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Firefly 1981 Firefly 1981

Her 1st album at the tender age of 23 was due in part from her appearance with John Clayton on “ It's All In The Family ” that caught the ear of the executives at Concord. Hendes 1. album på tilbud alder af 23 skyldtes til dels fra hendes udseende med John Clayton på "It's All In The Family", der er fanget i øret på den udøvende på Concord. Firefly was Emily's first recording as leader and a promising debut. Firefly var Emily's første indspilning som leder og en lovende debut. Joined by pianist Hank Jones, bassist Bob Maize and drummer Jake Hanna, Emily delivers an enjoyable hard bop beginning. Følgeskab af pianisten Hank Jones, bassisten Bob Majs og trommeslager Jake Hanna, Emily leverer en fornøjelig hårdt bop begyndelse. The album wasn't groundbreaking by early-'80s standards — although recorded in 1981, it sounds like it could have been recorded in 1961. Albummet blev ikke banebrydende ved tidlig 80'erne standarder - selv om registreret i 1981, det lyder som det kunne have været registreret i 1961. Emily brought a lot of potential to lively, swinging performances of Horace Silver's “Strollin',” McCoy Tyner's “Inception,” and Montgomery's “Movin' Along.” She also provided two original tunes (“Perk's Blues” and “The Firefly”) and pleasantly surprises listeners by unearthing a pretty but lesser-known Antonio Carlos Jobim song titled “Look to the Sky.” Her heartfelt interpretation demonstrates that the Jobim melody deserved to be much better known. Emily bragte en masse potentiale til at livlige, swingende opførelser af Horace Silver's "Strollin '," McCoy Tyner's "indledende", og Montgomery's "Movin' Along". Hun har også fremlagt to oprindelige melodier ("Perk's Blues" og "The Firefly") og behagelig overraskelser lytterne ved opgravning en smuk, men mindre kendte Antonio Carlos Jobim titlen sangen "Look at the Sky." Hendes dybtfølte fortolkning viser, at Jobim melodien fortjente at være meget mere kendt.

” Remler is a prodigy and a phenomenon.. "Remler er et vidunderbarn og et fænomen .. Too much! For meget! ” ~ W. Royal Stokes "~ W. Royal Stokes

Take Two 1982 Take Two 1982

Emily's second recording as a leader found the 24-year-old guitarist still very much playing in the Wes Montgomery vein, although her own musical personality was beginning to emerge. Emily's anden optagelse som leder fandt den 24-årige guitarist stadig meget at spille i Wes Montgomery blodåre, selv om hendes egen musikalske personlighed var begyndt at dukke op. She is joined by pianist James Williams, bassist Don Thompson and drummer Terry Clarke on a challenging set of material filled with obscurities and rarely performed gems such as Cannonball Adderley's “Cannonball”, Dexter Gordon's “For Regulars Only”, McCoy Tyner's “Search for Peace”, and Monty Alexander's “Eleuthra”. Hun får følgeskab af pianisten James Williams, bassisten Don Thompson og trommeslager Terry Clarke på en udfordrende sæt materiale fyldt med uklarheder og sjældent udførte perler som Cannonball Adderley's "Cannonball", Dexter Gordon's "For regulære Only", McCoy Tyner's "Søg for Fred ", og Monty Alexander's" Eleuthra ". Better known are “In Your Own Sweet Way” and “Afro Blue”, an amazing tune written by Mongo Santamaria, popularized by Coltrane, but perfected for solo guitar by Emily. Bedre kendt er "In Your Own Sweet Way" og "Afro Blue", en fantastisk melodi skrevet af Mongo Santamaria, populariseret af Coltrane, men perfektioneret for sologuitar af Emily. She also contributes two originals, “Waltz For My Grandfather” a gentle and elegant Jim Hall-esque melody and “Pocket Wes”, a brandish rhythmic romp. Hun har også bidrager med to originaler, "Waltz for min bedstefar" en blid og elegant Jim Hall-esque melodi og "Pocket Wes", en svinge rytmisk boltre.

” Emily Remler has made a swift and admirable advance from promising youngster to creative and fast growing professional… the proof is nowhere more apparent than in this most carefully planned and brilliantly executed set of performances. "Emily Remler har lavet en hurtig og beundringsværdigt forhånd fra lovende ung til kreative og hurtigt voksende professionelle ... beviset er ingen steder mere tydeligt end i denne mest omhyggeligt planlagt og glimrende udført sæt af forestillinger. ” ~ Leonard Feather "~ Leonard Feather

