As Leader Kao Leader
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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. Njen 1. album u tenderskoj dobi od 23 bila je dijelom zbog njene pojave sa John Clayton na "It's All in the Family", koji je uhvaćen uho rukovoditelji u Concord. Firefly was Emily's first recording as leader and a promising debut. Firefly Emily je bila prva snimanja kao vođa i obećavajući debi. Joined by pianist Hank Jones, bassist Bob Maize and drummer Jake Hanna, Emily delivers an enjoyable hard bop beginning. Pridružio i pijanist Hank Jones, basist i bubnjar Bob Kukuruz Jake Hanna, Emily pruža ugodan hard bop početka. The album wasn't groundbreaking by early-'80s standards — although recorded in 1981, it sounds like it could have been recorded in 1961. Album nije bio revolucionarni by rano-'80s standardima - iako je zabilježen u 1981, to zvuči kao što bi to moglo biti zabilježene u 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 donio mnogo potencijala za živo, ljuljanje nastupima Horace Silver's "Strollin '", McCoy Tyner's "početne" i Montgomery's "Movin' Along." Ona je također pružio dva izvorna napjeva ( "Perk's Blues" i "Firefly") i ugodno iznenađuje slušatelja po unearthing prilično, ali manje poznati Antonio Carlos Jobim pjesmu pod nazivom "Pogledaj na nebo." Njena iskren interpretacija pokazuje da Jobim melodiju zaslužuje da bude puno bolje poznat.
” Remler is a prodigy and a phenomenon.. "Remler je čudo od djeteta i pojava .. Too much! Previše! ” ~ 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 drugi snimanja kao vođa pronašao 24-godišnji gitarist i dalje jako puno igrati u venu Wes Montgomery, iako njezin vlastiti glazbeni osobnost je počela rađati. 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”. Ona se pridružili pijanist James Williams, basist Don Thompson i bubnjar Terry Clarke na izazovan set materijala pun nejasnoća i rijetko izvode dragulja poput Cannonball Adderley's "Cannonball", Dexter Gordon je "Za Regulars Only", McCoy Tyner je "Traži mir ", a 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. Poznatiji su "In Your Own Sweet Way" i "Afro Blue", pjesma koju je napisao iznenađujuće Mongo Santamaria, koju je popularizirao Coltrane, ali usavršen za solo gitaru 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. Ona također doprinosi dva izvornika, "Waltz For Moj djed", nježan i elegantan Jim Hall-esque melodiju i "Pocket Wes", zamahnuti ritmičku nered.
” 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 je napravio brzu i divljenja unaprijed od obećavajuće dijete do kreativnih i brzo rastuća profesionalna ... dokaz je nigdje više nego očito iz ove pažljivo planirane i briljantno izvršava niz predstava. ” ~ Leonard Feather "~ Leonard Feather
Transitions 1983 Prijelazi 1983 
Her third Concord recording was a strong step forward, as she started to really find a voice of her own. Svoju treću Concord snimka je bila jaka korak naprijed, jer je počeo da se zaista naći glas vlastite. Rather than a standard piano-bass-drums trio, Remler teamed up with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses. Umjesto standardnih klavir-bas-bubnjevi trio, Remler udružio s trubač John D'Zemlji, basist Eddie Gomez i bubnjar 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. Troje izvornici su izazovne, te su izveli kvartet Sam Jones 'ljuljanja "Del Sasser," Duke Ellington je manje poznata "Searchin'", a Keith Jarrett's "Coral. ” Throughout Emily shows that her future lay beyond straight-ahead bebop. "Kroz Emily pokazuje da joj je budućnost stavi izvan ravno naprijed bebop. All in all, this is one of the strongest Sve u svemu, ovo je jedan od najjačih
of her solo recordings. njezina solo snimki.
” Here is a brilliant, fast developing talent, not merely surrounding herself with accompanists, but becoming part of a splendidly unified group. "Ovdje je briljantan, brzo razvija talent, a ne samo sebe okolnim accompanists, ali postaje dio jedinstvenog sjajno grupa. I suspect that Transitions will be long remembered as one of the giant steps in the evolution of Emily Remler. Ja sumnjate da Transitions će se dugo pamtiti kao jedan od divovskih koraka u evoluciji 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. Dok je ranije datume su veoma bop mainstream, ovaj fini napor (u kvarteta s trubač John D'Zemlji, koji se udružio s njom u Transitions, basist Eddie Gomez i bubnjar Bob Mojsije) pronašao ju gleda naprijed i nalaz skladatelj u roku od , na sedam različitih originala. She comes through with authority and her presence, her warmth, and the fresh flow of lyricism is a joy to experience. Ona dolazi putem uz tijelo i svoju prisutnost, svoju toplinu, i svježe protok lirizma je radost doživjeti. It was a strong and fairly adventurous effort for them all and one of the finest recordings of her short career as a composer. To je bio snažan i prilično avanturistički napor za njih sve i jedan od najboljih snimaka svoje kratke karijere kao skladatelj.
