Totally Underrated player. Soo many licks and tricks in the bag. She does not sound repetitive or boring. Her playing and music is great and relaxes me.
I discovered Emily only 6 months ago, I am a metal/classic rock guitarist....Emily is #1 and has changed my musical style, turned me into a Jazz lover! I am positive that once i upload music the listener will HEAR Emily and Montgomery, Coltrane, in my jams------- THANKS EMILY REMLER THE GENIUS!
In her too-short but meteoric career as a jazz guitarist, Emily Remler impressed the best in the business, including such luminaries and mentors as Hank Jones, Joe Pass, Herb Ellis, and Larry Coryell. She played wonderfully alongside so many great musicians, including Terry Clarke and Don Thompson and too many others to mention. Joe Pass said glowingly, "She's the future of jazz guitar..." Speaking personally, I enjoyed her straight-ahead jazz playing the most, as opposed to her fusion and playing with heavy guitar effects like chorus or the like. Just her on her Borys archtop and through a nice amp, was enough for me. But she was working hard at the time of her death on developing her own style and sound, and one not so reliant on her main influences. How sad that her fans did not get the hear the next step in her development. An acquaintance of mine, a one-time teacher on the instrument for me in fact, knew her at Berklee in Boston. He related to me after her death that she had gotten hooked on heroin, unfortunately, and that caused her "heart attack" (that was the cause of death reported by the M.E.). So many jazz greats have lost their lives in this way, and hers is another name on that sad list. She was also reportedly despondent over an unrequited love for a fellow musician. I'll demure on naming him, since he is still alive. In any case, not of those things dims her star in any way, as far as I am concerned. She was a beautiful and creative soul, and a real great on the instrument. She inspired me to learn how to play Clifford Brown's "Joy Spring" on guitar, which is no easy feat to do properly... but she made it sound easy.
I like when she uses open strings. Many jazz players never use them cause they are not transferable to other keys and in lessons we get encouraged to not use them but the can add so much. I like Emily is not afraid to let the guitar sound like a guitar
She also doesn't kill the string highs with the tone control. Les Paul wondered why jazz guitarists did that rather than let the strings ring more clearly.
hi, this might be a stupid questions but i've just gotten into jazz guitar, what do you mean with "open strings"? the way she pulls off strings & lets them sound the way they are, without any chords? (i'm terrible at explaining this lol)
@@Gaish This means on chords where not all the strings are covered up by the fingers, most basic way to say it.. In jazz they like to do complex chords and they often think open ringing strings sound to "country" or "blues" because in county, rock and blues people often use more simple chords like say a basic A, E, C, G major or minor with open strings, in blues they often play in E or A with open strings, not all strings covered by the fingers.. Just look at various open chords, then some standard jazz chords,. , play some, hear it, see it.. you will understand it.
I cannot but send a huge thanx to Emily wherever she migth be now, for the beauty of her guitar playing and all the rest..Really a great artist, deep and moving..ciao Emily and thanks to whom posted this video too.
Pat Martino passed away and I saw Emily talking about him as an influence on her. I figured I’d look her up. That was an hour ago and I can’t stop listening. Knowing she’s gone is sad but she lives on
Emily was in relationship with me and we were very happy together but we spilt because she couldnt give up drugs. Im too old now but still i miss her and i always watch her videos and just miss her alot. I am very sad she is gone😥but the memories with you always remains with me💔
IM PLAYING JAZZ ASWELL AND WAS SOP UNFORTUNATE TO BREAK MY BAC K AT 17 AT A GYMN ASTIC TOURNAMENT AFTER A YEAR AND A HALF IN HOSP[ITAL I CAME OUT WITH A BLOODY MORFINE ADDICTION WHICH NEVER LEFT MY LIFE I NEED IT SIMPL.Y FOR PAIN NOT FOR JOY \BUT I AM SO LUCKY TO BE ALIVE AT 65 WHICH IS A MIRACLE WHEN YOU HEAR MY ABUSE OF THE PAST 45 YEARS IM LUCKY FUCK
You don't have to hide to hail your girl; we as men, all go through this kind of loss. At least you have something tangible to remember her by. God bless you man.