Transitions 1983 Overgange 1983
Her third Concord recording was a strong step forward, as she started to really find a voice of her own. Hendes tredje Concord optagelsen var en stærk skridt fremad, da hun begyndte at rigtig finde en stemme i hendes egen. Rather than a standard piano-bass-drums trio, Remler teamed up with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses. Snarere end en standard klaver-bas-trommer trio, Remler gået sammen med trompetisten John D'Jorden, bassisten Eddie Gomez og trommeslageren Bob Moses. Her three originals were challenging, and the quartet also performed Sam Jones' swinging “Del Sasser,” Duke Ellington's lesser-known “Searchin'” and Keith Jarrett's “Coral. Hendes tre originaler var udfordrende, og kvartetten optrådt Sam Jones 'swingende "Del Sasser" Duke Ellington's mindre kendte "Searchin" og Keith Jarrett's "Coral. ” Throughout Emily shows that her future lay beyond straight-ahead bebop. "Igennem Emily viser, at hendes fremtid ligger ud over ligeud-Bebop. All in all, this is one of the strongest Alt i alt, dette er et af de stærkeste
of her solo recordings. af hendes solo optagelser.

” Here is a brilliant, fast developing talent, not merely surrounding herself with accompanists, but becoming part of a splendidly unified group. "Her er en genial, hurtig udvikling talent, ikke blot omkring sig med akkompagnatører, men bliver en del af en storartet samlet gruppe. I suspect that Transitions will be long remembered as one of the giant steps in the evolution of Emily Remler. Jeg formoder, at Overgange vil blive længe husket som en af de gigantiske skridt i udviklingen af Emily Remler. “ ~ Leonard Feather "~ Leonard Feather

Catwalk 1984 Catwalk 1984
While her earlier dates were very much in the bop mainstream, this fine effort (in a quartet with trumpeter John D'Earth, who teamed with her in Transitions, bassist Eddie Gomez and drummer Bob Moses) found her looking ahead and finding the composer within, on seven diverse originals. Mens hendes tidligere datoer blev meget i BOP mainstream, denne fine indsats (i en kvartet med trompetist John D'Jorden, der gik sammen med hende i Transitions, bassisten Eddie Gomez og trommeslageren Bob Moses) fandt hende at se fremad og finde komponisten inden på syv forskellige originaler. She comes through with authority and her presence, her warmth, and the fresh flow of lyricism is a joy to experience. Hun kommer igennem med autoritet og hendes tilstedeværelse, hendes varme, og den friske strøm af lyrik er en fryd at opleve. It was a strong and fairly adventurous effort for them all and one of the finest recordings of her short career as a composer. Det var en stærk og temmelig eventyrlige indsats for dem alle, og en af de fineste indspilninger af hendes korte karriere som komponist.

” Remler's presence – the fusion of sound, time, and ideas – has an immediacy and strength of identity… This is more than exceptional talent; this is someone who, from the top of the first chorus, lets you know who she is. "Remler tilstedeværelse - sammensmeltning af lyd, tid og ideer - har en umiddelbarhed og styrken af identitet ... Det er mere end usædvanlige talent, og dette er en person, der fra toppen af første omkvæd, lader dig vide, hvem hun er. “ ~ Nat Hentoff "~ Nat Hentoff

East To Wes 1988 Øst til Wes 1988
Here Emily continues to raise her game. Her Emily fortsætter med at hæve sit spil. Her fluid technique brightens such seldom heard numbers as the Clifford Brown's melodic “Daahoud” and her luminous arrangement of Claude Thornhill's lovely “Snowfall”. Hendes væske teknik lyser sådan sjældent hørt numre som Clifford Brown's melodiske "Daahoud" og hendes lysende arrangement Claude Thornhill dejlige "Snefald". Also included is the relaxed rendition of “Sweet Georgia Fame”, the first ever guitar version of “Hot House”, her incredible props for Herb Ellis in “Blues For Herb” and of course the tribute to Wes, “East To Wes”, for which she explains, “Wes was one of the greatest improvisers I ever heard. Der er også inkluderet den afslappede udgave af "Sweet Georgia Fame", den første nogensinde guitar version af "Hot House", hendes utrolige rekvisitter til Herb Ellis i "Blues For Herb" og selvfølgelig hyldest til Wes, "East Til Wes", for som hun forklarer: "Wes var en af de største improvisatorer jeg nogensinde har hørt. His feeling was happy, his soul was beautiful. Hans fornemmelse var glad, hans sjæl var smuk. He made listener's feel.” The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin “Smitty” Smith. Han gjorde lytterens fornemmelse. "Den polerede rytmesektion omfatter mesterlig pianist Hank Jones, bassisten Buster Williams og trommeslager Marvin" Smitty "Smith. Maybe her best Swing album ever. Måske hendes bedste Swing album nogensinde.

