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Remembering All About Jazz's Dave Binder / John Kelman
Courtesy Rosemary Hancock
If you have a story that you would like to share about John / Dave, email it to us or post it in the comments section below.
Ian Patterson
The terribly sad news of John's passing (he was always John to me) has come as a great shock. He had endured a lot of health issues for quite a few years but faced all his trials with a healthy mixture of optimism and pragmatism. It cannot have been easy for him or for his wife, Rio. John was my editor when I began writing for All About Jazz in 2006. He was thorough and even-handed, praising when merited and dishing out tough love when it was equally deserved. He instilled in me the idea that anything less than my best effort was a waste of time.
I had the great pleasure to meet John at the Penang Island Jazz Festival, Malaysia, in 2011. As keynote speaker John gave a presentation about the interweaving of musical cultures that has grown with the ECM label—a label nobody knew better than John. His attention to detail, his enthusiasm and his incredible knowledge were inspiring, but it was also great to get to know him as a person. He was warm, open-minded and easy to get along with. We would Skype each other periodically thereafter, and our chats revealed a man of many interests and great humor.
When editing became too much for John, taking up too much of his cherished writing time I stepped into the breach, in turn editing his own writing. And boy could he write! Has anybody anywhere written more on the annual Punkt Festival in Norway than John Kelman? Or about Norwegian jazz in general? His refusal to take the short cuts never ceased to amaze me. Check out his review of Dutch guitarist
Jan Akkerman
guitarb.1946
Robert Fripp
guitarb.1946
I will miss chatting with John about North American and Irish politics and music of all stripes. I will miss his reviews of ECM albums, which were always on the money. I might not miss editing some of his longer submissions, but I am sure he would forgive me for that admission! Rest in peace, John. And thanks.
Alan Bryson
You can put me in the category of folks who consider John a mentor. Initially, I considered my first AAJ submission, an interview, as a one-time event. However, John convinced me that AAJ had a place for a contributor who sees himself first and foremost a music lover, and not as a hard core jazz fan. Thanks to him and his encouragement, I had the bounty of interviewing some of the best musicians on the planet. It turned out we were kindred spirits in terms of seeing ourselves as music fans first, although the breadth of his interests and the depth of his knowledge were vastly beyond mine . His skills as a writer were extraordinary, and in his role as an editor he displayed great empathy, always improving my work, yet leaving it in my voice. Considering all the musicians he interviewed, the concerts he'd seen, the articles he wrote and edited, it's no surprise that the depth of his musical knowledge was off the charts. When I came across 
Lenny Breau
guitar1941 - 1984
A little bit of time passed and I interviewed with the band, The Ringers, that had three guitarists' guitarists out front:
Michael Landau
guitar
Wayne Krantz
guitar, electric
Jimmy Herring
guitarb.1962
John was funny, articulate, engaging, and insightful—what a blast it was to speak with him. I told him he should be doing radio, he laughed and said, "
John McLaughlin
guitarb.1942
You can listen to our conversation below (in the video section.
Nenad Georgievski
Although I never had the chance to meet Kelman in person, our communication was always open and warm. I first came across his work through his insightful and detailed articles and interviews at AAJ, which were a joy to read. Our connection grew stronger when he began editing my articles. He was always encouraging and supportive, offering guidance that helped me grow as a writer. Kelman was undoubtedly one of the best music writers of all time, and his loss feels monumental—like a library has been burned down. I will miss him deeply. Chris May
Of Dave's many qualities, among which his enthusiasm and readiness to help were prominent, his ability to turn an article round quickly always impressed me. Dave's daily reports from Norwegian jazz festivals, particularly from PUNKT, were up on AAJ without fail the morning after each day's events. Dedicated to his craft, Dave stayed up each night until the report was filed. Duncan Heining
I met John at the Oslo Jazz Festival in 2011. As well as some amazing concerts—
Nils Petter Molvaer
trumpetb.1960
Charlie Haden
bass, acoustic1937 - 2014
Karin Krog
vocalsb.1937
Tom Harrell
trumpetb.1946
George Russell
composer / conductor1923 - 2009
Bruce Lindsay
I first came into contact with John when I joined AAJ about 15 years ago. He was very helpful in helping me to navigate the website, answering my questions about submitting work, etc. I met him in person only once, when he visited the UK and we were both at the JazzFM Awards (around 2012?). I'm pretty sure that he once told me that we share the same birthday—5 February 1956. We also shared a love of 
King Crimson
band / ensemble / orchestrab.1969
Joseph Vella
I had been reading and enjoying John's work via All About Jazz for decades before actually meeting and talking with the man. I always marveled about his passion when it came to anything ECM. And in 2021, as I was helping the estate of 
Lyle Mays
keyboards1953 - 2020
John was the very first journalist to receive Lyle's (Grammy winning) final track. So, it was fitting that we took one of John's beautiful quotes from his review and posted it on Lyle's website when we announced its release (and John's quote still remains front and center on Lyle's site). I will never forget how honored John was that we used his quote.