She always sounded great and sounded like herself regardless of which gtr she was playing, but i've always had a soft spot in my heart for when she was on that ES 330. LOVE THAT TONE!!!!
One of the greats, so underappreciated. Some players have licks, some have feel, Emily Remler had both and more. It's so sad she left us much too soon. "East to Wes" is such a fantastic album, and hearing Emily Remler play live here is a major treat.
Emily was one of my teachers back in the 1980s. She taught at a small studio called World of Strings in New Orleans. Some of the greatest guitarists in the south came right from that studio. Blues for herb! the open lick is unreal!
I was one of the 2nd group to go to MI back in the early 80's. ( So many great memories of that place.) What a fantastic experience. Workshops with Carlton, Van Halen, metheny, Nancy Wilson etc. I even had Joe Pass jam on my '61 L series strat!! Sadly I never did see Emily :
Man, what a band! That bass player is something else! Great photography too. I love the camera angles in this clip. Emily is sounding very modern with this band. Normally she sounds more mainstream I think. Great clip.
Everytime I tell someone about her, they don't know her, then they search her, want more. I will keep you here, Emily. As much as I can. Died too young.
YEAH I KNOW ITS SO SAD BUT YOU DO KNOW THAT THE GREATEST OPF EM ALL WES MONTGOMERY HAD TO WORK 2 NEWSPAPER ROUNDS A DAY AND ALL DAY IN THE FAC TORY PLUS ON TOP OF THAT HE PLAYED THREE CLUBS EVERY SINGLE NIGHT IT WAS ONLY THE LAST 5 YEARS ODF HIS LIFE HE ENJOYED FAME AND FORTUNE TO DIE AT 45 YEP ALL THE GOOD ONES GO TOO FAST ITS SO SAD
Emily was one of the more advanced players in her day. There's no rehash of cliches or tired references but driving, modern ideas and sound. She was a great jazz musician.
Don't get me wrong, I love Emily, I have all his records, but I must admit she made quite a large use of patterns. There are many of them easily recognizable in his playing. Actually, for feel, drive and sense of rhythm she deserves to be ranked about the best in jazz guitar, yet I think she was too much inspired by Wes, Pat (Martino) and Joe Dioro to say that she had modern ideas. I mean, those weren't her ideas. I think she incoporates other's ideas in her playing - which is never a bad move for a musician - but she still hadn't formed her own style. No doubt she was determined and destined to make it, but unfortunately she met a tragic destiny.
@@MrEnzoprestinenzi All of my favorite guitar players are guilty of those same myriad influences. And all of them play an enormous amount of repeated patterns and phrases. So much so that it drives me a bit crazy sometimes because it falls under the predictability wheel. But there isn't one great jazz musician who doesn't have the tradition of other great players inform their playing. Because it's a language of generations and voicing that produces the basis of the lexicon from which the younger players learn and older players embody. But the other fact about all of my favorite guitarists is I often know who they are because they have a singular voice that comes through plus the giveaway lick. Emily relied on some stock chops but was always pushing for something more and clearly had her own voice. I never mistook her for another player or thought she was endlessly quoting other people's patterns. That would bug me too much and I would probably not like her nearly as much as I do. I think that she was so good that were she still with us, other guitarists would be playing Emily licks as part of that same living tradition.
@@Joshualbm as I said, I love Emily Remler very much; I don't think at all that grabbing some chops or approach from other players is a pity or a bad thing. Indeed, this is useful in order to develop your own vocabulary. Very simply, I was objecting that she had advanced ideas, simply because she was influenced by the more advanced players of the era, such Diorio and Martino, and those were not her own chops. Very simply, she didn't have enough time to develop further as an original voice, She was clearly destined to become one of the greats, if she only survived her tragic destiny.
People are always posting those "If you could bring back one artist that you never got to see play live, who would you bring back?" Honestly, Emily's first on my list to bring back.
It's really great stuff. How about adding a track list and who the musicians are. Emily was amazing though, a true guitar hero. Steve Bailey on Bass, Joe Broncato on drums.
