vidjeti ove naslov ili web stranice:

To view these and other videos from ladies of jazz visit the Za pregled ovih i drugih video iz dame jazza posjetite Players Igrači page. stranici.

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