Emily's place in the history of women jazz musicians… Emily的地方在歷史上對婦女的爵士樂手...

Y Ÿ ou tell me.歐告訴我。


When asked how she would like to be remembered, she responds:當記者問她怎麼想記住，她回答：

Good compositions, memorable guitar playing and my contributions as a woman in music…. 好作品，令人難忘的吉他演奏和我的貢獻作為一個女人在音樂...。
but the music is everything, and it has nothing to do with politics or the women's liberation movement. 但音樂就是一切，它沒有任何與政治或婦女的解放運動。 You have to rise above it all by being good. 你必須超越它全部由為善。 You don't get angry, you don't get bitter, and you don't get feminist about the situation. 你不生氣，你不苦，你沒有得到女權主義者有關情況。 You get so damn good that they'll forget about all that garbage. 你很該死的好，他們就忘記所有的垃圾。

This is evident as her music advanced, that she was devoted to musical refinement and of broadening her understanding and potential.這是明顯的，因為她的音樂先進，她是專門為音樂完善和擴大她的理解和潛力。 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.這是從來沒有想過這樣做證明自己無愧于她的性別或值得標題與她的男同行，它只是要證明自己值得擁有的音樂。

Emily was a pioneer for all women guitar players.埃米莉是所有婦女的先鋒吉他手。 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她的精神將留在我身邊，我會經常想起她，因為我進入階段，拿起我的吉他和發揮。“〜雷妮斯特恩

And this we also know about those before her:而這一點，我們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.這裡有許多有影響力的婦女誰偽造的方式融入世界的爵士與他們的聲音，甚至是明顯的選擇是做了一個鋼琴，小號，薩克斯管或鼓，但因為這是為罕見，列表選擇誰的婦女追求難怪爵士樂，吉他手是一個很短的名單。

Marian Gange and Carline Ray are the very first names to surface. 瑪麗安甘傑和卡萊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瑪麗安的一部分，許多婦女僅爵士樂隊，尤其是與 INA雷Hutton的樂隊 Melodears Melodears that were popular around Harlem and Manhattan in the 1920′s and '30′s.風靡全球被曼哈頓的哈萊姆和1920年和'30'號 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:當然吉他不是一個非常重要的一部分，大樂隊在那個時代，因為直到基督教插入他的吉他在幾乎沒有預期的儀器除了背景節奏和作曲，這是極好的瑪麗安，因為很明顯在此YouTube剪輯：



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.二戰開始後，所有的婦女瑪麗安加入另一三人的發揮普遍服務義務的旅行和無數醫院為部隊調用， 埃莉諾雪利酒和Swing的心，但沒有太多的信息後，她的職業生涯結束的戰爭。 She was still an important and distinguished figure for early women guitarists.她仍然是一個重要和傑出人物的早期婦女吉他手。

Carline Ray 卡萊恩雷 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是一個有才華多儀器（吉他，電貝司和鋼琴）音樂家和歌手與學位從曼哈頓音樂學院，誰發揮眾多樂隊在她的職業生涯中，第一個獲得認可的工作與她的吉他 International Sweethearts of Rhythm 國際甜心節奏 and as lead singer for the作為主唱的 Erskine Hawkins Orchestra 厄斯金霍金斯樂團 . 。 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.她曾與各種規模的國際集團可以想像的，從艾靈頓公爵大樂隊小組合由瑪麗婁威廉斯領導。 Carline has always been a steadfast activist and role model for many generations of jazz women both in the organization and the movement.卡萊恩一直是堅定的活動家和榜樣，許多世代的爵士樂婦女無論是在組織和運動。 Her contributions are immeasurable.她的貢獻是不可估量的。 Currently Ms. Ray still maintains a full schedule as a teacher at several schools and colleges in the New York-New Jersey area.雷女士目前仍保持完整的時間表作為一名教師在多所學校和學院在紐約新澤西地區。

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.卡羅爾凱被稱為第一夫人的低音，但被遺忘的夫人爵士吉他誰可能作為客座吉他手出現更多專輯和更多的藝術家組合表現比所有婦女總共吉他手。 Yes, it's that many.是的，就這麼多。
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.卡羅爾發揮和爵士吉他專業教授於 1949年開始，是一個經常在各地的無數夜總會洛杉磯地區與群體，如鮑勃尼爾。 ( And she's still burning it up, （她仍然燃燒起來， click here 點擊這裡 to see her take on F Blues with Marco Panascia at NAMM '05 and this amazing footage from看到她拿在F藍調與 Marco Panascia在這驚人的NAMM '05從畫面 NAMM '06 的NAMM '06 as she jams out with George Benson !因為她與喬治班森卡紙了！ ) ）