Had the great fortune to see her in Brisbane, Australia, my hometown when she toured. A whole bunch of us Conservatorium jazz students who were there thought she was amazing! Then a few days later we heard on the grapevine she'd passed. So sad. Glad I saw her play live. Her records are a pale reflection of her presence and touch. Like some drunk tried to hassle her calling out "play some rock n roll!". She slipped a chuck berry impersonation replete with duck walk and played him back to the dark of the drunken shadows from whence he sprang! 😄 She was something and her phrasing was killing.
A life taken way too soon, learning from her and looking forward to jamming with her in the future along with ,any of the other greats that have moved on entertaining the angels.
Emily had a style all her own although you can hear her influences (Wes, Herb Ellis, Pat Martino, etc). She lived and breathed music!! Rest in peace, lady!! ❤❤❤
I was a GIT student at MI and saw this performance live. This was somewhere between September 1988 and July 1989. I remember in between tunes Remler talking about having a tape recorder that "played too fast", and when she was starting out - she was so excited about jazz - she couldn't wait to come home to transcribe Pat Martino licks - that were sped up!
LOL. Yeah he probably didn't get to the part where everyone was introduced. I was happy that it wasn't full of YT ads. Kudos to anyone who doesn't fill their videos with ads.
You know---I once read a review about her--I forget by who--But it stated that she was a pretty valid voice or part of the jazz world---though she never broke new ground.. I definitely agree that she was a VERY valid part of the jazz world-that part wasn't incorrect, but----the other part was--because she was somebody who practiced, studied, played, and listened upward-for the music, and remained mostly ALL THE TIME--THE MUSIC AND THE GUITAR ---and an inspiration, for how to feel and play and what to do and land on and be, for whatever she was doing lead line wise!!!! and in the moment for when I practice and play myself, anything jazz, - which is what I play--especially for me a VERY VERY VERY BIG Martino fan and WES--haha!!! or Diorio
I like the way she uses more modern sounding, non-traditional jazz chords, and weaves all different influences from now and then, instead of only playing the typical bureau-ian 2-5-1's.
No fancy sound fx straight brilliant playing at its best !! Gone way too soon thanks to heroin.!! What have we missed these years when she should still be here for us.!!!!???
That's an ES 335 for sure. Emily was photographed with an ES 335 on many occasions, including this video. Whether this is the one she started out with may be a little in doubt. Earlier photos show a guitar that is slightly different in appearance to the one she plays in this video. The Tailpiece is not the same. Earlier photos show a Gibson Vibrato Tailpiece with the handle removed. The Tailpiece on this guitar does not have the vibrato components. Either the original tailpiece was modified to remove the vibrato components (to improve intonation and pitch hold), or a new tailpiece was installed, OR, its not the same guitar. Also, early photos show different pickup covers. The early photos show pickup covers with the nickel plating worn away, as the late fifties - early sixties covers were wont to do. The pickup covers on this guitar are bright chrome. Finally, the Wikipedia article on Emily Remler mentions that her brother's guitar was an ES 330. That would be a different guitar entirely and this guitar shows no indications of having been an ES 330 modified with a different tailpiece, pickups (not possible) and neck to body joint (not possible either). I'm not saying the Wikipedia article is right or wrong, but it would be pleasant to think that her brother gave her the ES 335 that launched her career and gave her so much pleasure in her professional life. Anybody have any pertinent observations to add to this bit of historical speculation? PS She's great. Never heard her before today. Love her creativity, inventiveness, taste, style, chops, personality and her TONE. I've always thought that thin hollow-bodies sound best for amplified jazz guitar. MOST thick hollow-bodies seem to overwhelm the nuances of sound with excessive "woodiness". $60,000 DeAngelicos, D'Aquisto's, etc. and priceless Lloyd Loars aside.