From that moment on, we were fast friends and having lengthy Zoom conversations (since it was during the pandemic period) not only about Lyle and the Pat Metheny Group but also ECM recordings in general. Those conversations went beyond the recordings themselves and into deeper analysis and discussions about being a music professional and the state of the scene, et al. It was in these discussions where John revealed his ongoing health issues to me.
As hard as it got for him during the ups and downs, I always found that asking him about a delicious ECM album would offer a little window of relief whereby he could go off talking about something that clearly moved him into another zone where his illness was not allowed to be included. One such album that I recall we discussed in great depth was John Abercrombie's Characters from 1978. I can't listen to the album without remembering the masterclass he gave me about the recording. In fact, this album was the subject of a Rediscovery article John contributed to AAJ in 2015. Give it a read for John's ECM and journalistic chops are on full display.
Thank you, John Kelman!
Karl Ackermann
When I started at All About Jazz in 2010, I was briefly an editor. John reminded me more than once that my job was not to rewrite others' reviews. He also recognized some writing potential and suggested that I try my hand at reviewing. Seven hundred reviews and articles later, I can honestly say that John's encouragement, feedback, and his articles made me a better writer. It's something I'll always appreciate. Fiona Ord-Shrimpton
John was everyone's knowledgeable jazz uncle. He was always so lovely to me and had a knack of making me feel like I'd known him all my life. He made me an open invitation to stay with his family and visit all the local Ottawa jazz venues, a chance I wish I had redeemed. I will miss him and his writing. Kurt Ellenberger
About 15 years ago, I contacted John to thank him for his two excellent reviews on All About Jazz of two minimalist masterworks recordings I was on, and we quickly became virtual friends. At that time, my performing career came to an end due to a hand condition, and I started writing as a creative outlet on my blog, Also Sprach FraKathustra. John was kind enough to follow my blog, and encouraged me to continue writing. The blog was picked up by the Huffington Post, and when that relationship ended in five years ago, John suggested that I submit my articles to All About Jazz. I responded that I didn't think my topics would be a good fit—too interdisciplinary, not enough focus on jazz per se. John was unfazed—he said, "AAJ is open to branching out and covering a broad range of topics—I think it would be great for you and great for AAJ. Give it a shot, and tell Michael I recommended you!" John's suggestion and recommendation brought me to AAJ, where I have since published over two dozen articles and where I also now work as a contributing editor. My relationship with AAJ has been a highlight of my career, and I have John to thank for that. He was also a great influence as a writer—his writing is always deep, clear, and insightful, revealing an encyclopedic knowledge across different genres that always astonished me. And he was a great mentor who always had excellent suggestions, and he encouraged me to branch out according to my interests, which brought me to AAJ. John was a dear friend, mentor, and colleague and a kind and caring person who made everything he touched better—he will be sorely missed. Jakob Baekgaard
Generosity and dedication. Those are the first two words I think about when I think about John Kelman. To me, he will always be John Kelman, the penname he used as a music writer. He was my mentor and editor for a long time and gave me invaluable advice and support from the moment I started at AAJ. He was a serious reader of the reviews I handed in and he brought the same dedication to his work as an editor as he did as a writer. I'm sure John made a difference to many writers and not only to me. He was a role model and will remain so after his passing, but it was also clear that it was hard for others to live up to the standards he set for himself and his writing. Michael Ricci once aptly referred to his effort as a music writer as "herculean." The amount of writing and listening he did was awe-inspiring, almost incomprehensible considering the high quality and thoroughness of his articles. In the end, he had to slow down because of illness, but as late as 2023, he posted an impressively detailed best of 2023 list that spoke volumes about his dedication to and love of music.
It was a love he passed on through his writing, and he had a style that was his own. His musical expertise was acknowledged by ECM, the label he knew so much about, but his tastes and knowledge were wide and deep, and many labels and musicians benefitted from his musical observations.
He excelled in any genre of music writing, but his reviews were especially impressive. A review is an ephemeral genre, but John's reviews remain the gold standard, closer to liner notes or an essay than a quick assessment.
