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Emily Remler 5/1990

Emily Remler was born September 18, 1957 in Manhattan, New York and raised in Englewood Cliffs, New Jersey. Remler began playing guitar at age ten. Her first guitar was her brother’s cherry-red Gibson ES-330, the guitar she would use for most of her professional career. She listened to pop and rock guitarists like Jimi Hendrix and Johnny Winter. She learned simple folk tunes, Beatles songs, and Johnny Winter solos note-for-note, but it was just a hobby. She wasn’t serious yet and had other interests, like sculpture and drawing. Remler was sent to a private boarding school in Massachusetts to finish high school. She graduated high school early, at 16, and applied to music and art schools. She got accepted to one of each: the Berklee College of Music and the Rhode Island School of Design. She had to decide: music or art?  She chose music. 
She told an interviewer for Down Beat magazine in 1985, “I was so frustrated with art. I couldn’t get it the way I wanted it. Music, at least you get more chances and a little more time and have the companionship of the other musicians.”
She wasn’t that good when she got to Berklee, and jazz was an alien art form to her. Miles Davis and John Coltrane were not on her radar. But Berklee was a diverse place, and jazz was more than Coltrane and Miles. She heard Paul Desmond, Pat Martino, and Wes Montgomery. That was more her speed—she loved it and became hooked.
Remler finished a two-year degree and graduated at age 18. She still wasn’t much of a guitarist (at least that’s what she said in interviews) but she’d learned a lot about music, including harmony, reading, and keeping time.
“My teacher told me that I had bad time. I rushed. I went home crying. Crying. But I bought a metronome. I worked with the metronome on two and four. I practiced with that thing and nothing else behind me,” she said in the same 1985 Down Beat interview. She worked hard at it, and eventually great time—her ability to swing—became a hallmark of her playing.
Her boyfriend at the time, guitarist Steve Masakowski, was from New Orleans, and they decided to move there. But she wanted to spend the summer practicing in New Jersey first, so she rented a room on Long Beach Island for eight weeks and worked on chord theory and soloing. She quit smoking. She lost weight. That’s where she learned how to play.
When Remler moved to New Orleans in the fall, she got to work. Reading music got her a lot of gigs: hotel shows, weddings, anniversary parties, rhythm and blues gigs, jazz gigs, and all-night jams with the old-timers on Bourbon Street. She gigged with Wynton Marsalis and Bobby McFerrin. She backed up singers. She played in blues and jazz clubs, working with bands such as Four Play and Little Queenie and the Percolators before beginning her recording career in 1981. She also supported big names when they came to town: Robert Goulet, Rosemary Clooney, Nancy Wilson. Wilson took her on the road and brought her to the Lincoln Center’s Avery Fisher Hall. Remler was a big fish in a small pond, and because she could play and read, she was a first-call player in New Orleans.
She put together a quartet, and worked, but she only lasted another year there before moving back to New York, but she always valued her New Orleans time—it made her into a musician and helped her find her voice. “In New York, it’s very serious. In New Orleans everybody jumps up and down,” she told Down Beat in a 1982 interview. “There’s an R&B kind of feeling. I sort of stole that rich culture and applied it to my own music. If I had stayed in Boston, I’d be playing ‘Giant Steps’ like a madman—like everybody else.”
When Herb Ellis came to town, Remler had to meet him. She had guts and ambition and was able to finagle a meeting. 
“I asked her to play something for me, and when she did, I couldn’t believe what I heard,” Ellis said. A few years later Ellis told People Magazine, “I’ve been asked many times who I think is coming up on the guitar to carry on the tradition and my unqualified choice is Emily[Remler].” 
He got her an engagement at California’s Concord Jazz Festival, requesting that she join him on a bill called “Guitar Explosion” that also featured such virtuosos as Barney Kessel and Tal Farlow. For Remler it was the beginning of a promising career — one that New Orleans couldn’t contain. Within a year, she had amicably ended her relationship with Masakowski and gone back to New York.
Remler’s return to New York however became a struggle; in New Orleans she was a big fish in a small pond, but like so many aspiring players, here she was a small fish in a big pond. Yet it had an additional layer of difficulty for her. “There are so many bandleaders who have told me face to face that they couldn’t hire me because I was a woman,” she remarked. “So many instances where I wasn’t trusted musically and they handled me with kid gloves.” Remler used the adversity as motivation to get so good that they’d have to hire her.
