As Leader Bilang Leader
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Firefly 1981 Alitaptap 1,981
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. Ang kanyang 1st album sa malambot na edad ng 23 ay dahil sa bahagi mula sa kaniyang hitsura sa John Clayton sa "It's All In The Family" na nahuli ng mga tainga ng mga executive sa Concord. Firefly was Emily's first recording as leader and a promising debut. Alitaptap ay unang-record Emily bilang lider at ang isang promising debut. Joined by pianist Hank Jones, bassist Bob Maize and drummer Jake Hanna, Emily delivers an enjoyable hard bop beginning. Joined ng pyanista labay Jones, bassist Bob mais at drummer Jake Hanna, Emily naghahatid ng isang kasiya-siya mahirap bop simula. The album wasn't groundbreaking by early-'80s standards — although recorded in 1981, it sounds like it could have been recorded in 1961. Ang album ay hindi groundbreaking sa pamamagitan ng maagang-'80s pamantayan - bagaman ang maitatala sa 1,981, ang tunog tulad ng maaaring ito ay maitatala sa 1,961. 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 ang nagdala ng isang pulutong ng mga potensyal na masaya, pagtatayon palabas ng Horace Silver's "Strollin '," "umpisa McCoy Tyner's," at Montgomery's "Movin' Kasama." Siya din ang ibinigay ng dalawang orihinal na himig ( "sumigla's Blues" at "Ang alitaptap") at kawili-wiling surprises mga tagapakinig sa pamamagitan ng unearthing isang pretty ngunit ang lalong maliit-kilala Antonio Carlos Jobim song pinamagatang "Hanapin sa Sky." kanyang taos-puso interpretasyon ay nagpapakita na ang Jobim himig marapat na maging mas mabuti na kilala.
” Remler is a prodigy and a phenomenon.. "Remler ay isang mahimala at isang pangkaraniwang bagay .. Too much! Masyadong marami! ” ~ W. Royal Stokes "~ W. Royal Stokes
Take Two 1982 Lumabas Dalawang 1,982 
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. Ikalawang-record Emily's bilang isang lider na natagpuan sa 24-taon gulang na Guitarist pa rin very much ipinapalabas sa mga ugat Wes Montgomery, bagaman ang kanyang sariling musical pagkatao ay simula na lumitaw. 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”. Siya ay sumali sa pamamagitan ng pyanista James Williams, bassist Don Thompson at drummer Terry Clarke sa isang mahirap na hanay ng mga materyal na napuno ng obscurities at madalang na ginanap sa Gems tulad ng "Cannonball Cannonball Adderley's", Dexter Gordon's "Para sa Regulars lamang", McCoy Tyner's "Search for Peace ", at 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. Mas mahusay na kilala ang mga "Sa iyong Sweet Own Way" at "Afro Blue", isang kahanga-hangang tune na isinulat ng mga Mongo Santamaria, popularized by Coltrane, ngunit perfected para sa solo guitar by 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. Siya din tumutulong dalawang orihinal, "balse Para sa Aking mga lolo" sa isang magiliw at matikas Jim Hall-esque himig at "Pocket Wes", isang amba maindayog magkagulo sa laro.
” 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 ay nakagawa ng isang mabilis at admirable isulong mula sa promising youngster sa malikhain at mabilis na lumalagong propesyonal na ... patunay sa walang pinanggalingan ay mas maliwanag kaysa sa karamihan ng maingat na pinaplano at brilliantly naisakatuparan set ng mga palabas. ” ~ Leonard Feather "~ Leonard Feather
Transitions 1983 Transitions 1,983 
Her third Concord recording was a strong step forward, as she started to really find a voice of her own. Ang kanyang ikatlong Concord pagtatala ay isang malakas hakbang pasulong, gaya siya magsimula sa tunay makahanap ng tinig ng kanyang sarili. Rather than a standard piano-bass-drums trio, Remler teamed up with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses. Kaysa sa isang pamantayan piano-bass-drums tatluhan, Remler teamed up sa trompetero Juan D'Earth, bassist Eddie Gomez at drummer ni Bob kay Moises. 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. Ang kanyang tatlong mga orihinal ay mahirap, at ang apatan din ginanap Sam Jones 'pagtatayon "Del Sasser," Duke Ellington's mababa-kilala "Searchin'" at "Coral Keith Jarrett's. ” Throughout Emily shows that her future lay beyond straight-ahead bebop. "Sa buong Emily nagpapakita na ang kanyang itaya ang buhay sa hinaharap na lampas sa tuwid-maaga bebop. All in all, this is one of the strongest Lahat sa lahat, ito ay isa sa mga strongest
of her solo recordings. ng kanyang recording nag-iisa.
