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Consolidate Captiveslut Ca Podporte Nas T961 Captive Slut Remembering the lie and musc f legendary jazz guitarist Emily Remler » Biography Consolidate Captiveslut Ca Podporte Nas T961 Captive Slut

Consolidate Captiveslut Ca Podporte Nas T961 Captive Slut

I’m not into sitting and crying about it, I’m into doing. I never was bitter about the fact that there are so many band leaders who have told me face to face that they couldn’t hire me because I was a woman, or that there have been so many instances where I wasn’t trusted musically and they handled me with kid gloves because they figured my time wasn’t strong. You have to believe in yourself. It never did occur to me to stay in one place and bitch about this, about how I wasn’t given a chance. I think it gives me more merit – to get really good, so good that it doesn’t matter: to get so good that you surpass it.


From The Jazz Scene: An Informal History from New Orleans to 1990
by W. Royal Stokes comes this excerpt:

Becoming something of a household name among jazz fans here and abroad by mid-decade, Emily nevertheless had to cope with the lingering prejudice against the female instrumentalist in the art form. She expressed her feelings on the double standard she had to contend with everyday. Conceding that working conditions for women in jazz had improved over the course of the 1980’s, Emily lamented, “But there’s still a lot of things that bother me. Like people worrying about your looks when all you want to think about is the music.”
Emily was especially annoyed at a prominent critic who had objected (in print) to her habit of intermittently holding the guitar pick in her mouth whenever she switched to bare-finger playing. The critic confessed that he preferred to look away whenever she was doing this, to which Emily testily replied:


Good ! I wish he’d look away the whole time and picture me as John Coltrane !



It’s clear that preconceptions and prejudice existed for female players, especially those on non traditional instruments or roles in the music community. I think we can all agree that Emily met them head on and handled these moments with grace, humor and a determination that never let such obstacles take anything away from what mattered most, the music.



Robert Jospe, friend and performer with Emily offers the following about her confidence and how she carried herself in a man’s world…

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She wasn’t born a virtuoso.

It’s hard to believe that at age 16 Emily was graduating high school without the ability to read music and knew nothing of jazz. Harder still to believe that by the time she would turn 23 she would be recording her first album, Firefly and beginning to draw a buzz from the jazz community as a talent to behold.

She was just 10 years old when she picked up her brother’s electric guitar and taught herself to play folk and rock songs with particular fondness of Hendrix, The Rolling Stones and The Beatles. Early on it’s mentioned she had formed a small folk band and Buddy Hackett’s son is named as a member, my, my what we wouldn’t give to see the home videos of that now! She loved rock and roll and referred to it like most teenagers do as “good-time partying music”
but where she left the pack in terms of development is when she began to modify the 3 chords that made up her favorite rock song and explore other ways to make it more interesting to her. She could hear something else beyond the simplified melodies and spent hours jamming out new variations of her favorite songs, transcribing Wes solos, muddling through Eric Clapton licks and playing along with her best loved Johnny Winter albums. It was her way of “leaving the planet” although like many youths she remained direction-less about her life ambitions and had more plans for a design career than a musical one.
Still there were moments, dreams of playing the Blues when she listened for hours to Winter’s and B.B. King songs and other small yet significant events along the way that kept drawing her toward the magic of music as the following story will attest, a poignant memory shared by Emily’s childhood and lifelong friend,
Susan Itkin Kurshenoff:


In July 1974, the summer between high school and college, we spent a week or two at the Chautauqua Institution in upstate New York. I took art classes and Emily took music classes, specifically learning about Indian music by playing it on her guitar and authentic Indian instruments. This was a turning point for Emily or at least part of her musical evolution. While in the evenings in our room she taught me to play “Stairway to Heaven” and “Bell Bottom Blues” (she could play Page and Clapton, not me!), she had moved on musically.
Each afternoon after her Indian music lesson, she couldn’t wait to play me what she learned and there was pure delight in her face as she played these new sound combination’s, half tones and quarter tones, different rhythms and time signatures.

Although she might not have played jazz before she began attending Berklee two months later, it’s easy to see how she “absorbed” jazz just like she did Indian music during her brief summer experience. She had incredible enthusiasm about all that music could be, every complex chord and rhythm and a determination to make those sounds come out of her and her guitar.




In hindsight, it’s obvious that Emily learning these “weird time signatures”, memorizing Ravi Shankar records and being exposed to such a diverse and rich palette of non-traditional music helped spark her interests and later mastery of polyrhythms and Brazilian jazz styles where she excelled in her playing.


After graduating high school with low marks, admittedly from too little focus toward studies, she initially had trouble finding a college that had a serious interest in recruiting her. She considered going to the Rhode Island School of Design with enthusiasm in graphic design

I did sculpting and drawings and had a choice to make between Rhodes and Berklee but I was so frustrated with art. I couldn’t get it the way that I wanted it. Music, at least you get more chances and a little more time and the companionship of other musicians.


She opted for Berklee College of Music because music seemed more forgiving and simply because they had accepted her. She later mused, “it was easy to get in to but staying in was hard”. This was quite a casual and carefree attitude from someone that went on to pour incredible amounts of hard work into practicing and playing but it was her experience at Berklee that would have the greatest impact on who she became as an artist. It was indeed the first place she ever heard jazz.
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