You're right. The guitar in this video is an ES 330. The telling feature is that the neck joins the body at the 16th fret. ES 335 necks join at the 19th fret. So the body of the ES 330 is a little longer and reaches down the neck a little farther than the ES 335 neck. And the pickups ARE replacement humbuckers. The telling feature here is that the Vibrato Tailpiece cover is Nickel Plated and the Humbucker Covers are Chrome. Gibson switched to Chrome plating in the mid to late 60's at the same time they changed the base metal of many of their parts to steel instead of Brass (bean counters!). So the Pickups are not the same vintage as the Tailpiece. Anyway I like the tone she got with this guitar. It sounds less like a piece of wood and more like strings vibrating. And the tonal response is more even over the full range of the instrument. Big body guitars tend to sound very different depending upon where on the neck you're playing. Low bass notes can sound distorted and high notes can be thick and piercing and sometimes lack sustain. I guess that's why Leo Fender and Les Paul came up with solid body designs. Great as this guitar sounds, though, it is a far cry from the Ibanez guitars that Vai and Satriani play through modern signal processing amplification systems. As different as Sail Boats and Rockets.
Totally Underrated player. Soo many licks and tricks in the bag. She does not sound repetitive or boring. Her playing and music is great and relaxes me.
God bless Emily , GOD DAMN , Heroin !!! I was lucky to see her in 1989. We sure do miss her & she was one of a kind that's for sure.
East to Wes is a jazz guitar bible. Collected all her albums and do believe she is a top 10 all time jazz guitarist.
Agreed. she was an awesome talent.
Agreed I constantly am heard listening to her joe pass grant green and jack Wilkins
I discovered Emily only 6 months ago, I am a metal/classic rock guitarist....Emily is #1 and has changed my musical style, turned me into a Jazz lover! I am positive that once i upload music the listener will HEAR Emily and Montgomery, Coltrane, in my jams------- THANKS EMILY REMLER THE GENIUS!
Noticed you lifted her name for your channel.
In her too-short but meteoric career as a jazz guitarist, Emily Remler impressed the best in the business, including such luminaries and mentors as Hank Jones, Joe Pass, Herb Ellis, and Larry Coryell. She played wonderfully alongside so many great musicians, including Terry Clarke and Don Thompson and too many others to mention. Joe Pass said glowingly, "She's the future of jazz guitar..."
Speaking personally, I enjoyed her straight-ahead jazz playing the most, as opposed to her fusion and playing with heavy guitar effects like chorus or the like. Just her on her Borys archtop and through a nice amp, was enough for me. But she was working hard at the time of her death on developing her own style and sound, and one not so reliant on her main influences. How sad that her fans did not get the hear the next step in her development.
An acquaintance of mine, a one-time teacher on the instrument for me in fact, knew her at Berklee in Boston. He related to me after her death that she had gotten hooked on heroin, unfortunately, and that caused her "heart attack" (that was the cause of death reported by the M.E.). So many jazz greats have lost their lives in this way, and hers is another name on that sad list. She was also reportedly despondent over an unrequited love for a fellow musician. I'll demure on naming him, since he is still alive. In any case, not of those things dims her star in any way, as far as I am concerned. She was a beautiful and creative soul, and a real great on the instrument.
She inspired me to learn how to play Clifford Brown's "Joy Spring" on guitar, which is no easy feat to do properly... but she made it sound easy.
A very young Steve Bailey, on upright!
Incredible!
One of the best guitarists ever male or female. Lost her way too soon. Today’s players take note!
She is fantastic player. I really miss her.
this is the best jazz i have ever heard
I like when she uses open strings. Many jazz players never use them cause they are not transferable to other keys and in lessons we get encouraged to not use them but the can add so much. I like Emily is not afraid to let the guitar sound like a guitar
She also doesn't kill the string highs with the tone control. Les Paul wondered why jazz guitarists did that rather than let the strings ring more clearly.
hi, this might be a stupid questions but i've just gotten into jazz guitar, what do you mean with "open strings"? the way she pulls off strings & lets them sound the way they are, without any chords? (i'm terrible at explaining this lol)
@@Gaish probably playing an open note without left hand pressing any frets.
