It was jam yesterday and jam the day before as a rising star of jazz guitar, 24-year-old Emily Remler, got together with veteran guitarist Charlie Byrd for a two-nighter at Charlie's. If there were some ragged edges because of the unrehearsed circumstances of the session, the spontaneity and fire that resulted easily made up for the occasional clinkers. Indeed, the compatibility of the two virtuosos as they exchanged ideas and fed each other lines persuaded the patrons to maintain a rapt silence Saturday night that does not always prevail at the posh supper club.

"Opus No. 1" began with Byrd's straightforward statement of the melody on top of the rhythm of Remler, bassist Joe Byrd and drummer Chuck Redd. Suddenly the guitarists had changed roles and Remler was improvising self-renewing lines on the chord changes with a slashing attack and clusters that remained suspended in the air for an instant like puffs of smoke. Their trading of fours offered an effective contrast of the drier and clipped notes of Byrd's acoustic guitar against the fluid and overlapping octaves of the hollow-body electric instrument.

Remler has a flamboyant as well as a sensitive side, and both were well-displayed in several numbers featuring her without Byrd. Bobby Timmons' "Moanin' " was a swinger with soul, "Polka Dots and Moon Beams" languorous and understated, and the trio cooked on "Tenor Madness." With Byrd back on the bandstand all four burners were turned to high for a set-concluding "Seven Come Eleven."