Emily Remler: Cookin' at the Queens: Live in Las Vegas 1984 & 1988

Emily Remler's Cookin' at the Queens Live in Las Vegas 1984 & 1988 is a dynamic 2 CD showcase of her guitar prowess, co-produced for Resonance Records by Zev Feldman and Bill Milkowski, and is firmly rooted in her admiration for jazz legends like Wes Montgomery, Pat Martino and George Benson. Across these live sessions, Remler captures the spirit of jazz guitar in its purest form -intimate, exploratory and deeply expressive. Spanning two vibrant sets, Remler's quartet performance in 1984 with pianist Cocho Arbe, bassist Carson Smith and drummer Tom Montgomery, and a 1988 trio set with Smith and drummer John Pisci, this previously unheard live recording offers a generous sampling of her most spirited work. It presents the first release in 34 years from the unsung jazz guitar great who tragically died on May 4, 1990, at 32. < br/>< br/> CD 1 opens with the Bobby Timmons hard bop classic "Moanin,'" and the intensity of her performance is palpable from the opening notes. She confidently attacks the number and slyly references Wes Montgomery with her soulful octaves. The rhythm section of Arbe, Smith and Tom Montgomery understand and complement each other, whether in their solos or spirited exchanges. Remler's command of Brazilian-inspired tunes is captivating, as seen in her treatment of Antonio Carlos Jobim's "How Insensitive" and the upbeat Luis Bonfá gem "Samba de Orfeu" from the Marcel Camus 1959 film Black Orpheus. Her incendiary improvising style brings an openness to both the bossa nova and samba groove, demonstrating her stylistic versatility while honoring the songs' swaying rhythms. In these interpretations, pianist Arbe brings a brightly evocative, harmonically layered approach to the material ably supported by Smith and Tom Montgomery.

Tadd Dameron's bop jewel "Hot House" is a contrafact based on Cole Porter's "What Is This Thing Called Love?" on which Remler's guitar positively sings, bursting forth with clear fluid lines that underscore her grasp of the bebop tradition. A further acknowledgment of Wes Montgomery's influence on her guitar playing can be found in her rendition of his easygoing waltz "West Coast Blues." Tapping into the raw, earthy sound of the blues phrasing, she captures the emotional depth of the genre while maintaining the swing and vigor that jazz demands.

Disc 2 begins with a continuation of the quartet on an accessible tempo version of the Johnny Green number "Out of Nowhere." Remler brings the number to life, with the rhythm section providing sympathetic support. She then demonstrates her superb technique and instinct for the groove. The first trio number with Smith and drummer Pisci is another Bonfá composition, "Manhã de Carnaval," from the previously noted Camus film. Remler carries all the weight in this musical iteration, with the guitarist unafraid with no place to hide. Accordingly, she takes her time and constructs each line with careful attention to mood and musical narrative.

Remler's affinity for modal classics is especially evident in her interpretations of Miles Davis' "So What" and John Coltrane's "Impressions." Her playing here explores a vast emotional range oscillating between intensity and introspection. She allows her phrases to breathe, expand and contract with a distinct rhythmic sensibility. Her interaction with Smith and Pisci demonstrates a refined sensitivity as each builds on the other's phrases seamlessly. The trio closes the set with Wes Montgomery's " D-Natural Blues." Filled with soulful intensity, Remler's touch is assertive and tender, capturing the vitality and spontaneity of the number, with her artistry shining through in full force. This release is an unrestrained swinger and serves as both an homage to her idols and a powerful expression of her musical identity.