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Firefly 1981 1981 螢火蟲

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.她的第一張專輯在投標23歲的部分原因是從外表上與約翰克萊頓“ 這是所有的家庭 ”，引起了耳朵在康科德的高管。 Firefly was Emily's first recording as leader and a promising debut.螢火蟲是Emily的第一張唱片，作為領導者和一個充滿希望的首次亮相。 Joined by pianist Hank Jones, bassist Bob Maize and drummer Jake Hanna, Emily delivers an enjoyable hard bop beginning.加入了鋼琴家漢克瓊斯，貝司手和鼓手傑克鮑勃玉米漢娜，艾米莉提供了一個愉快的硬波普的開始。 The album wasn't groundbreaking by early-'80s standards — although recorded in 1981, it sounds like it could have been recorded in 1961.這張專輯沒有突破性的早期80年代的標準 - 儘管在1981年錄製的，聽起來像它可能已被記錄於 1961年。 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.劉慧卿帶來了很多的潛力，活潑，擺動表演賀拉斯銀的“Strollin'，”麥科伊泰納的“起始”和蒙哥馬利的“居無定所'來吧。”她還提供了兩個原曲調（“咖啡館裡的布魯斯”和“螢火蟲”）聽眾愉快的驚喜和一個很漂亮，但是通過發掘鮮為人知的安東尼卡洛斯若賓歌曲名為“看向天空。”她由衷的解釋表明，若賓旋律當之無愧的要好得多而聞名。

” Remler is a prodigy and a phenomenon.. “Remler是一個天才和一個現象.. Too much! 太多了！ ” ~ W. Royal Stokes “〜瓦特皇家斯托克斯

Take Two 1982 需要兩個 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的第二個錄音作為一個領導者發現 24歲的吉他手仍然非常韋斯蒙哥馬利在打靜脈，儘管她自己的音樂個性開始出現。 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”.她加入了鋼琴家詹姆斯威廉，貝斯手唐湯普森和鼓手特里克拉克在一個具有挑戰性的一組材料充滿了晦澀的，很少進行寶石，如砲彈阿德利的“砲彈”，德克斯特戈登的“對正規僅”，麥考伊泰納的“尋求和平“蒙蒂和亞歷山大的”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.更廣為人知的“在你自己的可愛的路”和“非洲藍”，一個了不起的曲子寫的蒙戈聖瑪麗亞，推廣由雷恩，但完善的獨奏吉他埃米莉。 She also contributes two originals, “Waltz For My Grandfather” a gentle and elegant Jim Hall-esque melody and “Pocket Wes”, a brandish rhythmic romp.她還有助於兩份，“圓舞曲我爺爺”的溫柔和優雅的吉姆霍爾式的旋律和“掌上韋斯”，一個揮舞節奏歡蹦亂跳。

” 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. “埃米莉Remler取得了令人欽佩的進步迅速，從創意和有前途的年輕人快速成長的專業...證明是行不通更加明顯比在這個最認真規劃和執行一套出色的表演。 ” ~ Leonard Feather “〜倫納德羽毛

Transitions 1983 1983年過渡
Her third Concord recording was a strong step forward, as she started to really find a voice of her own.她的第三協和記錄是一個強有力的一步，因為她開始真正找到自己的聲音。 Rather than a standard piano-bass-drums trio, Remler teamed up with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses.而不是一個標準的鋼琴低音鼓三人，Remler聯手與小號手約翰德地球，貝司手和鼓手艾迪戈麥斯鮑勃摩西。 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.她的三個正本具有挑戰性，和四方也表現薩姆瓊斯擺動“德爾震蕩波，”艾靈頓公爵的不太知名的“Searchin的”和基思哈雷特的“珊瑚。 ” Throughout Emily shows that her future lay beyond straight-ahead bebop. “在整個劉慧卿表明，她的未來奠定超出筆直向前比波普。 All in all, this is one of the strongest一切的一切，這是一種最強
of her solo recordings.她的獨奏唱片。

” Here is a brilliant, fast developing talent, not merely surrounding herself with accompanists, but becoming part of a splendidly unified group. “這是一個輝煌的，快速發展的人才，不僅自己與周圍的伴奏，而是成為一個出色的一部分，統一集團。 I suspect that Transitions will be long remembered as one of the giant steps in the evolution of Emily Remler. 我猜想， 轉變人們將永遠記住為一體的巨大的進化步驟埃米莉Remler。 “ ~ Leonard Feather “〜倫納德羽毛

Catwalk 1984 1984年時裝表演
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.而她之前的日期是非常主流的國際收支平衡表中，這樣的好努力（四重奏與小號手約翰德地球，誰與她的搭檔在跳，貝斯手和鼓手艾迪戈麥斯鮑勃摩西）發現她向前看，在找到作曲家，在七個不同的原件。 She comes through with authority and her presence, her warmth, and the fresh flow of lyricism is a joy to experience.她是通過有權威和她的存在，她的溫暖，清新的抒情性，是一個流動的歡樂體驗。 It was a strong and fairly adventurous effort for them all and one of the finest recordings of her short career as a composer.這是一個相當冒險的強大，他們所有的努力，一個最優秀的錄音，她短暫的職業生涯作為一個作曲家。