@@Gaish This means on chords where not all the strings are covered up by the fingers, most basic way to say it.. In jazz they like to do complex chords and they often think open ringing strings sound to "country" or "blues" because in county, rock and blues people often use more simple chords like say a basic A, E, C, G major or minor with open strings, in blues they often play in E or A with open strings, not all strings covered by the fingers.. Just look at various open chords, then some standard jazz chords,. , play some, hear it, see it.. you will understand it.
Exactly, you said it so clearly, so straight up, yes.
I cannot but send a huge thanx to Emily wherever she migth be now, for the beauty of her guitar playing and all the rest..Really a great artist, deep and moving..ciao Emily and thanks to whom posted this video too.
Emily was, one of the greats. Loved her. Still miss her...
I love UA-cam's algoritme. This is a video uploaded 7 years ago and it just popped up on my feed. Great playing!
I second that emotion! "Discovered" her via a UA-cam comment I ran across about a half hour ago...love her 🎶 ❣️
WONDERFUL musician and guitarist.
Pat Martino passed away and I saw Emily talking about him as an influence on her. I figured I’d look her up. That was an hour ago and I can’t stop listening. Knowing she’s gone is sad but she lives on
Emily was a Badass !!!!! this is fire🔥🔥🔥
Happy birthday to one bad ass Jazz master. Wish you were still here. But your music is, so at least we have that. And thank you.
Emily was in relationship with me and we were very happy together but we spilt because she couldnt give up drugs. Im too old now but still i miss her and i always watch her videos and just miss her alot. I am very sad she is gone😥but the memories with you always remains with me💔
IM PLAYING JAZZ ASWELL AND WAS SOP UNFORTUNATE TO BREAK MY BAC K AT 17 AT A GYMN ASTIC TOURNAMENT AFTER A YEAR AND A HALF IN HOSP[ITAL I CAME OUT WITH A BLOODY MORFINE ADDICTION WHICH NEVER LEFT MY LIFE I NEED IT SIMPL.Y FOR PAIN NOT FOR JOY
\BUT I AM SO LUCKY TO BE ALIVE AT 65 WHICH IS A MIRACLE WHEN YOU HEAR MY ABUSE OF THE PAST 45 YEARS IM LUCKY FUCK
I saw her in Chicago just before she went to Australia. WIll always be inspired by her. Listen to her most days.
Thanks for sharing, she is a legend and seems like an amazing lady
You don't have to hide to hail your girl; we as men,
all go through this kind of loss.
At least you have something tangible to remember her by. God bless you man.
May her memory be for a blessing 💔
This is Emily Remler at her best, God bless her and rest her soul.
Awww! Emily!! Great stuff. I miss this talented young lady.
She always sounded great and sounded like herself regardless of which gtr she was playing, but i've always had a soft spot in my heart for when she was on that ES 330. LOVE THAT TONE!!!!
One of the greats, so underappreciated. Some players have licks, some have feel, Emily Remler had both and more. It's so sad she left us much too soon. "East to Wes" is such a fantastic album, and hearing Emily Remler play live here is a major treat.
Emily was one of my teachers back in the 1980s. She taught at a small studio called World of Strings in New Orleans. Some of the greatest guitarists in the south came right from that studio. Blues for herb! the open lick is unreal!
Guess I've been under a rock, this is my first listen to Emily, extraordinary talent...what an ear, chops, the whole package...
I feel like Em came back for a visit!!! ❤
I was one of the 2nd group to go to MI back in the early 80's. ( So many great memories of that place.) What a fantastic experience. Workshops with Carlton, Van Halen, metheny, Nancy Wilson etc. I even had Joe Pass jam on my '61 L series strat!! Sadly I never did see Emily :
Man, what a band! That bass player is something else! Great photography too. I love the camera angles in this clip. Emily is sounding very modern with this band. Normally she sounds more mainstream I think. Great clip.
try and listen to her album Catwalk if you haven't already, you'll dig
Wonderful Emily!
Love it when she tells the drummer to lay out, "I got it, I got it," yeah you did Emily.
I like the tune she did on the Ovation and the bass player totally killed it.