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.她的貢獻，爵士吉他在很大程度上掌握在她的陰影（從簡單的填充在缺席貝斯手）在電貝司，這是她多年致力於在玩，教學和創作。 Those influenced by her methods include Jaco Pastorius, Christian McBride, Sting, John Paul Jones, Mo Foster and many, many more.這些受她的方法包括雅科Pastorius，基督教麥克布萊德，斯汀，約翰保羅瓊斯，鉬福斯特和許多，許多。 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.我覺得她的公眾影響力是輸給了大多數女性多年來，因為她打了匿名性，而這種現場表演和錄音室的情況幾乎完全是在與電影和音樂行業在西海岸，她悄悄地出現在專輯與雷查爾斯，山姆庫克婁羅爾斯，亨利曼奇尼，昆西瓊斯，香草阿爾貝，正義兄弟，海灘男孩和無數其他人。

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.卡羅爾的影響力，許多音樂家和團體，她一直與多年來是巨大的，為什麼她不能被忽視了。 Read her full story at她在閱讀全文 Carol Kaye website 卡羅爾凱網站 and also don't miss this excerpt on也不要錯過這個上摘錄 Youtube YouTube的 from a documentary about her life.從她的生活紀錄片。 Carol Kaye is one of the true legends of jazz and is still teaching and playing today.卡羅爾凱是一個真正的傳奇爵士樂和仍然是今天的教學和演奏。

The next and more prominent name you will see in the history of women jazz guitarists is下一個越來越突出的名字，你會看到歷史的婦女是爵士樂吉他手 Mary Osborne 瑪麗奧斯本 a mid-western girl from North Dakota.一中西部女孩來自北達科他州。

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.瑪麗很幸運，得到一些教訓的查理基督教自己，這使她一專責組，吉他手，不能只列出他的影響力，但作為一名教師以及。 She was immediately taken by the sound of Christian, and recalls;她立即採取了健全的基督徒，並回顧;

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.我走進宴會廳的穹頂，那裡的阿方索特倫特樂團演奏，並聽取了我是一個男高音薩克斯管，吉他手，我問是在哪裡，然後意識到，薩克斯聲來自一個原油放大器連接到吉他飾演查理的基督徒。 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.從那時起，我有我自己一個瘋狂小三人。

She was just in the right place at the right time and believed in what she could do and where she wanted to go.她只是在正確的地點在合適的時間，並相信在她所能做的，並在那裡她想去的地方。 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.奧斯本女士還提到一個音樂家在芝加哥末30年代那是女人也許是最令人印象深刻的球員，她可能永遠記得聽到。 They were jamming for warm up in one of the downtown theaters, and Mary remembers:他們被干擾的熱身於一體的市中心劇院，和瑪麗記得：

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.一個老年婦女上前問：“你介意我坐嗎？”我說好吧，她得到了最大的Epiphone吉他了我見過的。 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.她看上去並不像一個吉他手，但是當她開始玩，我很驚訝，她有多好，我開始笑了起來。

Her name was Sidney Bell and I've not seen her name mentioned or in print other than Mary's recollection.她的名字叫貝爾悉尼，我從來沒見過她的名字所說的，印刷以外瑪麗的回憶。

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.這是1940年年中發生的所有的通過 60年代，當她與一些偉大的名字的時代：科爾曼霍金斯，吉萊斯皮，藝術塔特姆，默瑟靈頓，瑪麗婁威廉斯和Billie Holiday和出現了許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 !這是一種罕見的片段，顯示瑪麗從比利明確負責吉他，儘管被困背後吸煙長號！

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.瑪麗接著形成自己的三重奏，包括她自己的業務奧斯本吉他公司在貝克斯菲爾德，加利福尼亞州，她生活和演出，直到她於 1992年通過。 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.她的唱片大多是絕版，很難找到一個合理的價格，但她對她最好的紀念光碟，是值得擁有。 Click Here 點擊這裡 to view her discography.觀看她的作品集。

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)噸，似乎有一種無效的功能擴展婦女在爵士吉他手，埃米莉填滿，所以充滿優雅，與瑪麗奧斯本的名稱以及現在越來越多的婦女真正有才華的爵士樂吉他手今天和顯著的爵士樂吉他製作匠：（點擊名字以了解更多）

and all you beautiful ladies everywhere out there,和所有你美麗的女士們到處在那裡，
taking the lessons, putting in the time and passing it on.採取的教訓，把在時間和傳遞它。

For more information on women in jazz see these titles or websites: 欲了解更多有關婦女在爵士看到這些書籍或網站：

To view these and other videos from ladies of jazz visit the要查看這些和其他視頻從爵士夫人們參觀 Players 運動員 page.頁面。

Back To Top回到頂部