She landed a job accompanying vocalist Brazilian Bossa nova phenomenon Astrud Gilberto, and began introducing herself to guitarists she heard around town. One was John Scofield, who in 1980 introduced Remler to Clayton, in town from L.A. They jammed together. “She knocked me out,” Clayton says. “I said, ‘Are you gonna be around in a couple months? Because we’re gonna do a Clayton Brothers recording, and it’d be great if you could join us!’ And her eyes widened, and she said, ‘Yeah!’” Remler flew out to California that June to play on the album It’s All in the Family. On the date she again met the president of Concord Jazz Records, Carl Jefferson, whom she’d impressed two years earlier at the Concord Jazz Festival. He signed her to record an album of her own for what was at the time a guitar-centric label. Back in New York she founded the Emily Remler Trio and recorded her first album as a band leader. Firefly gained positive reviews, as did Take Two and Catwalk. She participated in the Los Angeles version of Sophisticated Ladies from 1981 to 1982 and toured for 3 years with Brazilian jazz phenomenon Astrud Gilberto.
From there things moved quickly. The album, Firefly, placed her in the august company of pianist Hank Jones, along with bassist Bob Maize and drummer Jake Hanna. On the strength of Firefly, Jefferson extended her contract for three additional albums. Remler was a headliner at the Berlin and Newport Jazz Festivals, and on a Hawaiian jazz cruise. In a column for the Los Angeles Times, jazz critic Leonard Feather named her 1981’s “Woman of the Year. 
She was featured in the music trade magazines, and in the spring of 1982, Remler crossed over into People magazine, where she uttered her most famous quote: “I may look like a nice Jewish girl from New Jersey. But inside I’m a 50-year-old, heavyset black man with a big thumb, like Wes Montgomery.”
“The pieces are rapidly falling into place for Emily Remler,” Feather wrote, and this was true for her both professionally and personally: Remler met and married the Jamaican jazz pianist Monty Alexander in ’81.
In New York, she had been leading her own trio. When it came time to make her third record for Concord, she had enough clout and confidence to insist that the full quartet make the date. The result was 1983’s acclaimed Transition, which marked an increasing focus on her own compositions and a step away from bebop conservatism.
That progress continued with Catwalk, released in early 1985. It was Remler’s first collection of entirely original compositions, many of them flavored with Latin, Brazilian, Indian and African polyrhythms. “This is the best thing I’ve ever done,” she pronounced in an interview shortly after its release.
Critics agreed. So did guitar great Larry Coryell, who heard Catwalk upon its release. “I … was impressed,” Coryell wrote in his 2007 memoir, Improvising: My Life in Music. “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.”
Coryell and Remler would soon record a duets album, Together. They hit the touring circuits, playing international festivals as well as clubs and guitar workshops. They also had a brief romance—a new partnership augmented by the dissolution of another. After two and a half years, her marriage to Monty Alexander had ended in divorce. It was, perhaps, a harbinger of more difficult times to come.
In 1985 she won Guitarist of the Year in Down Beat magazine’s international poll, and performed in that year’s guitar festival at Carnegie Hall.
When asked how she wanted to be remembered she remarked, “Good compositions, memorable guitar playing and my contributions as a woman in music…but the music is everything, and it has nothing to do with politics or the women’s liberation movement.”
But by the end of 1986, Remler had had enough. She quit New York and moved to Pittsburgh, becoming an artist-in-residence at Duquesne University and studying at the University of Pittsburgh with Bob Brookmeyer. At night she worked the local clubs. She continued playing festivals and freelancing on records. But as she kept honing her craft, she also went into drug rehab therapy, hoping to beat not only her addiction but the demons that hid behind it.
It seemed to be working. In the spring of 1988, she even moved back to New York, taking an apartment in Sheepshead Bay, Brooklyn. She made a bebop record, East to Wes, with Hank Jones, bassist Buster Williams and drummer Marvin “Smitty” Smith, and took some straight-ahead gigs recording behind pianist David Benoit and vocalist Susannah McCorkle.
She had some less conventional ideas brewing as well. Remler began experimenting with the cutting-edge electronics of the day, including a guitar synth—less Montgomery than Metheny. In 1989, she signed a deal with Houston-based Justice Records to release her newly recorded This Is Me, an album that included her passions for the jazz-guitar tradition and for Brazilian and African rhythms, but pushed hard in the direction of crossover jazz-pop.
She never got to see where the new direction would take her. Remler was on a tour of Australia when she was found dead in her Sydney hotel room. The official cause of death was heart failure, with no mention of drug involvement. The jazz world knew better.
Remler bore the scars of her longstanding opioid use disorder, which is believed to have contributed to her death. On May 4, 1990, she died of heart failure at the age of 32 while on tour in Australia.
She took something with her besides her musical gift. “She always had a weakness for the party life, and maybe overdoing it with substances and things like that,” former boyfriend Masakowski said. “When we were first together, it was a very healthy lifestyle. I even got her to quit smoking. But then I think she started playing with the more party-oriented types of groups, and it started to deteriorate.”
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Grady Tate 10/2017