” Here is a brilliant, fast developing talent, not merely surrounding herself with accompanists, but becoming part of a splendidly unified group. "Ito ay isang napakatalino, mabilis pagbubuo ng talent, hindi basta-basta na pumapalibot sa kanyang sarili na may accompanists, ngunit naging bahagi ng isang splendidly pinag-isa ng grupo. I suspect that Transitions will be long remembered as one of the giant steps in the evolution of Emily Remler. Pinaghinalaan ko na Transitions ay maaaring maging mahaba remembered bilang isa sa mga higante hakbang sa ebolusyon ng Emily Remler. “ ~ Leonard Feather "~ Leonard Feather
Catwalk 1984 Catwalk 1,984 
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. Habang ang kanyang mga naunang petsa ay very much sa mga pangunahing bop, ito pagmultahin pagsisikap (sa isang apatan sa trompetero Juan D'Earth, na teamed sa kanyang sa Transitions, bassist Eddie Gomez at drummer ni Bob Moises) natagpuan ang kanyang mga naghahanap ng maaga at sa paghahanap ng kompositor sa loob ng , sa pitong magkakaibang mga orihinal. She comes through with authority and her presence, her warmth, and the fresh flow of lyricism is a joy to experience. Siya ay dumating sa pamamagitan ng may kapangyarihan at ang kanyang presensiya, ang kanyang init, at ang sariwang daloy ng lyricism ay isang kagalakan sa mga karanasan. It was a strong and fairly adventurous effort for them all and one of the finest recordings of her short career as a composer. Ito ay isang malakas at medyo mahilig pagsisikap para sa lahat ng mga ito at isa sa mga Finest recording ng kanyang maikling karera bilang isang kompositor.
” 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's presence - ang pagsasanib ng mga tunog, oras, at mga ideya - ay may isang kamadalian at lakas ng identity ... Ito ay higit pa sa pambihira talento; ito ay isang tao na, mula sa itaas ng unang chorus, nagbibigay-daan sa malaman mo kung sino siya. “ ~ Nat Hentoff "~ Nat Hentoff
East To Wes 1988 East Upang Wes 1,988 
Here Emily continues to raise her game. Narito Emily patuloy na itaas ang kanyang mga laro. 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”. Ang kanyang likido pamamaraan brightens tulad bihira narinig numero bilang Clifford Brown's melodiko "Daahoud" at ang kanyang maningning-aayos ng mga Claude Thornhill's kaibig-ibig "ulan ng niyebe". 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. Kasama rin ang lundo pagtugtog ng "Sweet Georgia fame", ang unang kailanman guitar version ng "Hot House", ang kanyang di-kapanipaniwalang props para sa Herb Ellis sa "Blues Para sa Herb" at ng mga kurso ng parangal sa Wes, "East Upang Wes", kung saan siya ay nagpapaliwanag, "Wes ay isa sa mga pinakadakilang improvisers ko kailanman narinig. His feeling was happy, his soul was beautiful. Ang kanyang damdamin ay masaya, ang kanyang kaluluwa noon ay maganda. He made listener's feel.” The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin “Smitty” Smith. Siya na ginawa tagapakinig ng pakiramdam. "Ang makinis na seksyon ritmo ay kasama ang mga dalubhasa pyanista labay Jones, bassist Buster Williams, at drummer Marvin" Smitty "Smith. Maybe her best Swing album ever. Siguro ang kanyang pinakamahusay na indayog album kailanman.