” 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 prisutnost - spoj zvuka, vremena i ideja - ima neposrednosti i snagu identiteta ... To je više nego izuzetna talenta, to je netko tko je, od vrha prvog refrena, omogućuje vam da znate tko je ona. “ ~ Nat Hentoff "~ Nat Hentoff
East To Wes 1988 Istok Za Wes 1988 
Here Emily continues to raise her game. Ovdje Emily nastavlja podizati svoju igru. 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”. Njezina tehnika fluida osvjetljava kao malokad čuo brojeve kao Clifford Brown's melodic "Daahoud" i njena svjetlosne uređenje Claude Thornhill je lijep "Snijeg". 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. Isto tako sadržano je opuštena pjesmom "Sweet Georgia Fame", prvi ikad gitaru verzija "Hot House", njezin nevjerojatan rekvizite za Herb Ellis u: "Blues For Herba" i naravno počast Wes, "East To Wes", za koji je, objašnjava, "Wes je bio jedan od najvećih improvisers sam ikada čuo. His feeling was happy, his soul was beautiful. Njegov osjećaj je bio sretan, njegova duša je bila lijepa. He made listener's feel.” The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin “Smitty” Smith. On je napravio slušatelj je osjećaj. "Polirano ritam sekcija sadrži majstorski pijanist Hank Jones, basist Buster Williams i bubnjar Marvin" Smitty "Smith. Maybe her best Swing album ever. Možda joj je najbolji album ikada Swing.
” Emily Remler's time is so sure, so flowing, that it's as natural to her as breathing. "Emily Remler Vrijeme je tako sigurno, tako teče, to je to kao prirodno da je kao disanje. So is her warmth – of tone and conception. Tako je njezina toplina - tona i začeća. She's a natural story-teller, keeping the narrative line alive with an exact sense of dynamics and color. Ona je prirodni pripovjedač, imajući pripovjednih linija živi s točnim osjećaj dinamike i boja. “ "
~ 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 je prvi i jedini album s Jusitce Records, a premijera za svoje kreativne izlet na električni jazz-pop, gdje je ugrađena pop i rock elemenata na njoj vlastitim uvjetima, ali zadržala svoju glazbenu cjelovitost i potpuno izbjegavati radio-orijentirana glatka jazz baljezganje. What remains constant is the warm and lyrical nature of her playing. Što ostaje konstantan je topla i lirski karakter njezina igra. While the influence of Wes Montgomery and Herb Ellis remains, some of these pieces indicate that she was paying close attention to Pat Metheny. Dok je utjecaj Wes Montgomery i Herb Ellis ostaci, neki od ovih komada ukazuju da je ona plaćati zatvoriti pozornost na 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. Ona je najviše ponosna na to snimanje, na kojem je napisala or co-wrote svih materijala osim "Boje ljubavi" i bio je presretan istinski izvanredan glazbenici koji su uključeni u to je stvaranje, voli velike brazilski gitarist, Romero Lubambo, pijanista, Bill O'Connell i David Benoit, basist Lincoln Goines, trombonist Jay Ashby i bubnjar Ricky Sebastijana. It was a bold statement for where she was headed and why we wanted to go with her. To je bila izjava za podebljano, gdje je bio na čelu je i zašto smo htjeli da ide s njom.
” Emily had a unique way of touching us all. "Emily je jedinstven način dodiruju sve nas. Her abilities as a guitarist were easily matched by her enthusiasm for the music- her music. Njezina sposobnosti kao gitarista je lako podudarni njezin entuzijazam za glazbu-svoje glazbe. She was enjoying the freedom of a new musical direction when we recorded this set of songs. Ona je uživajući slobodu novi glazbeni smjer kada smo snimili ovaj set pjesama. 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. Ikada tako kritična prema sebi i uvijek tako strastveni o njezinu glazbu, ova zbirka materijala je da se najnovija avantura u stalno razvoju identiteta. She loved this record, the excellence of those involved and the commitment she made to herself by stepping out on the edge. Ona je voljela ovaj rekord, izvrsnost onih koji su uključeni i predanost ona je to sama po koračni se na rubu. “ ~ Jeffrey Weber "~ Jeffrey Weber
Compilations Kompilacije
Retrospective Vol. Retrospektiva Vol. No. 1: Standards 1991 1: Norme 1991
1. 1. Daahoud 2. Daahoud 2. How Insensitive 3. Kako neosjetljiv 3. Strollin' 4. Strollin '4. Hot House 5. Hot Kuća 5. In Your Own Sweet Way 6. In Your Own Sweet Way 6. Joy Spring 7. Joy Spring 7. Softly, As In A Morning Sunrise Polako, kao u jutarnjim izlaskom sunca
8. 8. Afro Blue 9. Afro Blue 9. Del Sasser 10. Del Sasser 10. In A Sentimental Mood In A Sentimental Mood
Retrospective Vol. Retrospektiva Vol. No. 2: Compositions 1991 2: Skladbe 1991
1. 1. Mocha Spice 2. Mocha Spice 2. Nunca Mais 3. Nunca Mais 3. Waltz For My Grandfather 4. Valcer Za Moj djed 4. Catwalk 5. Catwalk 5. Blues For Herb 6. Blues For Herb 6. Transitions 7. Prijelazi 7. The Firefly 8. Firefly 8. East To Wes 9. East to Wes 9. Antonio 10. Antonio 10. Mozambique Mozambik
Companion songbook 1996 Companion pjesmarica 1996
Notation & tab of her compositions transcribed by Dan Bowden Notacija i karticu njene skladbe prepisati Dan bowden
contains all songs from cd above. sadrži sve pjesme sa CD-a gore.
usually available from 3rd parties on amazon, click image to go see. obično dostupan od 3. stranaka na Amazon, kliknite na sliku za ići vidjeti.
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