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

"And death shall have no dominion," wrote Dylan Thomas. To prove the truth of the poet's assertion, Zev Feldman has found and promoted this beautiful album, bringing the talent and creativity of Emily Remler back to life. It is easy to see why Feldman says that for him this is an important project. All of Feldman's projects have lavish extras. This is extra special. Remler was one of those lost souls who seemed destined to disappear under the weight of the past and its indifference.

"As time goes by, some artists' legacies get even more interesting and become more important, and I think Emily Remler is such a significant artist," says Feldman, who produced the record. "She was a trailblazer and I hope these recordings are going to contribute to and validate her story and her importance."

"Cookin' at the Queens" captures Remler in quartet performances with pianist Cocho Arbe, bassist Carson Smith and drummer Tom Montgomery (1984) and trio performances with Smith and drummer John Pisci (1988).

The rhythmic drive of "Out of Nowhere" is a faster tempo than most musicians would use. The solo is assertive and builds gradually, as does that of pianist Chocho Arbe.

The interpretation of "You Don't Know What Love Is" is vital and different. She does not just embroider the melody but reshapes it, making it her own. Notes are chosen carefully, there is deliberation. The architecture of the improvisation is impressive. The piano solo from Arbe has wit and inventiveness.

Just as beautiful is "Polka Dots and Moonbeams," and evident is the sheer love of playing. The improvisation is poetic as she freely explores the byways of the melody. Racing through "Hot House," Remler shows her bop skills on "What Is This Thing Called Love," giving it an exhilarating, joyful tour.

The album's highlight is "Manha De Carnaval." Remler brings it to life lovingly with beautiful dynamics and a great sense of the rhythmic soul of the composition. It sounds as though the song had special meaning for her. It is the longest track and Remler seems reluctant to leave it. Smith holds the tune together on bass as Remler soars and adventures through the melody. This could be the finest improvisation on the album.

Smith is on all the tracks. In the early fifties, he was an important member of the Gerry Mulligan Quartet and went on to work with Chet Baker and Chico Hamilton. Eventually, he moved to Las Vegas and a residency at the Four Queens Hotel. The fluidity of his playing and the sonorities he finds in the bass are impressive throughout the two dates.

The CDs and vinyls are accompanied by notes, commentaries and memories from Bill Milkowski, Russell Malone, Mike Stern, Rodney Jones and Dave Stryker, along with Mimi Fox, Jocelyn Gould and Amanda Monaco.

The impressive aspect of the whole album is that it is all in all night's work, without any thought that it would reach into the future. The tensions of the recording studio are absent. This is pure jazz, a tribute to the beauty of jazz with musicians sharing their musical thoughts, their techniques. The added melancholy gives the music a sad edge because we know the aspirations will be brought to a full stop. It leaves the question, if this questing spirit achieved all this what could she have done?

Turn the lights down, pour a glass, relax and listen to the artistry and muse on what is and what might have been.

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