مكتبة
![[إلّي] رفّ كتب](http://www.allthingsemily.com/wp-content/uploads/2006/12/bookshel.jpg)
أماكن أن يذهب وعمّرت أن يقرأ: كتب ومواد الفائدة أنّ يتضمّن [إميلي].
طقطقة كتاب أيقون ل يشتري خيارات.
عناوين نحن قد أطلّنا? طقطقت هنا أن يشارك اقتراحاتك.
أسياد اللون موسيقى: محادثات مع [بركل] [غرتس]:
~ صغيرة & تايلور ~
ينقّي من مقابلات حصريّة من [بركل] اليوم, الخريجات مجلة من [بركل] كلية اللون موسيقى, هذا تجميع من مقابلات نزيهة مع هذا خريجات شهيرة بما أنّ [قوينسي] جونس, [برنفورد] [مرسليس], ستيف [في], [بولا] [كل], مايك كوثل, فاتورة [فريسلّ] وكثير أخرى [غلد مين] من حكمة, فكاهة وتبصر. يقرأ حول الفريد, تحديات غير متوقّع أنّ نجاح يستطيع أحضرت.
حصص من محادثات عظيمة مع بعض اسم بارزة من [بركل], وربّما المقابلة متأخّرة في أيّ وقت يتمّ مع [إميلي].
ينتظر لمصاب بدوار
~ مورثة [ليس] ~
[جزّلتّر] ناشرة مورثة يرسم [ليس] 13 محارب قديم جاز موسيقيات. دافئة ومضحكة شيخة غالبا يعكس [ستتسبرسنس] على هم فن وحيوات شخصيّة بينما هو يسجّل تأثيرهم في السياق كبيرة من جاز تاريخ. يسحب من معرفته موسوعيّة وه خاصّة خبرة كمؤدّ, كشف زيف [ليس] جاز أساطير ويجابه عنصرية. يشرّف تجربته نهائيّة بوق [جلّسبي] [سوبرستر] مصاب بدوار, وأخرى يتماثل تغطية إلى موسيقيات مثل شلّة خيط جونس, عشب [إلّيس], [أل] [غري], ومن إستحقاق خاصّة, تجربة مع المتأخّرة ورائعة, [إميلي] [رملر].
معمّقة ويكشف مقابلة المادة بواحدة من ال [كنفرسأيشنليستس] موهوبة أكثر في العمل. حقّا واحدة من النافذات جيّدة على عالمه.
سيدة [جزّ]: معاصرة نساء آلاتيات
~ [لسل] [غورس] ~
جاز يحضر متحمسة, [غورس] حصص من طاقة ومعرفة إلى هذا [أوببت] فحص من معاصرة نساء جاز موسيقيات. رغم أنّ ذكريّة جاز موسيقيات اعتبروا نساء جاز مغنيات "أنثويّة," كان نساء يفجّر قرن بوري ويسحق على طبل فقط جلّيّة غير مقبول. أنّ لم يتوقّف ضرر نساء آلاتيات الذي, أخيرا, [إين ث رلي 1970س], بدأ أن يتلقّى نجاح عظيمة في "يعبر الجنس عائقة." [غورس] يقدّم التغيرات في موقف أنّ جعل أنّ تقدم يمكن, غير أنّ [فوكسس] هو أكثر من إنتباهه على النساء بنفسي, يصف هم إدارة وحدة دفع, ثقة, وموهبة, على قبض الجوهر من كلّ موسيقية شخصية بينما يشارك حكايات من هم محاكمات وإنتصارات.
سيفتح أعينك إلى كثير نساء في جاز. فقط يتلقّى فصل قصيرة على [إم], غير أنّ هو بعض معلومة [لسّر-نوون] من حياته يتضمّن.
يفكّر في جاز: الفن لانهائيّة ارتجال
~ بول [برلينر] ~
سيكون هذا بالتّأكيد المصدر محدّدة على جاز ارتجاليّة. يغطّي زعيمة في المجال, [برلينر] ([إثنوموسكلوج], شماليّ غربيّ) كلّ مظاهر الارتجال ك [أرت فورم], علم, و [وي وف ليف]. Cutting no corners, he includes a vast range of article topics (from inspiration and arrangements to evaluation and audience interaction), music texts (from the 1920s to the present), artist interviews, and disc-, video-, and bibliographies. Of the caliber of Grove’s Dictionary of Music, this book is no less important to any serious music collection. Practicing musicians will be satisfied by the text and musical examples, while lay readers will come to understand the significance of jazz in American history and culture. ~ Cynthia Ann Cordes.
If you want to immerse yourself deep into jazz and get some insight from legendary players like Emily, this is the book. Very theoretical and incredibly detailed accounts of how the greatest minds in jazz developed and created a legacy into the diverse free form structure that is improvisation.