Everytime I tell someone about her, they don't know her, then they search her, want more. I will keep you here, Emily. As much as I can. Died too young.
YEAH I KNOW ITS SO SAD BUT YOU DO KNOW THAT THE GREATEST OPF EM ALL WES MONTGOMERY HAD TO WORK 2 NEWSPAPER ROUNDS A DAY AND ALL DAY IN THE FAC TORY PLUS ON TOP OF THAT HE PLAYED THREE CLUBS EVERY SINGLE NIGHT IT WAS ONLY THE LAST 5 YEARS ODF HIS LIFE HE ENJOYED FAME AND FORTUNE TO DIE AT 45 YEP ALL THE GOOD ONES GO TOO FAST ITS SO SAD
Standing ovation from my room and heart, thank you Emily
Absolutely wonderful!!! Thanks for posting. Emily RIP
What a great player. I was reading my guitar magazine and her name cropped up. She is a great player I don't know how else to put it. Otherworldly...
MI is my home school ! That time pat martino ,Robben Ford, joe diorio was there.
I could learn real jazz from All those great teacher.
Emily was one of the more advanced players in her day. There's no rehash of cliches or tired references but driving, modern ideas and sound. She was a great jazz musician.
Don't get me wrong, I love Emily, I have all his records, but I must admit she made quite a large use of patterns. There are many of them easily recognizable in his playing. Actually, for feel, drive and sense of rhythm she deserves to be ranked about the best in jazz guitar, yet I think she was too much inspired by Wes, Pat (Martino) and Joe Dioro to say that she had modern ideas. I mean, those weren't her ideas. I think she incoporates other's ideas in her playing - which is never a bad move for a musician - but she still hadn't formed her own style. No doubt she was determined and destined to make it, but unfortunately she met a tragic destiny.
@@MrEnzoprestinenzi All of my favorite guitar players are guilty of those same myriad influences. And all of them play an enormous amount of repeated patterns and phrases. So much so that it drives me a bit crazy sometimes because it falls under the predictability wheel. But there isn't one great jazz musician who doesn't have the tradition of other great players inform their playing. Because it's a language of generations and voicing that produces the basis of the lexicon from which the younger players learn and older players embody. But the other fact about all of my favorite guitarists is I often know who they are because they have a singular voice that comes through plus the giveaway lick. Emily relied on some stock chops but was always pushing for something more and clearly had her own voice. I never mistook her for another player or thought she was endlessly quoting other people's patterns. That would bug me too much and I would probably not like her nearly as much as I do. I think that she was so good that were she still with us, other guitarists would be playing Emily licks as part of that same living tradition.
@@Joshualbm as I said, I love Emily Remler very much; I don't think at all that grabbing some chops or approach from other players is a pity or a bad thing. Indeed, this is useful in order to develop your own vocabulary. Very simply, I was objecting that she had advanced ideas, simply because she was influenced by the more advanced players of the era, such Diorio and Martino, and those were not her own chops. Very simply, she didn't have enough time to develop further as an original voice, She was clearly destined to become one of the greats, if she only survived her tragic destiny.
jazz is like the pinnacle of human creativity dude like.... how?
That was just amazing playing all the way around. Thank you.
The bass player doesn't even need his eyes! Amazing! Three gods were playing here.
I really liked her playing! Miss her.
incredible playing. thank you for the upload, the whole band is a dream.
Thank you ,, Musicians Institute '' !!!
I saw her and Steve when they toured NZ right before she died. She was very strung out. Sad.
Obrigado Emily Remler por esse magnífico...
People are always posting those "If you could bring back one artist that you never got to see play live, who would you bring back?" Honestly, Emily's first on my list to bring back.
It's really great stuff. How about adding a track list and who the musicians are. Emily was amazing though, a true guitar hero. Steve Bailey on Bass, Joe Broncato on drums.
Saludos desde Argentina 🇦🇷👍 me gusta mucho cuando improvisan, impecable!
La música es una lengua universal!✨Desde 🇺🇸
Phenomenal. Hard swinging!
She is really great.
Great video thanks for sharing cheers
So talented.
