Articles and commemorations gathered from previously published sources
that deserve wider recognition.

“She didn't have to let you know that she was a virtuoso in the first five seconds.”
“Humility and openness, that was her core.”

— Ra-Kalam (Bob) Moses
(Drummer on Emily's Transitions and Catwalk albums)
Premier Guitar - Forgotten Heroes: Emily Remler, 2014.


Kelly Roberti is an accomplished composer and world class musician who's extensive resume includes a number of tours and performances as part of Emily's Trio in the late 80's. From the scores of memories he has, Kelly shares this poem written May 11, 1990, a deeply personal moment set to words of a particular place and time, never forgotten and never relinquished. Visit him at


A Day In The Life...

Here's a small slice of life from a night on the town with Emily through the eyes of fellow friend and former student, Michael Ducey titled Emily, I'll Carry You! Written November 24, 2004.

For a short while I took guitar lessons from one of the finest female jazz guitarists since Mary Osborne. I never became a great guitarist, but that's because I never put in the time it takes to be a great guitarist. Emily on the other hand, lived and breathed the guitar.
One day I arrived at Emily's apartment to take a lesson and there she was in a leg cast and on crutches, having not exactly had the greatest time skiing. I told her Joe Pass was coming to town and he was performing on a double-bill with Jim Hall. She said that she knew about it and she'd really love to go, especially since she was a good friend of Jim Halls, but there's one problem she said "at the moment I can't walk". I said "Emily, you're not heavy, so I'll just get as close to the Blue Note as I can and I'll carry you." So, sure enough a few nights later I picked Emily up and drove down into Greenwich Village, found a spot on the north side of Washington Square Park and Emily got on my back and I carried her to the Blue Note.

I wish I had a tape recorder with me that night, because up in the dressing room after the first set Emily asked Jim if she could borrow his beautiful cherry colored guitar. Joe told her to play a tune with him. They had one beautiful interchange after another and it was something the rest audience downstairs never got to see.

After playing with Joe, rather than stay for the 2nd set Emily asked me how my back was and wanted to know if I'd mind checking out Leni Stern, because she was playing that night at the 55 Bar on Christopher Street. So, playing horse again, we made our way over a few more blocks.

What thrilled Emily that night was seeing not only two legendary guitarists at the Blue Note, but seeing another wonderful guitarist, who was also a great writer. Emily said "hey, I know I've got the chops, but I would love to write like Leni".

Leni was playing that night with a blazing guitarist named Wayne Krantz and as always her solos were silky smooth. I'll tell more about Leni another time, but what I saw that night made me realize that every talented individual has something to glean from another.
Beautiful music is always an interchange.


This remembrance of meeting and playing with Emily is from Larry Coryell's 2007 autobiography titled : Improvising: My Life In Music

In early 1985 I met Emily Remler, a young jazz guitarist who was getting some well-deserved attention at the time. I heard one of her records, a trio setting with my old friends Bob Moses and Eddie Gomez on drums and bass and was impressed. Emily was creative, smart, swung like crazy, and had a time feel that was just about the best I had ever heard from any guitarist, male or female.
Emily and I started playing together as a duo. We toured the United States and Europe off and on for about a year and were briefly involved romantically, until I realized that we had very little in common. We made a duet record for Concord Records, Together, which still stands up today, I think, especially as a testament to Emily's genius. When the record was released there was lot of reaction from the jazz guitar community. One publication, The Texas Monthly, had a long article analyzing the different soloing approaches we had. They surmised that Neal Tesser, who wrote the liner notes, had confused my playing with Emily's and Emily's playing with mine! I thought that was kinda funny because ever since I started doing two-guitar things, even musicians who knew both of us sometimes couldn't tell us apart. The first example of this I recall came from Jack Bruce, who also said he couldn't tell me from John McLaughlin when he first heard "Spaces". But where McLaughlin came off sounding like a high-flying rocket, Emily was like a poet when she played. I recall one bizarre incident on tour in Germany when we were in a doctor's office. The doctor had a guitar there, an entry-level solid-body, with a small amp. Emily picked it up and plugged in and started playing just with her fingers - no pick. We were all mesmerized by what she was doing: chords, timing, feel, counterpoint, and spontaneity.
Emily died an untimely and all-too-early death in 1990 at the age of 32. Monty Alexander, her ex-husband, said it best; "She's out of town. She'll be back" - I believe that - the music was just too good.

Whenever I May Find Her

The following letters to the editor appeared in the August issue of Guitar Magazine written by Edward Barr and Joel Turoff shortly after Emily's passing. Their remembrances were quite touching and bitter sweet. If there were any questions about Emily's dedication to her students or if she was a serious teacher, let them be silenced. I mean please, who in the world would entertain the thought of a student at 7 A.M. !