October 8, 2017 – Grady Tate was born on January 14, 1932 in Hayti, Durham, North Carolina. In 1963 he moved to New York City, where he became the drummer in Quincy Jones’s band.

Grady Tate’s drumming helped to define a particular hard bop, soul jazz and organ trio sound during the mid-1960s and beyond. His slick, layered and intense sound is instantly recognizable for its understated style in which he integrates his trademark subtle nuances with sharp, crisp “on top of the beat” timing (in comparison to playing slightly before, or slightly after the beat). The Grady Tate sound can be heard prominently on many of the classic Jimmy Smith and Wes Montgomery albums recorded on the Verve label in the 1960s. Continue reading Grady Tate 10/2017

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Walter Becker 9/2017

WALTER BECKER OF STEELY DANSeptember 3, 2017 – Walter Becker (Steely Dan) was born February 20, 1950 in Queens, New York. Becker was raised by his father and grandmother, after his parents separated when he was a young boy and his mother, who was British, moved back to England. They lived in Queens and as of the age of five in Scarsdale, New York. Becker’s father sold paper-cutting machinery for a company which had offices in Manhattan.

He graduated from Stuyvesant High School in Manhattan in the class of 1967. After starting out on saxophone, he switched to guitar and received instruction in blues technique from neighbor Randy Wolfe, better known as Randy California of the psychedelic westcoast sensation “Spirit”, a nickname he got from Jimi Hendrix while playing with him in New York in the mid sixties.

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Al Jarreau 2/2017

Al Jarreau, vocalist extra ordinaireFebruary 12, 2017 – Al Jarreau was born Alwin Lopez Jarreau on March 12, 1940 in Milwaukee, Wisconsin, the fifth in a family of 6 children.

His father was a Seventh-day Adventist Church minister and singer, and his mother was a church pianist. Jarreau and his family sang together in church concerts and in benefits, and he and his mother performed at PTA meetings.

Jarreau went on to attend Ripon College, where he also sang with a group called the Indigos. He graduated in 1962 with a Bachelor of Science in psychology. Two years later, in 1964, he earned a master’s degree in vocational rehabilitation from the University of Iowa. Moving to San Franciso during the 1967 summer of love, Jarreau worked as a rehabilitation counselor and moonlighted with a jazz trio headed by George Duke. In San Francisco, Al’s natural musical gifts began to shape his future and by the late 60s, he knew without a doubt that he would make singing his life. He joined forces with acoustic guitarist Julio Martinez to “spell” up-and-coming comics John Belushi, Bette Midler, Robert Klein, David Brenner, Jimmie Walker and others at the famed comedy venue, THE IMPROV and soon the duo became the star attraction at a small Sausalito night club called Gatsby’s. This success contributed to Jarreau’s decision to make professional singing his life and full-time career. Continue reading Al Jarreau 2/2017