Had the great fortune to see her in Brisbane, Australia, my hometown when she toured.
A whole bunch of us Conservatorium jazz students who were there thought she was amazing! Then a few days later we heard on the grapevine she'd passed. So sad. Glad I saw her play live. Her records are a pale reflection of her presence and touch. Like some drunk tried to hassle her calling out "play some rock n roll!". She slipped a chuck berry impersonation replete with duck walk and played him back to the dark of the drunken shadows from whence he sprang! 😄
She was something and her phrasing was killing.
Oh, I did not know she came to Brisbane. Thank you, Ceri
A life taken way too soon, learning from her and looking forward to jamming with her in the future along with ,any of the other greats that have moved on entertaining the angels.
Starting at 9:11 it sounds like Emily and Steve departed this planet for several seconds LOL. Great stuff. Subscribed.
A great talent!!!!!!!
Blows me away every time. She was extraterrestrial
This bass player is amazing as well. Keep your eyes on him!! He is amazing!
It looks like Steve Bailey! Is it?
Emily had a style all her own although you can hear her influences (Wes, Herb Ellis, Pat Martino, etc). She lived and breathed music!! Rest in peace, lady!! ❤❤❤
Can't get enough of her, SO tragic a loss!
One Excellent player! So sorry she died so very young(32), in 1990. RIP Emily!!!
I wish you would put info about the show in the description. Like year, musicians etc.
I'll second that. A real treat to see Bailey play.
I was a GIT student at MI and saw this performance live. This was somewhere between September 1988 and July 1989. I remember in between tunes Remler talking about having a tape recorder that "played too fast", and when she was starting out - she was so excited about jazz - she couldn't wait to come home to transcribe Pat Martino licks - that were sped up!
She says the names of the songs and the muzos after the first song dude. Sweet as. Great playing! Theres your project for the day lol..
LOL. Yeah he probably didn't get to the part where everyone was introduced. I was happy that it wasn't full of YT ads. Kudos to anyone who doesn't fill their videos with ads.
I like when tracks, times etc are listed. I know it is more work and am just glad someone posted this at all but
Thank you so much for this video, MI! Two thumbs up!
Fabulosa 👐👐👐
Just great!
This is great.
The F growl on Steve Bailey's double bass! 😀 #LoveDoubleBassGrowl
they should really do a where are they now series to accompany this. fantastic playing!
Sadly Ms. Remler passed away in 1990 at age 32 .
+marc kustin that indeed is sad. Such talent to be taken away.
not taken away...she ODed on smack...Drugs are bad
♥emily ....😢
Curti demais, muito bom!!!
Yeah, to me it's the best. At this moment anyway. Can't even think of anything I'd rather hear. What a contribution she made!
The drummers two tom toms on the top sound very unique and good. Thunderous.
verdadeira fera delicada
Steve Bailey kick Ass!
RIP. I love her playing. Does anyone know when this was recorded?
Awesome
Guitar Genius!
please someone tell me the title of that last tune.
Anyone know what year this was? I saw her at M.I. 1989/90.
0:14 look out!
Great stuff
Which year was it ? this a gig ???
Cheers
Fantastic. Anyone know what year this was?
Holding her,several guitars went up,
far away,into the sky.
Like so much...! 👍
Is that Steve Bailey on bass?
Yes! :)
i thought bailey was a nut cream licqueur prefered by women
You know---I once read a review about her--I forget by who--But it stated that she was a pretty valid voice or part of the jazz world---though she never broke new ground..
I definitely agree that she was a VERY valid part of the jazz world-that part wasn't incorrect, but----the other part was--because she was somebody who practiced, studied, played, and listened upward-for the music, and remained mostly ALL THE TIME--THE MUSIC AND THE GUITAR ---and an inspiration, for how to feel and play and what to do and land on and be, for whatever she was doing lead line wise!!!! and in the moment for when I practice and play myself, anything jazz, - which is what I play--especially for me a VERY VERY VERY BIG Martino fan and WES--haha!!! or Diorio
I like the way she uses more modern sounding, non-traditional jazz chords, and weaves all different influences from now and then, instead of only playing the typical bureau-ian 2-5-1's.