” Emily Remler's time is so sure, so flowing, that it's as natural to her as breathing. "Emily Remler tid er så sikker, så flydende, at det er lige så naturligt for hende som at trække vejret. So is her warmth – of tone and conception. Så er hendes varme - i tone og undfangelse. She's a natural story-teller, keeping the narrative line alive with an exact sense of dynamics and color. Hun er en naturlig historiefortæller, holde fortællingen linje i live med en præcis sans for dynamik og farve. “ "
~ Nat Hentoff ~ Nat Hentoff

This Is Me 1990 This Is Me 1990
Emily's first and only album with Jusitce Records, and the premiere for her creative excursion into electric jazz-pop, where she incorporated pop and rock elements on her own terms but maintained her musical integrity and entirely avoided radio-oriented smooth jazz drivel. Emily's første og eneste album med Jusitce Records, og premieren for hendes kreative udflugt til elektrisk jazz-pop, hvor hun indarbejdet pop og rock elementer på hendes egne præmisser, men fastholdt sin musikalske integritet og helt undgås radio-orienterede smooth jazz vrøvl. What remains constant is the warm and lyrical nature of her playing. Hvad forbliver konstant er varm og lyrisk karakter af hendes spil. While the influence of Wes Montgomery and Herb Ellis remains, some of these pieces indicate that she was paying close attention to Pat Metheny. Mens indflydelse Wes Montgomery og Herb Ellis er fortsat nogle af disse stykker tyder på, at hun var meget opmærksom på Pat Metheny. She was most proud of this recording, on which she wrote or co-wrote all the material except “Love Colors” and was genuinely overjoyed by the outstanding musicians involved in it's creation, the likes of the great Brazilian guitarist, Romero Lubambo, pianists, Bill O'Connell and David Benoit, bassist Lincoln Goines, trombonist Jay Ashby and drummer Ricky Sebastian. Hun var mest stolt af denne indspilning, som hun skrev eller co-skrevet alt materialet undtagen "Love Farver" og blev virkelig lykkelig af de udestående musikere er involveret i det skabelse, den holder af den store brasilianske guitarist, Romero Lubambo, pianister, Bill O'Connell og David Benoit, bassisten Lincoln Goines, trombonist Jay Ashby og trommeslager Ricky Sebastian. It was a bold statement for where she was headed and why we wanted to go with her. Det var en fed opgørelse for, hvor hun blev ledet, og hvorfor vi ønskede at gå med hende.

” Emily had a unique way of touching us all. "Emily havde en unik måde at røre os alle. Her abilities as a guitarist were easily matched by her enthusiasm for the music- her music. Hendes evner som guitarist var let matches af hendes begejstring for musik-hendes musik. She was enjoying the freedom of a new musical direction when we recorded this set of songs. Hun var at nyde friheden af et nyt musikalsk retning, når vi indspillede dette sæt af sange. Ever so critical of herself and ever so passionate about her music, this collection of material was to be the latest adventure in a constantly evolving identity. Nogensinde så kritisk over for sig selv og stadig så passioneret om sin musik, denne samling af materiale var at være den nyeste eventyr i en konstant udvikling identitet. She loved this record, the excellence of those involved and the commitment she made to herself by stepping out on the edge. Hun elskede denne post, kvaliteten af de involverede og engagement, hun gjorde sig selv ved at træde ud på kanten. “ ~ Jeffrey Weber "~ Jeffrey Weber

Compilations Opsamlinger

Retrospective Vol. Retrospektiv Vol. 1: Standards 1991 1: Standarder 1991

1. 1. Daahoud 2. Daahoud 2. How Insensitive 3. Hvordan Insensitive 3. Strollin' 4. Strollin «4. Hot House 5. Hot House 5. In Your Own Sweet Way 6. I din egen Sweet Way 6. Joy Spring 7. Joy Spring 7. Softly, As In A Morning Sunrise Sagte, som i en Morning Sunrise
8. 8. Afro Blue 9. Afro Blue 9. Del Sasser 10. Del Sasser 10. In A Sentimental Mood I A Sentimental Mood

Retrospective Vol. Retrospektiv Vol. 2: Compositions 1991 2: Kompositioner 1991

1. 1. Mocha Spice 2. Mocha Spice 2. Nunca Mais 3. Nunca Mais 3. Waltz For My Grandfather 4. Vals For My bedstefar 4. Catwalk 5. Catwalk 5. Blues For Herb 6. Blues For Herb 6. Transitions 7. Overgange 7. The Firefly 8. Den Firefly 8. East To Wes 9. Øst til Wes 9. Antonio 10. Antonio 10. Mozambique Mozambique

Companion songbook 1996 Companion sangbog 1996

Notation & tab of her compositions transcribed by Dan Bowden Notation & fane af hendes kompositioner transskriberet af Dan Bowden
contains all songs from cd above. indeholder alle sange fra cd ovenfor.

usually available from 3rd parties on amazon, click image to go see. normalt tilgængelige fra 3. parter på amazon, klik på billedet for at gå se.