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Jeff Golub 1/2015

jeff GolubJanuary 1, 2015 –  Jeff Golub was born April 15th 1955 in Copley, Ohio. Golub started playing guitar, like so many,  by emulating 1960s blues rock guitarists Eric Clapton, Jeff Beck and Jimi Hendrix. Then, following up on the artists that these musicians cited as their inspiration, he delved deeper into the blues listening to Muddy Waters, Buddy Guy, plus B.B., Albert, and Freddie King. He was in his teens when he first heard a Wes Montgomery record which set him on a whole new course of musical direction, which led him to study at Berklee College of Music in Boston.

In a musical journey that spans more than three decades and encompasses a diverse assortment of projects from across the jazz, blues and rock spectrum, the visionary guitarist maintained the same honesty, enthusiasm and creativity that first won him his reputation as one of his era’s most skillful and original musicians. Whether it was his own inventive yet effortlessly accessible recordings or his collaborations with a dizzying array of artists, Golub’s work was consistently distinguished by the versatility and imagination that he brought to everything he did.

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Kenny Rankin 6/2009

kenny-rankinJune 7, 2009 – Kenny Rankin was born in Los Angeles on February 10, 1940 but raised in the Washington Heights area of Brooklyn, New York.

He was introduced to music by his mother, who sang at home and for friends. Early in his career he worked as a singer-songwriter, while a well-regarded guitarist, he played in Bob Dylan’s backup band on the influential 1965 album “Bringing It All Back Home.”

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Michael Brecker 1/2007

Michael BreckerJanuary 13, 2007 – Michael Leonard Brecker was born on March 29th 1949 in Philadelphia, Pennsylvania. Michael Brecker was exposed to jazz at an early age by his father, an amateur jazz pianist. Among the generation of jazz musicians that saw rock music not as the enemy but as a viable musical option, Brecker began studying clarinet, then moved to alto saxophone in school, eventually settling on the tenor saxophone as his primary instrument. After only a year at Indiana University, Michael Brecker moved to New York City in 1970 where he carved out a niche for himself as a dynamic and exciting jazz soloist.

He first made his mark at age 21 as a member of the jazz/rock band Dreams – a band that included his older brother Randy, trombonist Barry Rogers, drummer Billy Cobham, Jeff Kent and Doug Lubahn. Dreams was short-lived, lasting only a year, but influential (Miles Davis was seen at some gigs prior to his recording “Jack Johnson”).

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Eric J Gale 5/1994

eric-j-galeMay 25, 1994 – Eric J. Gale (jazz and session guitarist) was born on September 20, 1938 in Brooklyn, New York. His grandfather was English, and Gale had relatives in Venezuela and Barbados. Eric’s father always managed to keep him safe. Growing up, Eric spent his holidays visiting family in the UK, which allowed him to look at the world through a different perspective. He was fluent in Spanish, German, and French.

Gale began playing guitar at the age of 12. Although he majored in chemistry at Niagara University, Gale was determined to pursue a musical career, and began contributing to accompaniments for such stars as Maxine Brown, the Drifters, and Jesse Belvin.

While he was recording in Jamaica, Roberta Flack called Gale and begged him to come back home to New York to help her with the Killing Me Softly (1973) album. Gale was reluctant, so she flew the band members to him instead. After some persuading, they ended up returning to the United States and recorded Flack’s global hit.

He soon began to attract the attention of King Curtis and Jimmy Smith, who began recommending him for studio work. He became known first as a session musician in the 1960s, eventually appearing on an estimated 500 albums. Among the many artists he recorded with were Aretha Franklin, Bob James, Paul Simon (Gale plays a supporting role in the 1980 film One-Trick Pony, written by and starring Simon), Lena Horne, Quincy Jones, Bob Marley, Nina Simone, Peter Tosh, Grover Washington, Jr., Herbie Mann, Esther Phillips, Joe Cocker, Carly Simon, Van Morrison, Al Jarreau, Dave Grusin and Billy Joel. He also had played in Aretha Franklin’s stage band.

