图书馆
去和人民的地方读： 包括Emily的书和文章利益。
点击书像为买的选择。
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音乐大师： 交谈与Berklee Greats ：
~小&泰勒~
从独家采访今天拣掉从Berklee，音乐Berklee学院校友杂志，直言采访的这汇集与这样杰出校友的象昆西·琼斯， Branford Marsalis，史蒂夫Vai， Paula Cole，麦克船尾，比尔Frisell和许多其他是智慧、幽默和洞察金矿。 闻悉独特，意想不到的挑战成功可能带来。
许多巨大交谈以一些著名的名字从Berklee和可能最后采访完成与Emily。
等待头昏眼花
~基因渣滓~
Jazzletter出版者基因渣滓描出13名退伍军人爵士乐音乐家。 当他记录他们的影响就爵士乐历史时，更大的状况温暖和经常滑稽的长辈statespersons在他们的艺术和个人生活反射。 得出从他的广博的学识和他自己的经验作为执行者，渣滓揭穿爵士乐神话并且面对种族主义。 他最后的杂文尊敬喇叭超级明星头昏眼花的Gillespie和其他相等的覆盖面对音乐家象汉克琼斯、草本Ellis， Al灰色和ff特殊优点，一篇杂文与晚和美妙， Emily Remler。
物质详细和显露的采访由其中一个最有天才的交谈者在事务。 真实地一更好的窗口在她的世界。
jazz女士： 当代妇女乐器演奏者
~ Lesile Gourse ~
爵士乐热心者， Gourse给当代妇女爵士乐音乐家这次欢乐的勘测带来许多能量和知识。 虽然男性爵士乐音乐家认为妇女爵士乐歌手“如贵妇”，吹垫铁和捣在鼓的妇女是简单不能接受的。 那种偏见没有停止，终于在“横渡性别障碍，在70年代初期，开始有更加巨大的成功的妇女乐器演奏者”。 Gourse估计在使那进展成为可能的态度上的变化，但她集中大多数她的注意于妇女，描述他们的驱动、信心和天分，抓住每位音乐家的个性本质，当分享他们的试验和胜利时的传说。
对许多妇女在爵士乐将张开您的眼睛。 仅一个短的章节在Em，但它有包括的她的生活的一些较少人知的信息。
认为在爵士乐： 即兴创作无限艺术
~保罗柏林火腿花色~
这一定将是明确的来源在即兴的爵士乐。 一位领导在领域，柏林火腿花色(ethnomusicology，西北)报道即兴创作的所有方面当艺术形式、科学和生活方式。 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 This 1984 book might be a little outdated but it mentions some of the best players on the planet and gives a short summary of their impact at the time written.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
Larry’s Bio: Improvising: My Life In Music, mentions Emily on several pages. 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 Interest
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?