The Jazz Guitarists
~ Stan Britt ~
Author Stan Britt presents a selection of modern masters of the guitar giving an in depth profile of twelve leading jazz guitar players and even includes an eight bar phrase of their music, in tablature notation, to give the reader a brief passage in the style of each master, that can be played on their own instrument at home. This 1984 book might be a little outdated but it mentions some of the best players on the planet and gives a short summary of their impact at the time written.
Has a concise and informative style featuring many of the greats: Emily, Scofield, Metheny, Pass, Ellis, Benson, Burrell, Christian, Green, Hall, Osborne, Johnson and Montgomery.
Masters of Jazz Guitar
~ Charles Alexander ~
Skillfully mixes more than 200 color photos of musicians and album-cover art with 25 insightful essays by notable writers. Beginning with jazz guitar roots, Alexander–publisher of Jazzwise magazine–traces the use of the guitar from swing to bop to bebop, cool, hardbop, and fusion. It contains such icons as Django Reinhardt, Charlie Christian, Joe Pass, and Wes Montgomery; devotes sections to specialty areas such as Brazilian guitarists; and showcases some of the new talent on both sides of the Atlantic. A visually stunning, informative compendium of the many styles of jazz guitar during the last century. Includes photographs of prebop giants such as Duke Ellington and Louis Armstrong as well as lesser-known artists.
Meet Your Makers. Excellent information from a time line and historical point of view. Great pictures you never knew existed of your favorite artists.
The Gibson 335: Its History and Its Players
~ Adrian Ingram ~
Gibson’s first “semi-acoustic” the ES-335, which was neither totally solid nor fully acoustic, is the guitar of choice used by many famous guitarists such as Andy Summers, Elvin Bishop, Lee Ritenour, Jay Graydon, Robben Ford, Freddie King, John McLaughin, Jimmy Page, Chuck Berry, Tony Mottola, Johnny Rivers, Jack Wilkins, Bono, Grant Green, Eric Clapton, Stevie Ray Vaughan, Alvin Lee, B.B. King, Emily Remler, Otis Rush, Pete Townshend, John Lee Hooker, and Larry Carlton.
Every detail, every angle, every aspect of Gibson’s history with the 335 and its many variations.
OTHERS
Kiss And Tell: Autobiography from Martin Taylor who toured with Emily in the 80’s, shares his views. From his experience playing with her he says: “Of all the guitarists I’ve played with in a duo situation, Emily was the player I enjoyed working with the most. She was a great accompanist as well as soloist and that isn’t always the case. I’ve played with some great players who tend to let the accompaniment sag a bit, but with Emily we complemented each other perfectly and swapped solos almost seamlessly.”
It’s almost too hard to think about all the magic lost to us.
The Jazz Scene: An Informal History from New Orleans to 1990:
With hundreds of interviews along with enlightening commentary, we are presented the origins and adventures of musicians themselves from the place where jazz was born.
An interesting look and history from W. Royal Stokes.
Improvising: My Life In Music,
Larry’s Bio mentions Emily on several occasions. See the Good Words page for one of the nicer passages or click the icon to read more at Amazon.
EXCERPTS
click on the titles below to be forwarded
Gene Lees Interview in PDF format.
Emily article in Berklee Today from the fall of 1989 as HTML page but download link is there as well.
ARTICLES of INTERESTS
click on title to view story
POP JAZZ: EMILY REMLER, NEW GUITAR VIRTUOSO, AT BLUE NOTE
decent length article that has some insights.
BLUE NOTE FESTIVAL -
just a blurb, but we’ll take it.
CONCERT: GUITAR FESTIVAL -
less than a blurb, still taking it.
MUSIC: NOTED IN BRIEF: Emily Remler, Guitarist, and 2 Singers Perform
brief yes, flattering, no. it wasn’t roses all the time.
Then Later
An article written in July about her appearance at a downtown club titled, “Electric Guitars Ricochet In Fat Tuesday’s Series”, suggests that the idea of four modern guitar masters playing together, (Emily, John Abercrombie, Chuck Loeb & Vic Juris) might have been better in thought than performance.
Evidently the piano player backing this group was really amped up and overbearing on the sound. As John Wilson wrote in his review,
“with the low celiings, narrow room and walls lined with mirrors, the highly amplified sound of an electric guitar, much less four of them, set up a powerful ricochet of ringing that was not helped by the over-amplification of Mr. Willi’s piano.”
He goes on to say that “Mr. Abercrombie and Mr. Loeb, gave the room the sound of a shooting gallery while much of Miss Remler’s mixture of chorded and single string playing was obscured by the piano all together.”
I can clearly imagine the backstage bitching session that ensued after this gig, can’t you?
