Remembering the life and music of legendary jazz guitarist Emily Remler Remembering življenje in glasbo legendarnega jazz kitarista Emily Remler

Emily's place in the history of women jazz musicians… Emily mesto v zgodovini žensk jazz glasbeniki ...

Y Y ou tell me. ou mi povej.


When asked how she would like to be remembered, she responds: Na vprašanje, kako bi rada, da je treba opozoriti, ona odgovarja:

Good compositions, memorable guitar playing and my contributions as a woman in music…. Dobre skladbe, nepozabno igranje kitare in moje prispevke, kot ženska v glasbi ....
but the music is everything, and it has nothing to do with politics or the women's liberation movement. ampak glasba je vse, in to nima nič opraviti s politiko ali osvoboditev žensk gibanja. You have to rise above it all by being good. Moraš dvigniti nad vse, ki jih dobri. You don't get angry, you don't get bitter, and you don't get feminist about the situation. Ne razjezil, ti ni dobil grenke, in ne boste dobili feministične o situaciji. You get so damn good that they'll forget about all that garbage. Dobiš tako prekleto dobro, da oni 'pozabi na vse, ki smeti.

This is evident as her music advanced, that she was devoted to musical refinement and of broadening her understanding and potential. To se kaže v njeni glasbi napredne, da je bila namenjena glasbeni izboljšanja in razširitve njenega razumevanja in potencial. 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. Nikoli ni bila o tem, da dokaže sebi vreden svojega spola ali zaslužijo naslovov z njo moški kolegi, je bila le okoli sebe, ki dokazujejo vredni glasbe.

Emily was a pioneer for all women guitar players. Emily je bila pionir za vse ženske kitaro igralcev. 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 bo ostal z mano, jaz pa bom pogosto misliš o njej kot jaz nastopiti fazi, dvigni mojo kitaro in igrala. "~ Leni Stern

And this we also know about those before her: In to smo tudi vedeli o tistih pred njo:

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. Tukaj je bilo veliko vplivnih žensk, ki so ponarejena pot v svet jazza s svojim glasom, celo opazno izbiro, ki je to naredil z klavir, trobenta, saksofon ali bobne, ampak kot redka, kot je bil seznam žensk, ki so se odločili za opravljanje čudež jazz s kitaro v roki, je zelo kratek seznam.

Marian Gange and Carline Ray are the very first names to surface. Marian krat in Carline Ray so prva imena na površje.

Marian was part of many women only jazz bands, most notably with Ina Ray Hutton's band the Marian je bil del številnih žensk samo jazz pasovih, predvsem s skupino Ina Ray Hutton's Melodears Melodears that were popular around Harlem and Manhattan in the 1920's and '30's. , ki so bile popularne okoli Harlem in Manhattan v 1920 in '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: Seveda kitara ni bil zelo pomemben del velike skupine v tistem obdobju, ker dokler Christian priključen na svojo kitaro je bilo le malo pričakuje od instrumenta, razen za ozadje ritem in comping, ki je bil odlično na Marian, kot je razvidno iz tega posnetka Youtube:



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. Po drugi svetovni vojni je začelo, Marian pridružila še trojica vse ženske, ki so igrali USO ture in številne bolnišnice za čete pozval, Eleanor Sherry in Swing Hearts, vendar ni veliko podatkov o karieri po koncu vojne. She was still an important and distinguished figure for early women guitarists. Bila je še vedno pomemben in razlikovati številka za zgodnje ženske guitarists.

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 nadarjenim multi-instrument (kitara, električni bas in klavir), glasbenik in pevec s stopnjo od Manhattan School of Music, ki je igral za številne pasovih v vsej svoji karieri, prvič pridobila priznanje iz njenega dela z kitaro International Sweethearts of Rhythm International Sweethearts of Rhythm and as lead singer for the in kot pevec 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 nastopala z mednarodno skupino predstavljivo vseh velikosti, od big band of Duke Ellington za mala glavnik vodstvom 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 bila vedno trdno aktivist in vzor za mnoge generacije jazz žensk, tako v organizaciji in gibanju. Her contributions are immeasurable. Njeni prispevki so neizmerno. Currently Ms. Ray still maintains a full schedule as a teacher at several schools and colleges in the New York-New Jersey area. Trenutno Ray Ga še vedno ohranja popolno razpored kot učiteljica na več šolah in visokošolskih ustanovah v New York, New Jersey območju.

