記住傳奇爵士樂吉他彈奏者Emily Remler生活和音樂」作為領導

單獨唱片

點擊檢查可及性的冊頁圖像

螢火蟲 1981

第1個冊頁在嫩年齡的23，交付她的出現的一部分與約翰Clayton在「它全部在家庭」捉住董事耳朵在一致。螢火蟲是Emily的第一錄音作為領導和有為的首演。由鋼琴演奏家漢克・瓊斯，低音歌手鮑伯玉米和鼓手Jake漢納， Emily加入交付一令人愉快堅硬打擊起點。冊頁及早不是開創性由』 80s標準-，雖然記錄， 1981年1961年聽起來可能被記錄了。 Emily活潑帶來了很多潛力，搖擺Horace銀的「Strollin』表現」， McCoy Tyner的「開始」，和蒙加馬利的「Movin』」。她也提供二個原始的聲調(」津貼的藍色」和「螢火蟲」)和通過發掘一首俏麗，但較少人知的Antonio Carlos Jobim歌曲宜人地使聽眾驚奇題為的「神色對天空」。她的衷心解釋顯示出，該當的Jobim曲調是更加著名的。

」 Remler是奇蹟和現象。太多! ” ~ W. 皇家昇火

作為二 1982

Emily的其次記錄，領導找到24年老吉他彈奏者非常仍然演奏在Wes蒙加馬利靜脈，雖然她自己的音樂天賦開始湧現。她由鋼琴演奏家詹姆斯・威廉斯，低音歌手唐・湯普森和鼓手特里Clarke在複雜的套加入材料充滿朦矓和很少執行的寶石例如炮彈Adderley的「炮彈」，德克斯特Gordon的「為只有正規兵」， McCoy Tyner的「查尋和平」和Monty亞歷山大的「Eleuthra」。更加著名「用您自己的甜方式」和「蓬鬆卷髮藍色」， Mongo寫的一個驚人的聲調聖塔瑪麗亞，通俗化由Coltrane，但被完善為獨奏吉他由Emily。她也貢獻二件原物，「華爾茲為我的祖父」 a 柔和和典雅的吉姆霍爾esque曲調和「口袋Wes」，搖擺 rhythmatic嬉戲。

」 Emily Remler做了一快速，并且令人敬佩的前進從有為的年輕人到創造性和迅速發展的專家…證明比在這最仔細地計劃的無處明顯和精采地被執行的套表現中。 ” ~ 倫納德羽毛

轉折 1983
因為她開始真正地發現她自己的聲音，她的第三一致錄音是一個強的進步。而不是標準鋼琴低音鼓三重奏， Remler與號手約翰D合作』地球、低音歌手Eddie Gomez和鼓手鮑伯Moses。她的三件原物富挑戰性，并且四重唱也執行了山姆・瓊斯』搖擺的「Del Sasser」， Ellington公爵的較少人知的「Searchin』」和Keith Jarrett的「珊瑚。」始終， Emily表示，她的未來位置在正統的比博普爵士樂之外，和總之，這是一个最強
她的獨奏錄音。

” 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