Emily's place in the history of women jazz musicians… Emily的地方在妇女的爵士乐手的历史...

Y Ÿ ou tell me.欧告诉我。


When asked how she would like to be remembered, she responds:当记者问她怎么想记住，她回答：

Good compositions, memorable guitar playing and my contributions as a woman in music…. 好作品，令人难忘的吉他演奏和音乐...我的贡献，作为一个女人。
but the music is everything, and it has nothing to do with politics or the women's liberation movement. 但音乐就是一切，它没有任何与政治或妇女的解放运动。 You have to rise above it all by being good. 你必须超越它的美好，由福利。 You don't get angry, you don't get bitter, and you don't get feminist about the situation. 你不生气，你不苦，你没有得到女权主义者的情况有关。 You get so damn good that they'll forget about all that garbage. 你很该死的好，他们就忘记所有的垃圾。

This is evident as her music advanced, that she was devoted to musical refinement and of broadening her understanding and potential.这是明显的，因为她的音乐先进，她是专门为音乐完善和扩大她的理解和潜力。 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.这是从来没有想过这样做证明自己无愧于她的性别或值得与她的男同行的头条新闻，它只是要证明自己的音乐价值。

Emily was a pioneer for all women guitar players.埃米莉是一个为所有妇女吉他手的先驱。 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她的精神将留在我身边，我常常会想到她，因为我进入阶段，拿起我的吉他和发挥。“〜雷妮斯特恩

And this we also know about those before her:而这一点，我们也知道那些在她面前：

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.这里有许多有影响力的妇女谁伪造的方式与他们的声音进入爵士乐的世界，甚至没有一个明显的选择是一个难得它与钢琴，小号，萨克斯管或鼓但只要这是，妇女名单谁选择追求与爵士乐吉他手不知是很短的名单。

Marian Gange and Carline Ray are the very first names to surface. 玛丽安甘杰和卡莱恩雷的名字是非常表面。

Marian was part of many women only jazz bands, most notably with Ina Ray Hutton's band the玛丽安是许多妇女只有一部分爵士乐队，尤其是与INA雷Hutton的乐队， Melodears Melodears that were popular around Harlem and Manhattan in the 1920′s and '30′s.被周围哈莱姆和曼哈顿流行的1920年和'30'号 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:当然吉他不是一个大乐队非常重要的一部分，因为在那个时代，直到基督教插入他的吉他在几乎没有了，除了背景节奏和作曲，这是极好的玛丽安工具预计，因为很明显在此YouTube剪辑：



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.二战开始后，所有的妇女玛丽安加入另一三人的发挥普遍服务义务的旅行和部队医院的无数呼吁， 埃莉诺雪利酒和Swing的心，但也没有多地了解她的职业生涯后，战争结束了。 She was still an important and distinguished figure for early women guitarists.她仍然是一个重要的早期妇女为吉他手和杰出人物。

Carline Ray 卡莱恩雷 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是一个有才华多仪器（吉他，电贝司和钢琴）和音乐家从曼哈顿音乐学院，为众多乐队谁在她的职业生涯中，第一次获得由她与吉他歌手工作的认可程度发挥 International Sweethearts of Rhythm 国际甜心节奏 and as lead singer for the并作为主唱 Erskine Hawkins Orchestra 厄斯金霍金斯乐团 . 。 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.她曾与各种规模的国际集团可以想象范围从艾灵顿公爵大乐团由玛丽娄威廉斯领导的小组合。 Carline has always been a steadfast activist and role model for many generations of jazz women both in the organization and the movement.卡莱恩一直是坚定的爵士乐妇女活动家许多代都在组织和运动和榜样。 Her contributions are immeasurable.她的贡献是不可估量的。 Currently Ms. Ray still maintains a full schedule as a teacher at several schools and colleges in the New York-New Jersey area.雷女士目前仍保持着作为一个在几个学校和纽约新泽西地区高校教师完整的时间表。

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.卡罗尔凯被称为第一夫人的低音，但爵士吉他被遗忘的夫人谁可能是因为更多的客人专辑比吉他手和所有妇女的吉他手在总的综合表现更多的艺术家出现。 Yes, it's that many.是的，就这么多。
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.卡罗尔发挥和爵士吉他专业教授于1949年开始，是一个在洛杉矶附近，如鲍勃尼尔地区妇女定期无数夜总会。 ( And she's still burning it up, （她仍然燃烧起来， click here 点击这里 to see her take on F Blues with Marco Panascia at NAMM '05 and this amazing footage from看到她和Marco Panascia F蓝调的NAMM '05看看这个惊人的画面和从 NAMM '06 的NAMM '06 as she jams out with George Benson !因为她与乔治班森卡纸了！ ) ）