” 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的存在-融合的聲音，時間和去處-具有即時性和強度的身份...這是多優秀的人才，這是誰的人，從最高層的第一次合唱，讓你知道她是誰。 “ ~ Nat Hentoff “〜納特亨托夫

East To Wes 1988 1988年東韋斯
Here Emily continues to raise her game.艾米莉在這裡繼續提高她的遊戲。 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”.她的流體技術照亮數很少聽到這樣的克利福德布朗的旋律“Daahoud”和她的發光安排克勞德 Thornhill的可愛的“雪”。 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.此外還包括放寬移交逃犯的“甜蜜格魯吉亞名人堂”，首次吉他版本的“熱之家”，她難以置信的道具香草埃利斯在“布魯斯對中草藥”，當然還有讚揚韋斯，“東向韋斯”為此，她解釋說，“韋斯是一個最偉大的即興我聽說過。 His feeling was happy, his soul was beautiful.他感到很高興，他的靈魂是美麗的。 He made listener's feel.” The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin “Smitty” Smith.他讓聽眾的感覺。“拋光節奏部分包括熟練的鋼琴家漢克瓊斯，貝司手巴斯特威廉姆斯和鼓手馬文”史密蒂“史密斯。 Maybe her best Swing album ever.也許她的專輯有史以來最好的搖擺。

” Emily Remler's time is so sure, so flowing, that it's as natural to her as breathing. “埃米莉Remler的時間是如此肯定，如此流暢，它的自然的她呼吸。 So is her warmth – of tone and conception. 那麼，她的溫暖-音調和觀念。 She's a natural story-teller, keeping the narrative line alive with an exact sense of dynamics and color. 她是一個自然說書，保持活著的敘事線與一個確切意義上的動態和顏色。 “ “
~ Nat Hentoff 〜納特亨托夫

This Is Me 1990 這是我 1990年
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的第一個也是唯一專輯的Jusitce記錄，並為她創作的首演遊覽為電能爵士流行，在那裡她加入流行音樂和搖滾元素在她自己的條件，但維持她的音樂的完整性和完全避免無線電導向滑爵士樂的胡言亂語。 What remains constant is the warm and lyrical nature of her playing.什麼是保持不變的熱情和抒情性的她玩。 While the influence of Wes Montgomery and Herb Ellis remains, some of these pieces indicate that she was paying close attention to Pat Metheny.雖然影響韋斯蒙哥馬利和Herb Ellis的遺跡，其中一些作品表明，她是密切關注八梅特尼。 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.她是最值得驕傲的這個錄音，這是她寫的或合寫的所有材料，除了“愛的顏色”，是真正的大喜由優秀音樂家參與了它的創造，喜歡偉大的巴西吉他手，羅梅羅 Lubambo，鋼琴家，條例草案O'Connell和大衛貝努瓦，貝斯手林肯Goines，長號手和鼓手阿什比周杰倫瑞奇塞巴斯蒂安。 It was a bold statement for where she was headed and why we wanted to go with her.這是一個大膽的聲明，不管她是領導，為什麼我們要和她一起去。

” Emily had a unique way of touching us all. “艾米麗有一個獨特的方式感動了我們所有人。 Her abilities as a guitarist were easily matched by her enthusiasm for the music- her music. 她的能力作為一個吉他手很容易被她的熱情相匹配的音樂她的音樂。 She was enjoying the freedom of a new musical direction when we recorded this set of songs. 她在享受自由的新的音樂方向，當我們錄製了這首歌曲集。 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. 她還批評自己和曾經那樣熱愛她的音樂，這本文集的材料是最新的冒險在一個不斷演變的身份。 She loved this record, the excellence of those involved and the commitment she made to herself by stepping out on the edge. 她喜歡這個記錄，精益求精的涉案人員和作出的承諾，她自己被走出邊緣。 “ ~ Jeffrey Weber “〜杰弗裡韋伯

Compilations彙編

Retrospective Vol. 追溯卷。 1: Standards 1991 1：1991標準

1. 1。 Daahoud 2. Daahoud 2。 How Insensitive 3.如何不敏感3。 Strollin' 4. Strollin'4。 Hot House 5.熱 5座。 In Your Own Sweet Way 6.在你自己的斯威特路6。 Joy Spring 7.歡樂春節 7。 Softly, As In A Morning Sunrise輕輕地，如在一個晨曦
8. 8。 Afro Blue 9.非洲藍 9。 Del Sasser 10.德爾震蕩波 10。 In A Sentimental Mood在一個感傷情緒

Retrospective Vol. 追溯卷。 2: Compositions 1991 2：1991年組成

1. 1。 Mocha Spice 2.摩卡香料2。 Nunca Mais 3. Nunca梅斯3。 Waltz For My Grandfather 4.華爾茲我的祖父4。 Catwalk 5.時裝表演 5。 Blues For Herb 6.布魯斯對香草6。 Transitions 7.過渡 7。 The Firefly 8.螢火蟲 8。 East To Wes 9.東韋斯 9。 Antonio 10.安東尼 10。 Mozambique莫桑比克

Companion songbook 1996 同伴歌本 1996年

Notation & tab of her compositions transcribed by Dan Bowden她的符號和標籤組成轉錄由丹鮑登
contains all songs from cd above.包含了所有的歌曲從 CD以上。

usually available from 3rd parties on amazon, click image to go see.通常可以從第三方在亞馬遜，點擊圖片去看看。