Nice
Steve Bailey on bass.
yup
real playing.
¿Does anyone knows what's the date of this performance?
God, she was cool.
title of song starting at 19.50?
I think this is the one I went to Brancatto on drums and that reminds me who was that bass player? Forgot about him
Mark ODay I love the drums, and I’m difficult to impress that way, but I think the bass is pretty keen too! And as for Emily!!!! (Faints offstage)
Isn't it Steve Bailey?
He went on to become a famous 6 string bass player for a while...
👏🏿💕Good
R.I.P Emily
I love these videos from the vaults! So many great musicians seen in rare settings ! Awesome! Keep em coming :) ✌🏼️🤘🏼
I love Emily Remler's Snowfall
No fancy sound fx straight brilliant playing at its best !! Gone way too soon thanks to heroin.!! What have we missed these years when she should still be here for us.!!!!???
What year was this?
I agree----she was a GREAT!!!!!!!!! and an inspriration at all times------and her CD's should be much more accessible
What guitar is that? ES-335?
ES 330 with its original P-90's replaced with humbuckers and a tailpiece from some big hollowbody Gibson.
Thanks!
That's an ES 335 for sure. Emily was photographed with an ES 335 on many occasions, including this video. Whether this is the one she started out with may be a little in doubt. Earlier photos show a guitar that is slightly different in appearance to the one she plays in this video. The Tailpiece is not the same. Earlier photos show a Gibson Vibrato Tailpiece with the handle removed. The Tailpiece on this guitar does not have the vibrato components. Either the original tailpiece was modified to remove the vibrato components (to improve intonation and pitch hold), or a new tailpiece was installed, OR, its not the same guitar. Also, early photos show different pickup covers. The early photos show pickup covers with the nickel plating worn away, as the late fifties - early sixties covers were wont to do. The pickup covers on this guitar are bright chrome.
Finally, the Wikipedia article on Emily Remler mentions that her brother's guitar was an ES 330. That would be a different guitar entirely and this guitar shows no indications of having been an ES 330 modified with a different tailpiece, pickups (not possible) and neck to body joint (not possible either). I'm not saying the Wikipedia article is right or wrong, but it would be pleasant to think that her brother gave her the ES 335 that launched her career and gave her so much pleasure in her professional life.
Anybody have any pertinent observations to add to this bit of historical speculation?
PS She's great. Never heard her before today. Love her creativity, inventiveness, taste, style, chops, personality and her TONE. I've always thought that thin hollow-bodies sound best for amplified jazz guitar. MOST thick hollow-bodies seem to overwhelm the nuances of sound with excessive "woodiness". $60,000 DeAngelicos, D'Aquisto's, etc. and priceless Lloyd Loars aside.
You're right. The guitar in this video is an ES 330. The telling feature is that the neck joins the body at the 16th fret. ES 335 necks join at the 19th fret. So the body of the ES 330 is a little longer and reaches down the neck a little farther than the ES 335 neck. And the pickups ARE replacement humbuckers. The telling feature here is that the Vibrato Tailpiece cover is Nickel Plated and the Humbucker Covers are Chrome. Gibson switched to Chrome plating in the mid to late 60's at the same time they changed the base metal of many of their parts to steel instead of Brass (bean counters!). So the Pickups are not the same vintage as the Tailpiece.
Anyway I like the tone she got with this guitar. It sounds less like a piece of wood and more like strings vibrating. And the tonal response is more even over the full range of the instrument. Big body guitars tend to sound very different depending upon where on the neck you're playing. Low bass notes can sound distorted and high notes can be thick and piercing and sometimes lack sustain. I guess that's why Leo Fender and Les Paul came up with solid body designs.
Great as this guitar sounds, though, it is a far cry from the Ibanez guitars that Vai and Satriani play through modern signal processing amplification systems. As different as Sail Boats and Rockets.
I changed my mind about this guitar. It's an ES 330 modified with Humbuckers. See my comment to Mongrel above.