圖書館
去和人民的地方讀： 包括Emily的書和文章利益。
點擊書像為買的選擇。
我們俯視了的標題？ 這裡點擊 分享您的建議。
音樂大師： 交談與Berklee Greats ：
~小&泰勒~
從獨家採訪今天揀掉從Berklee，音樂Berklee學院校友雜誌，直言採訪的這彙集與這樣傑出校友的像昆西・瓊斯， Branford Marsalis，史蒂夫Vai， Paula Cole，麥克船尾，比爾Frisell和許多其他是智慧、幽默和洞察金礦。 聞悉獨特，意想不到的挑戰成功可能帶來。
許多巨大交談以一些著名的名字從Berklee和可能最後採訪完成與Emily。
等待頭昏眼花
~基因渣滓~
Jazzletter出版者基因渣滓描出13名退伍軍人爵士樂音樂家。 當他記錄他們的影響就爵士樂歷史時，更大的狀況溫暖和經常滑稽的長輩statespersons在他們的藝術和個人生活反射。 得出從他的廣博的學識和他自己的經驗作為執行者，渣滓揭穿爵士樂神話并且面對種族主義。 他最後的雜文尊敬喇叭超級明星頭昏眼花的Gillespie和其他相等的覆蓋面對音樂家像漢克瓊斯、草本Ellis， Al灰色和ff特殊優點，一篇雜文與晚和美妙， Emily Remler。
物質詳細和顯露的採訪由其中一個最有天才的交談者在事務。 真實地一更好的窗口在她的世界。
jazz女士： 當代婦女樂器演奏者
~ Lesile Gourse ~
爵士樂熱心者， Gourse給當代婦女爵士樂音樂家這次歡樂的勘測帶來許多能量和知識。 雖然男性爵士樂音樂家認為婦女爵士樂歌手「如貴婦」，吹墊鐵和搗在鼓的婦女是簡單不能接受的。 那種偏見沒有停止，終於在「橫渡性別障礙，在70年代初期，開始有更加巨大的成功的婦女樂器演奏者」。 Gourse估計在使那進展成為可能的態度上的變化，但她集中大多數她的注意於婦女，描述他們的驅動、信心和天分，抓住每位音樂家的個性本質，當分享他們的試驗和勝利時的傳說。
對許多婦女在爵士樂將張開您的眼睛。 仅一個短的章節在Em，但它有包括的她的生活的一些較少人知的信息。
認為在爵士樂： 即興創作無限藝術
~保羅柏林火腿花色~
這一定將是明確的來源在即興的爵士樂。 一位領導在領域，柏林火腿花色(ethnomusicology，西北)報道即興創作的所有方面當藝術形式、科學和生活方式。 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 This 1984 book might be a little outdated but it mentions some of the best players on the planet and gives a short summary of their impact at the time written.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?
