솔로 앨범

가용성을 검사하는 누르기 앨범 심상

개똥벌레 1981

죤 Clayton와 가진 그녀의 외관의 부분에서에 "만기가 된 23의 부드러운 나이에 제 앨범그것은 가족에서 모두 있다" 일치에 행정관의 귀를 붙잡은. 개똥벌레는 지도자로 Emily의 첫번째 기록, 및 유망한 무대이었다. 피아니스트, bassist 바브 옥수수 및 Jake Hanna, Emily 드러머에 의해 행크 죤스 결합해 즐거운 단단한 것 처음 때린다 배달한다. 앨범은' 80s 기준에 의하여 일찌기 기공이 아니었다 - 1981년에 기록해, 1961년에 그것 같이 기록될 수 있었다 소리가 난다. Emily는 많은 잠재력을 기운차게 가져와, 따라 진동한 Horace 은의 "Strollin'의 성과," McCoy Tyner "처음을,"와 몽고메리의 "Movin'." 그녀는 또한 2개의 원래 곡 (" 특전 파랑"의와 "개똥벌레")를 제공하고 예쁘고 그러나 유명하지 않아 하늘에 Antonio Carlos Jobim 노래에 의하여 발굴해서 유괘하게 놀랜다 청취자를 표제가 붙은 "보기는." 그녀의 절실한 해석은 매우 더 잘 알려지기 위하여 가치가 있는 Jobim 멜로디 설명한다.

" Remler는 비범 및 현상이다. 너무 많이! ” ~ W. 왕 불을 땐다

포획 2 1982

그녀의 자신의 음악성이 나오더라도 것을 시작되었더라도, 지도자가 24 년 오래된 기타주자를 아직도 대단히 Wes 몽고메리 정맥에서 노는 찾아낸 대로 둘째로 기록해 Emily. 그녀는 피아니스트, bassist 단 톰슨, 및 테리 Clarke 포탄 Adderley의 "포탄" "정규병"를 위한 덱스터 Gordon, McCoy Tyner "평화를 위한 수색", 및 Monty 알렉산더 "Eleuthra"와 같은 불명료 그리고 희소하게 실행된 주옥으로 채워진 물자의 도전 세트에 드러머에 의해 제임스 윌리엄 결합되지 않는다. 더 잘 알려지는 ", 솔로 기타를 위해 Coltrane에 의해 대중화되곤, 그러나 완전히 된 Mongo 산타마리아가 써진 굉장한 곡은 당신의 자신의 감미로운 방법" 및 "아프로 파랑"에 있다 Emily의. 그녀는 또한 2개의 고유를, "나의 할아버지" a를 위한 원무곡 공헌한다 짐 온후하고 우아한 홀 esque 멜로디 및 "포켓 Wes", 진동 rhythmatic 유희.

" Emily Remler는 신속한 것 만들고 유망한 젊은이에게서 창조 및 급성장 전문가에게 감심한 전진은… 증거 아무데도 성과의 이것 가장 주의깊게 계획되고 화려하게 수행한 세트에서 보다는 더 명백하다. ” ~ Leonard 기털

과도 1983
그녀의 제 3 의 일치 기록은 그녀가 진짜로 그녀의 자신의 음성을 찾아내기 것을 시작하기 때문에, 앞으로 강한 단계이었다. 보다는 오히려 기준 피아노 저음 드럼 삼중주, Remler는 나팔수 죤 D로' 지구, bassist Eddie Gomez 및 바브 Moses 드러머 위로 팀을 만들었다. 그녀의 3개의 고유는 도전적이고, 4중주는 또한 Sam 죤스' 진동 "Del Sasser를," Ellington 공작 유명하지 않아 "Searchin'" 및 Keith Jarrett "산호 실행했다. " 처음부터 끝까지, Emily는 straight-ahead bebop 저쪽에 그녀의 미래 위치가, 그리고 전부가 하나가 되어서, 이것 가장 강한 것의 것다는 것을 보여준다
그녀의 솔로 기록의.

” Here is a brilliant, fast developing talent, not merely surrounding herself with accompanists, but becoming part of a splendidly unified group. I suspect that Transitions will be long remembered as one of the giant steps in the evolution of Emily Remler. “ ~ Leonard Feather

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. She comes through with authority and her presence, her warmth, and the fresh flow of lyricism is a joy to experience. It was a strong and fairly adventurous effort for them all and one of the finest recordings of her short career.

” 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. “ ~ Nat Hentoff

East To Wes 1988
Here Emily continues to raise her game. 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”. 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”, as she explains, “Wes was one of the greatest improvisers I ever heard. His feeling was happy, his soul was beautiful. He made listener’s feel.” The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin “Smitty” Smith. Maybe her best Swing album ever.

” Emily Remler’s time is so sure, so flowing, that it’s as natural to her as breathing. So is her warmth - of tone and conception. She’s a natural story-teller, keeping the narrative line alive with an exact sense of dynamics and color. “
~ Nat Hentoff

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. What remains constant is the warm and lyrical nature of her playing. While the influence of Wes Montgomery and Herb Ellis remains, some of these pieces indicate that she was paying close attention to 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. It was a bold statement for where she was headed and why we wanted to go with her.

” Emily had a unique way of touching us all. Her abilities as a guitarist were easily matched by her enthusiasm for the music- her music. She was enjoying the freedom of a new musical direction when we recorded this set of songs. 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. She loved this record, the excellence of those involved and the commitment she made to herself by stepping out on the edge. “ ~ Jeffrey Weber

Compilations

Retrospective Vol. 1: Standards 1991

1. Daahoud 2. How Insensitive 3. Strollin’ 4. Hot House 5. In Your Own Sweet Way 6. Joy Spring 7. Softly, As In A Morning Sunrise
8. Afro Blue 9. Del Sasser 10. In A Sentimental Mood

Retrospective Vol. 2: Compositions 1991

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

Companion songbook 1996

Notation & tab of her compositions transcribed by Dan Bowden
contains all songs from cd above.

usually available from 3rd parties on amazon, click image to go see.