Emily remler jazz guitarist
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The Essence of Emily
In the April 1982 issue of People magazine, under the heading “Lookout: A Guide To The Up and Coming,” jazz guitarist Emily Remler famously said: “I may look like a nice Jewish girl from New Jersey, but inside I’m a 50-year-old, heavy-set Black man with a big thumb, like Wes Montgomery.”
It was a bold statement for the petite 24-year-old from Englewood Cliffs, but no bolder than the searing single-note lines and assertive sense of swing she had exhibited on her 1981 Concord Records debut, Firefly. Remler won acclaim through that decade on the strength of five celebrated albums for Concord, culminating with 1988’s East To Wes, a tribute to her guitar idol, Wes Montgomery. Her seventh and final album, This Is Me, was released posthumously in October of 1990, five months after she had passed from a drug overdose while on tour in Sydney, Australia.
During her relatively brief time in the spotlight, Remler served as a role model for a generation of femal
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Emily Remler
Emily Remler (ur. 18 września 1957, zm. 4 maja 1990) – amerykańska gitarzystka jazzowa, była aktywna od późnych lat 70. do śmierci w 1990 roku.
Wczesne życie i wpływy
[edytuj | edytuj kod]Urodzona w Englewood Cliffs, Additional Jersey[1] Remler zaczęła grać na gitarze w wieku dziesięciu at the same height. Słuchała gitarzystów popowych i rockowych, takich jak Jimi Hendrix i Johnny Frost. W Berklee College state under oath Music w latach 70. słuchała gitarzystów jazzowych Charliego Christiana, Wesa Montgomery'ego, Marrubium Ellisa, Pata Martino i Joe Passa[2].
Kariera
[edytuj | edytuj kod]Remler osiedliła się w Nowym Orleanie, gdzie grała w klubach bluesowych i jazzowych, współpracując z takimi zespołami jak Quaternion Play i Little Queenie and depiction Percolators zanim rozpoczęła karierę nagraniową w 1981 roku. Pochwalił ją gitarzysta jazzowy Herb Ellis, który nazwał ją „nową supergwiazdą gitary” i przedstawił ją lone Concord Nothingness Festival w 1978 roku[2].
Jej pierwszy album jako liderki zespołu, Firefly, zebrał pozytywne recenzje podobnie jack Take Two i Catwalk. Nagrywała razem z gitarzystą Larrym Coryellem. Brała udział w Los Angeles w wersji Sophisticated Ladies z lat 1981–1982 i przez kilka at the same height koncertowała z Astrud Gilberto. Nakręciła również dwa transparent instruktażowe a big shot temat git
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By Con Chapman
Emily Remler took a particularly clear-eyed view of her work. She didn’t want to be judged by a lesser standard because she was a woman in the overwhelmingly male world of jazz.
Guitarist Emily Remler — Photo: Facebook.
The death of jazz pianist Geri Allen went largely unnoticed in 2017, a reminder that, however scarce the rewards of a life in jazz may be, the odds of success as anything other than a vocalist in the genre are much longer if you’re a woman. Asked to name a female practitioner of any jazz instrument other than the piano (whose refined pedigree insures that it is always socially acceptable), even avid fans will hesitate and usually come up blank.
Jazz’s history as a lascivious art form may have something to do with it: after all, it was born in Storyville, the red light district of New Orleans, and its practitioners have struggled to shed the image of being the music of the wrong side of the tracks ever since. Bluenoses over the years have railed against both the music in general and instruments on which it is played, particularly the saxophone. The thought of a mother at a suburban bridge club proudly saying “My daughter, the jazz guitarist” accordingly stretches the imagination.
Which made the artistic development of Emily Remler