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.她的贡献，爵士吉他在很大程度上掌握在她的阴影（从简单的填充在缺席贝斯手）在电贝司，这是她多年致力于在玩，教学和创作。 Those influenced by her methods include Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster and many, many more.她的影响，这些方法包括雅科Pastorius，基督教麦克布莱德，斯汀，约翰保罗琼斯，钼福斯特和许多，许多。 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.我觉得她的公众影响力失去了多年来对大多数女性，因为她不愿透露姓名的发挥，而这样的现场表演，几乎完全与西海岸的电影和音乐行业，她悄悄地与雷查尔斯，山姆工作室的情况出现库克相册娄罗尔斯，亨利曼奇尼，昆西琼斯，香草阿尔贝，正义兄弟，海滩男孩和无数其他人。

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.卡罗尔的影响力，许多音乐家和她与多年来是巨大的，为什么她在这里不能忽视工作组。 Read her full story at她在阅读全文 Carol Kaye website 卡罗尔凯网站 and also don't miss this excerpt on也不要错过这个上摘录 Youtube YouTube的 from a documentary about her life.从她的生活的纪录片。 Carol Kaye is one of the true legends of jazz and is still teaching and playing today.卡罗尔凯是爵士乐的真正的传奇人物之一，目前仍在教学和演奏今天。

The next and more prominent name you will see in the history of women jazz guitarists is下一个越来越突出的名字，你会看到在妇女爵士乐吉他手的历史 Mary Osborne 玛丽奥斯本 a mid-western girl from North Dakota.来自北达科他州中西部的女孩。

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.玛丽是有幸被给予查理基督教自己，这使得她的吉他手，不能只列出影响，但作为一个教师，以及他选择组之一的一些教训。 She was immediately taken by the sound of Christian, and recalls;她立即采取了基督教的声音，召回;

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.我走进宴会厅的穹顶，那里的阿方索特伦特乐团演奏，并听取了我是一个男高音萨克斯管，吉他手，我问是在哪里，然后意识到，萨克斯声从连接到一个未来原油放大器吉他饰演查理的基督徒。 I was so inspired all I wanted to do was imitate him.我很鼓舞我想要做的就是模仿他。 From then on I had myself a mad little trio.从那时起，我有我自己一个疯狂小三人。

She was just in the right place at the right time and believed in what she could do and where she wanted to go.她只是在适当的时候在适当的地点和在什么地方，她可以做，她想去相信。 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.奥斯本女士还提到一个音乐家在芝加哥末30年代那是女人也许是最令人印象深刻的球员，她可能永远记得听到。 They were jamming for warm up in one of the downtown theaters, and Mary remembers:他们是在温暖的干扰，市中心的剧院之一，玛丽回忆说：

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.一个老年妇女上前问：“你介意我坐吗？”我说好吧，她得到了最大的Epiphone吉他了我见过的。 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.她看上去并不像一个吉他手，但是当她开始玩，我是那么好，她是如何开始笑，我感到惊讶。

Her name was Sidney Bell and I've not seen her name mentioned or in print other than Mary's recollection.她的名字叫贝尔悉尼，我从来没见过她的名字所说的，印刷和玛丽的回忆等。

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.这是1940年年中发生的一切，通过60年代，当她与时代的一些伟大的名字的：科尔曼霍金斯，吉莱斯皮，艺术塔特姆，默瑟灵顿，玛丽娄威廉斯和Billie Holiday和出现了许多倍在阿瑟戈弗雷表演。 Here is a rare clip from Billie that shows Mary clearly in charge of the guitar despite being stuck behind a smoking trombonist !这是从比利罕见剪辑，显示在吉他的收费玛丽清楚吸烟虽然是落后一长号手卡住了！

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.玛丽接着形成自己的三重奏，包括她自己的业务奥斯本吉他贝克斯菲尔德，加州的一家公司，她住，直到她于1992年通过执行。 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.她的唱片大多是绝版，很难找到一个合理的价格，但她对她最好的纪念光盘，是值得拥有。 Click Here 点击这里 to view her discography.观看她的作品集。

I 我 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)似乎有一吨的妇女在爵士队的特色，埃米莉填满，所以充满优雅的玛丽奥斯本之间的真正的名称和妇女人才的爵士乐吉他手今天和显着的爵士乐吉他制作匠现在越来越多，吉他手延长无效：（按姓名以了解更多）

and all you beautiful ladies everywhere out there,和所有地方在那里你漂亮的小姐，
taking the lessons, putting in the time and passing it on.采取的教训，把在时间和传递它。

For more information on women in jazz see these titles or websites: 欲了解更多信息，爵士乐妇女看到这些书籍或网站：

To view these and other videos from ladies of jazz visit the要查看这些女士们的爵士乐和其他视频访问 Players 运动员 page.页面。

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