Gale also played guitar on hundreds of pop, jazz, and blues recordings, including those of the Beatles, Jimi Hendrix, Aretha Franklin, Carla Bley, Mose Allison, Marvin Gaye, Frank Sinatra, Johnny Hodges. Over the course of his 30-year career, he released many solo albums and remained a regular fixture in New York clubs and recording studios.

Eric Gale was 55 years old when he died of lung cancer on May 25, 1994

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Ollie Halsall 5/1992

ollie-halsallMay 29, 1992 – Ollie Halsall was born Peter John Halsall on March 14th 1949 in Southport, England.

Halsall started out playing drums and the vibraphone (an instrument on which he became extraordinarily proficient) before taking up the guitar in 1967. By 1970, as a member of the cult-favorite band, Patto, he had evolved into one of the world’s most sensational players. That he never got that recognition can only be explained by the fact that the world had a number of top players already in the marketing line up and there was only so much promotional effort made available by the record companies.

Other guitar gods that didn’t make the Super Stardom Line Up of those early days- but should have- were in my opinion Jan Akkerman from the Dutch prog band Focus, Eddie Hazel with Parliament-Funkadelic who died 7 months after Ollie, Chicago’s Terry Kath, Jimi Hendrix favorite guitar player at the time, and April Lawton from Ramatam.

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Doc Pomus 3/1991

doc pomusMarch 14, 1991 – Doc Pomus was born Jerome Solon Felder on June 27th, 1925 in Brooklyn, New York, he was a son of Jewish immigrants. Having had polio as a boy, he walked with the help of crutches. Later, due to post-polio syndrome, exacerbated by an accident, Felder eventually relied on a wheelchair.

Big Joe Turner turned him onto the Blues and using the stage name “Doc Pomus“, teenager Felder began performing as a blues singer. His stage name wasn’t inspired by anyone in particular; he just thought it sounded better for a blues singer than the name Jerry Felder. Pomus stated that more often than not, he was the only Caucasian in the clubs, but that as a Jew and a polio victim, he felt a special “underdog” kinship with African Americans, while in turn the audiences both respected his courage and were impressed with his talent. Gigging at various clubs in and around New York City, Pomus often performed with the likes of Milt Jackson, Mickey Baker and King Curtis. Continue reading Doc Pomus 3/1991

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Nat King Cole 2/1965

Nat King ColeFebruary 15, 1965 – Nat King Cole was born Nathaniel Adams Coles on March 17, 1919 in Montgomery, Alabama.  Cole had three brothers: Eddie, Ike, and Freddy and a half-sister, Joyce Coles. Each of Cole’s brothers would later pursue careers in music as well. When Cole was four years old, he and his family moved to Chicago, Illinois, where his father, Edward Coles, became a Baptist minister. Cole learned to play the organ from his mother, Perlina Coles, the church organist. His first performance was of “Yes! We Have No Bananas” at age four. He began formal lessons at 12, eventually learning not only jazz and gospel music, but also Western classical music, performing, as he said, “from Johann Sebastian Bach to Sergei Rachmaninoff”. Continue reading Nat King Cole 2/1965

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Django Reinhardt 5/1953

django-reinhardtMay 16, 1953 – Jean Baptiste “Django” Reinhardt  was born on January 23, 1910 in Liberchies, Pont-à-Celles, Belgium, into a French family of Manouche Romani descent. His father was named Jean Eugene Weiss, but used the alias “Jean-Baptiste Reinhard” on the birth certificate to hide from French military conscription. His mother, Laurence Reinhardt, was a dancer.

The birth certificate refers to: « Jean Reinhart, son of Jean Baptiste Reinhart, artist, and Laurence Reinhart, housewife, domiciled in Paris. Reinhardt’s nickname “Django”, in Romani means “I awake.” Reinhardt spent most of his youth in Romani encampments close to Paris, where he started playing violin, banjo, and guitar. His family made cane furniture for a living, but its members included several keen amateur musicians. Continue reading Django Reinhardt 5/1953