” Emily Remler's time is so sure, so flowing, that it's as natural to her as breathing. "Emily Remler's time ay kaya sigurado, kaya ang agos, na ito bilang natural na sa kanyang bilang paghinga. So is her warmth – of tone and conception. Kaya ang kanyang init - ng tono at kuru-kuro. She's a natural story-teller, keeping the narrative line alive with an exact sense of dynamics and color. Siya ay isang natural na story-teller, pagsunod sa salaysay ng linya sa buhay ng isang eksaktong kahulugan ng dinamika at kulay. “ "
~ Nat Hentoff ~ Nat Hentoff
This Is Me 1990 Ito ba ang 1,990 Me 
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. Una at tanging album Emily's sa Jusitce Records, at ang pangunahin para sa kanya creative iskursiyon sa electric jazz-pop, kung saan siya Isinama pop rock at ng mga sangkap sa kanyang sariling mga kataga ngunit pinananatili ang kanyang musical integridad at lubos na iwasan radio-oriented smooth jazz kalokohan. What remains constant is the warm and lyrical nature of her playing. Ano ang nananatiling tapat ay ang mainit-init at liriko na katangian ng kanyang paglalaro. While the influence of Wes Montgomery and Herb Ellis remains, some of these pieces indicate that she was paying close attention to Pat Metheny. Habang ang mga impluwensiya ng Wes Montgomery at Herb Ellis ay nananatiling, ang ilang mga piraso ipahiwatig na siya ay malapit na nagbabayad ng pansin sa 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. Siya ay pinaka-maipagmamalaki ng pagtatala ng mga ito, kung saan siya wrote o co-wrote lahat ng mga materyal na maliban sa "Love Kulay" at ang tunay na tuwang-tuwa ng mga natitirang musikero na kasangkot sa mga ito sa paglikha, ang mga kagustuhan ng dakilang Brazilian Guitarist, Romero Lubambo, pianists, Bill O'Connell at si David Benoit, bassist Lincoln Goines, trombonist Jay Ashby at drummer Ricky Sebastian. It was a bold statement for where she was headed and why we wanted to go with her. Iyon ay ang isang matapang na pahayag para sa kung saan siya ang buhok at kung bakit nais namin na pumunta sa kanya.
” Emily had a unique way of touching us all. "Emily ay isang natatanging paraan ng paghawak sa amin ang lahat. Her abilities as a guitarist were easily matched by her enthusiasm for the music- her music. Ang kanyang kakayahan bilang isang Guitarist ay madaling katugma sa pamamagitan ng kanyang sigasig para sa musika-ang kanyang musika. She was enjoying the freedom of a new musical direction when we recorded this set of songs. Siya ay enjoying ang kalayaan ng isang bagong direksyon ng musika kapag kami naitala sa hanay ng mga 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. Napaka kritikal ng kanyang sarili at napaka madamdamin tungkol sa kanyang musika, ang koleksyon ng mga materyal ay dapat sa pinakabagong adventure sa isang patuloy na umuusbong identity. She loved this record, the excellence of those involved and the commitment she made to herself by stepping out on the edge. Siya ay iniibig ang ulat na ito, ang kahusayan ng mga taong kasangkot at ang mga pangako niya na ginawa sa sarili sa pamamagitan ng stepping out sa gilid. “ ~ Jeffrey Weber "~ Jeffrey Weber
Compilations Compilations
Retrospective Vol. Nagdaan Vol. 1: Standards 1991 1: Pamantayan ng 1,991
1. 1. Daahoud 2. Daahoud 2. How Insensitive 3. Paano insensitive 3. Strollin' 4. Strollin '4. Hot House 5. Hot House 5. In Your Own Sweet Way 6. Sa iyong Own Way Sweet 6. Joy Spring 7. Joy Spring 7. Softly, As In A Morning Sunrise Mahina, Dahil Sa Isang umaga pagsikat ng araw
8. 8. Afro Blue 9. Afro Blue 9. Del Sasser 10. Del Sasser 10. In A Sentimental Mood Sa isang sentimental Mood
Retrospective Vol. Nagdaan Vol. 2: Compositions 1991 2: Compositions 1,991
1. 1. Mocha Spice 2. Kape Spice 2. Nunca Mais 3. Nunca Mais 3. Waltz For My Grandfather 4. Balse Para sa Aking mga lolo 4. Catwalk 5. Catwalk 5. Blues For Herb 6. Blues Para sa Herb 6. Transitions 7. Transitions 7. The Firefly 8. Ang alitaptap 8. East To Wes 9. East Upang Wes 9. Antonio 10. Antonio 10. Mozambique Mozambique
Companion songbook 1996 Companion talaawitan 1,996
Notation & tab of her compositions transcribed by Dan Bowden Notasyon & tab ng kanyang compositions transcribed by Dan Bowden
contains all songs from cd above. naglalaman ng lahat ng songs mula sa cd sa itaas.
usually available from 3rd parties on amazon, click image to go see. karaniwan ay magagamit mula sa ika-3 partido sa Amazon, i-klik ang imahe upang pumunta makita.
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