Although he had a sharp analytical mind, his humanity shone through in the things he wrote and through his work you got a sense of his personality, a generous and dedicated person. Tellingly, John acknowledged all the things All About Jazz gave him, but it's hard to find another person who gave more to All About Jazz than John. He will be missed, but not forgotten.
Phillip Woolever
Dave / John edited many of my early AAJ pieces and I was often impressed by the depth of his musical knowledge and his ongoing devotion to the website as a vehicle for promotion and preservation of jazz. He once asked me to cover for him at Tallin's wonderful Jazzkaar Festival and it was obvious from the number of Estonians who spoke highly of him that he was an excellent jazz ambassador. Victor L. Schermer
For a long time, John Kelman was my "go to" person for editing and providing his views on my articles. We often ended up exchanging emails and occasional phone calls about the music itself. From these exchanges and his many wonderful articles and reviews, I found his understanding of the music to be at the highest level. And he was very dedicated to the All About Jazz website and maintaining its highest standards. I never understood why he decided to have a pseudonym and sometimes wondered if he led a completely different life somewhere that we didn't know about. John (aka Dave), it was great to know you, and to be enriched by your understanding and analysis of the music.
C. Michael Bailey
John Kelman (Dave Binder) became a mainstay in my All About Jazz world when he joined the staff shortly after I did. His editing was always accurate, precise, and kindly expressed. He was patient, informative, and extremely knowledgeable. We developed a collegial friendship that resulted in us becoming friends and my becoming friends with his wife, Rio, with whom I shared a great love of Handel, Baroque opera and countertenor singing. Dave's exhaustive knowledge of progressive rock and guitar always informed me and added to my writing. He had a sweet and giving disposition. He was always gentle in his direction, for which I was grateful. Rave on, John Kelman, wherever you are! Glenn Astarita
The jazz community mourns the loss of a stalwart supporter and gifted writer, Dave Binder. Dave's insightful contributions to All About Jazz enriched the lives of countless music lovers, fostering a deeper appreciation for the art form he cherished. Through his words, Dave painted vivid portraits of the music's legends and rising stars. His reviews offered a captivating blend of knowledge and enthusiasm, transporting readers to the heart of the performance.
Dave's passion for jazz extended far beyond the written word. He was undoubtedly a champion for the genre, tirelessly promoting its rich history and captivating sounds.
All About Jazz will feel the absence of Dave's singular voice. But his legacy lives on in the countless articles that continue to inspire and educate. We offer our heartfelt condolences to his family and friends.
Rest in peace, Dave. You will be deeply missed.
Jerome Wilson
I first began seeing the name "John Kelman" on various jazz-related message boards, liked the sharpness and thoroughness of his writing, and eventually found his articles on the All About Jazz website. In fact, his work first made me aware that All About Jazz existed. I particularly enjoyed his live concert reports and coverage of the ECM label. I also loved his takes on various prog bands such as King Crimson. I was never lucky enough to actually meet him, but once he edited one of my reviews and complimented me on my writing style. After that, I walked around with a big smile on my face for the rest of the day. Mark Sullivan
I started as an editor at AAJ and was fortunate to have John as my mentor. The experience quickly sharpened my editorial skills, and I am sure that it was also helpful when I transitioned back to writing. When John edited my writing, he was consistently kind and helpful. I did get to hang out with him in person twice, at the Festival International De Jazz De Montreal . The first time I arrived a day early to hear King Crimson, and also attended a press conference with John. The second time he returned to the festival to hear 
Soft Machine
band / ensemble / orchestrab.1966
Edward Blanco
I never met "John" but when he was editing my reviews, he taught me many things. I knew I was learning from a pro. Dave Kaufman
John/Dave was also a friend of mine. Aside from being an incredibly prolific writer, he was a great contributor to the jazz+ community and a remarkably thoughtful individual. He endured very difficult times in the last decade of his life, but he always seemed to fight his way back. As you say, he was remarkably resilient. His is a great loss. Dan Bilawsky
I was extremely saddened to hear of John Kelman's passing. John was a passionate and knowledgeable music lover and a wonderful writer who gave so much to the jazz community through his words and his work at All About Jazz. Those contributions—in-depth reviews and articles that demonstrated a deep wisdom—were and are pieces to admire and uphold as beacons of truth. On a personal note, I can honestly say there's no one who was kinder or more helpful to me when I was trying to get my writing together relatively early on. His patience, editorial hand and guidance were invaluable. Prior to coming aboard at AAJ, I was pretty green. John essentially took me under his wing and helped me polish my prose and stretch to try to reach my potential. He always had helpful suggestions, making it clear when it was necessary to go granular or, conversely, when it didn't make sense to get into the weeds. John offered some great challenges—"Why don't you try to write an album review where you don't actually mention any of the songs" is one that readily springs to mind—and they always helped me grow.