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 znana kot prva dama Bass, vendar je pozabljen damo jazz kitara, ki je verjetno zdelo, kot gostujoči kitarist na več albumov in z več kot umetniki skupaj nastopi kitaristov vseh žensk skupaj. Yes, it's that many. Ja, to je, da je veliko.
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 igral in učil jazz kitaro, ki se poklicno z začetkom leta 1949 in je bila redno na številnih nočnih klubih po vsem območju Los Angeles s skupinami, kot so Bob Neal. ( And she's still burning it up, (In ona je še vedno pereč it up, click here kliknite tukaj to see her take on F Blues with Marco Panascia at NAMM '05 and this amazing footage from videti prevzeti F Blues s Marco Panascia na NAMM '05 in to neverjetno posnetek iz NAMM '06 NAMM '06 as she jams out with George Benson ! marmelade, kakor je določeno z 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. Njen prispevek k jazz kitara so v veliki meri v senci, ki jih ji obvladanje (od preprosto izpolnite za odsotnem bassist), na električni bas, ki je namenjeno veliko let v igranje, poučevanje in urejanje. Those influenced by her methods include Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster and many, many more. Ti vplivajo njene metode vključujejo Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster in mnogo, mnogo več. 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 njen vpliv javnosti se je izgubil, da večina žensk v zadnjih letih, ker je igral s takšno anonimnost pri opravljanju živi in skoraj izključno v studiu situacijah s filmsko in glasbeno industrijo na zahodni obali, kjer se je pojavila na tiho albumov Ray Charles, Sam Cooke , Lou Rawls, Henry Mancini, Quincy Jones, Herb Albert, The Righteous Brothers, The Beach Boys in nešteto 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 vpliv za številne glasbenike in skupine je sodelovala z več let, je ogromno, in zakaj je ni mogoče spregledati tukaj. Read her full story at Preberite njeno celotno zgodbo ob Carol Kaye website Carol Kaye spletni strani and also don't miss this excerpt on in tudi ne zamudite ta odlomek o Youtube Youtube from a documentary about her life. od dokumentarni film o svojem življenju. Carol Kaye is one of the true legends of jazz and is still teaching and playing today. Carol Kaye je ena od prave legende jazza in še vedno igra poučevanja in danes.

The next and more prominent name you will see in the history of women jazz guitarists is Naslednja in bolj vidno ime, boste videli v zgodovini žensk jazz kitaristi je Mary Osborne Mary Osborne a mid-western girl from North Dakota. mid-zahodni dekle iz Severne Dakote.

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 je srečo, da je treba dati nekaj lekcij, ki jih Charlie Christian sam, zaradi česar ji eno izbrano skupino kitaristov, ki lahko ne le njemu, kot seznam vpliva, ampak tudi kot učitelj. She was immediately taken by the sound of Christian, and recalls; Bila je takoj sprejme zvok krščanske, in opozarja;

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. Imel sem vstopil v Dome Ballroom, kjer Alphonso Trent orkester je igral, in slišal, kaj sem vzel za tenor saksofon, sem vprašal, kje je bil v kitarist, potem pa ugotovil, da je bil zvok saksofona, ki prihajajo iz surove ojačevalnik priloženo kitara, ki jo imajo Charlie Christian. I was so inspired all I wanted to do was imitate him. Bil sem tako navdihnila vse, kar sem želel početi je posnemati njega. From then on I had myself a mad little trio. Od takrat naprej sem imel sem malo jezen trio.

Mary was just in the right place at the right time and believed in what she could do and where she wanted to go. Mary je bila ravno v pravem mestu ob pravem času in verjeli v kaj zna in kjer je želela iti. 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. Ga Osborne prav tako sklicuje na glasbenika v Chicagu v poznih 30, da je bil morda najbolj impresivno igralka ženska je lahko kdaj spomnite obravnave. They were jamming for warm up in one of the downtown theaters, and Mary remembers: Bili so jamming za ogrevanje v enem centru gledališča, in Marija se spominja:

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. Približala starejša ženska in vprašal: »Te moti, če sem sedel noter?" Sem rekel v redu in je stopila ven največji kitara Epiphone sem jih kdaj videl. 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. Ni videti kot kitarist, ko pa je začel igrati, sem bil tako presenečen, kako dobra je bila, da sem se začel smejati.

Her name was Sidney Bell and I've not seen her name mentioned or in print other than Mary's recollection. Njeno ime je bilo Sidney Bell, in nisem videl omenjeno ime ali v tiskani obliki, razen spomin Mary's.

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 vse poteka sredi leta 1940 preko 60-ih, ko je delal z nekaterimi velikimi imeni iz časa: Coleman Hawkins, Dizzy Gillespie, Art Tatum, Mercer Ellington, Mary Lou Williams in Billie Holiday in pojavil veliko krat 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 ! Tukaj je redek posnetek iz Billie Mary jasno kaže, da je odgovoren za kitaro kljub temu, da zaljubljen v ozadju verige kadilec in pozavnist!

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 je šel na obrazcu svojo trio in tudi svoje podjetje Osborne Guitar Company v Bakersfield v Kaliforniji, kjer je živela, in jo uspešno izvedli do leta 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 posnetki so večinoma iz tiskanih in težko najti po razumnih cenah, vendar njeno Spominska CD njenih najboljših vsekakor ima. Click Here Click Here to view her discography. za ogled njene diskografija.

I Jaz 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) Ne zdi, da je bil podaljšan za nična izrazit žensk kitara igralcev v Jazz da Emily zapolniti, in napolnijo tako elegantno, med ime Mary Osborne in zdaj naraščajoče seznam zares nadarjenih žensk jazz guitarists danes: (Kliknite na imena, če želite izvedeti več)

and all you beautiful ladies everywhere out there, in vse, kar lepe dame povsod tam,
taking the lessons, putting in the time and passing it on. ob lekcij, dajanje v času in njegovo posredovanje.

For more information on women in jazz see these titles or websites: Za več informacij o ženskah v jazz prikaz teh naslovov ali spletnih strani:

To view these and other videos from ladies of jazz visit the Če si želite ogledati te in drugih video posnetki od gospe jazza obiska Players Igralci page. stran.

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