No question was off limits with John. Whether I asked for a Nils Petter Molv?r album recommendation, how to go about some aspect of writing a press release, or simply wanted advice on a camera lens, he always took the time to share his knowledge and provide encouragement. I owe John a debt of gratitude. We never had the chance to meet in person—our paths only crossed on the interwebs over the years—but I still felt like he was a steady presence, always right (t)here.
My condolences to John's wife, Rio; his friends, who numbered many; and all of the musicians and musical community members he so deeply loved... who loved him back. R.I.P. John.
Geno Thackara
I never met Dave/John, but like many of us, "saw" and chatted with him enough to feel like I knew him. Any article or post was an opening for a comments discussion that (in true music-nerd fashion) could easily drift anywhere. Somehow he was everywhere on countless platforms all across the web, always happy to engage, always equally good-natured whether you'd agree or disagree. He wouldn't bother feeding into negativity or trolling arguments when that time could be spent dissecting some 1975 obscurity in ridiculous detail instead. I remember some comments criticizing his writing style—say what you will about it, we can all agree it's one of a kind—and he'd just take it in stride and talk about how we all try to get better. That generosity and positivity are something all of us can always use more of. Doug Collette
For all the darkness that threatened to engulf him, Dave Binder remained a fountain of unbridled enthusiasm for the music he loved as well as his writing about it. No doubt those dual passions sustained him in ways we can only imagine, but we might well see our departed colleague and friend as a role model for patience, perseverance and devotion to our own abiding pursuits, whatever form they may take in the wake of his passing. Robert Middleton
I met John through the old AAJ Forum. I was impressed by his thoughtful and insightful comments and his enthusiastic take on jazz. But my real relationship with John was in reading his many album reviews. John wasn't just a reviewer he was a jazz journalist. I've never read more in-depth reviews than John's. Most were long, detailed, insightful, educational, and fun to read.
It was clear that John rarely wrote a review of an album he didn't like. He was very picky in his tastes. He not only knew what he liked, but he could tell you exactly why he liked it. It was very common for John to give albums 4 ? or 5-star reviews. After reading those reviews, I would get the album and listen even more closely to hear what John had heard.
He once told me that he didn't start writing a review until he had listened to the album at least four times (it may have been more!). He not only wrote in-depth about each album but also compared it to other albums by that artist or other artists, and commented about the talents and history of the sidemen. Each review was a mini-seminar on jazz. His knowledge of jazz wasn't just deep; it was vast.
John and his wonderful, passionate writing about jazz will be sorely missed. The only consolation is that his more than 2,800 articles published by All About Jazz can still be found on the site. Look 'em up today!
Long live, John Kelman!
Chuck Koton
I never met John in person, (nor did I know he wrote with a pseudonym), but I've read his insightful & passionate reviews for years and he often helped me edit my essays. I followed his agonizing health journey these last few years and was always struck by his endurance and optimism... his last Facebook post was that he was so happy to be leaving the hospital and returning to his beloved wife, Rio... I was overwhelmed with shock and sadness to read of his sudden passing. R.I.P John/Dave Sammy Stein
Dave Binder, or John Kelman as I knew him, was the first editor to offer me the chance to write freely. I had submitted a piece to London Jazz News and they published it. I had books published with Hamlyn Octopus on botanical subjects, but music was a passion rather than something I was an expert in. However, I got a message, then a call from John Kelman who introduced himself and asked if I would be interested in writing for All About Jazz because he had liked my ideas, read the published article, and asked if I would consider writing for AAJ. Thinking he meant one piece I asked him what he would like me to write about. He said reviews were fine but would I like a column of my own where I could write about things related to jazz that I felt important, or didn't fit in another column? The title would be my choice. We agreed Scumbles would be appropriate because I was also writing with a free jazz saxophonist, who talked about art as well as music, and 'scumbles' was a term he used. I loved the word, especially as it means an eclectic array of art and I felt that fit with some of the ideas. John accepted my next piece, and the column grew—here were articles on how jazz has changed, musical shows, an art exhibition by Ian Dury, and Scumbles became populated by a mix of articles including interviews with 
Barb Jungr
vocalsb.1954
Davey Payne
saxophoneb.1944
Daniel Bennett
saxophoneb.1979
Peter Brötzmann
woodwinds1941 - 2023
John published articles that would normally not find a home, using Scumbles as the vehicle. He told me he had faith in my writing, understood what motivated me, and would support that. It was incredibly encouraging.
My point is that Dave Binder/John Kelman took a chance on an unknown writer and allowed me freedom while supporting my stumbling steps into music journalism. He was brave enough to take a chance and saw the potential that at the time I could not. I also realized a few years later that John had me confused with another successful writer in the beginning—something I shall forever be grateful for. If he ever realized it, he said nothing and continued to support my work for AAJ. People like John come around every so often and somehow know how to offer consistent support without pushing and his vision for AAJ struck me as one that not only saw the platform growing but also supporting a huge array of music-related areas. I think he succeeded.
Mike Jacobs
It's hard to overstate the impact Dave Binder (better known in these parts by his nom de plume, John Kelman) has had on AAJ and me personally. It suffices to say that were it not for the encouragement and advice I received from such a prolific and erudite writer as John, I likely would not be a writer today. Through John's kind recommendations to others, I received many writing opportunities and subsequent connections that have enriched my writing resume—for AAJ and beyond. Though we never met in the flesh, I will cherish the memories of the conversational hours we shared on Skype over the years. John/Dave was warm, welcoming and generous with his knowledge and time despite the many health difficulties that beset him in the last few years. Knowing him, it also wouldn't surprise me if the story I tell here is recounted many times over among AAJ's writers. He was a special talent but moreover, a special guy. He will be sorely missed and never forgotten. My heart goes out to his wife, Rio and the rest of his family. Rest in peace, my friend. Joshua Weiner
I never met Dave/John (in fact, it was a surprise to me that his birth name was not John Kelman!), but have enjoyed countless articles he wrote for AAJ. Our tastes (including progressive rock and jazz fusion) overlapped a lot, and I came to rely on his reviews of pricey items like huge archival boxed sets—if John Kelman said it was good, I knew it would be. Knowledgeable and fair, he was an excellent writer and a huge part of AAJ that I know I and others will greatly miss. Godspeed, Dave. Matt Hooke
John Kelman helped shape how I write stories. His edits and guidance on my pieces for All About Jazz were invaluable to me when I was just getting started in music writing. His encouragement helped me get started in journalism as a college student. His own work has an incredible eye for detail that I have tried to emulate in my own writing. He would listen to every album 8-10 times to understand the artist and go beyond surface-level details. His reviews of box sets that stretch for thousands and thousands of words are a masterclass in long-form writing. John was also an incredibly prolific writer. He will be missed. I wish I had a chance to meet him in person and tell him how important he was to me and countless other writers that he inspired. Before he passed, he was working on a book on King Crimson, combining his countless All About Jazz stories and other reporting. I look forward to reading it once it's released.
Esther Berlanga-Ryan
John was always kind to me. The best editor perhaps that I ever worked with—with the notable exception of my Editor in Chief in Diario Jaén in Spain, Juana González. John always allowed me to express what I wanted to express in the way I needed to express it—some editors are intrusive, even arrogant—he never was. John was kind and funny, and he loved dogs. The news of his loss has hit me hard and I have tried to honor his memory. Above all, he was a good man who knew and loved jazz, and he graciously shared the best of his heart with all of us every time he penned a piece. I will always be grateful to have known and worked with him. My deepest condolences go to his wife, family, and friends. May his memory be a blessing. Jeff Fitzgerald, Genius
I came to AAJ in 2001 already an outlier, an anomaly. I'm a humorist (an humorist? Anh umorist?), which is like stepping into the batter's box with an 0-2 count to begin with. And even worse, I had the unmitigated temerity to make fun of Jazz (obviously before the passage of the law in 2007 requiring all temerity to be mitigated). But I digress.
I expected pushback. I expected a thousand furrowed brows, castigating me for daring to dust the precious American institution of Jazz with a thick coat of silliness and irreverence. I did not expect those faces along AAJ's Mount Rushmore (including Michael Ricci, C. Michael Bailey, Carl Hager, and John Kelman), to laugh along with me.
John Kelman (a.k.a. Dave Binder, a.k.a. Pope Urban IX) particularly understood my underlying belief that to take anything too seriously is as much a crime against it as dismissing it entirely. As an editor, he deciphered my peculiar style and did not attempt to impose order on my jailbreak wordplay. In the simplest terms, he got me.
If my character voice—the Genius—is difficult, my regular self is even worse. I'm an introvert, a recluse; for most of the past 14 years, my sole form of communication with the outside world has been Facebook. John and I (and his wife/muse/crew chief Rio) have been friends for most of that time. We have followed each other's struggles with our vocations and avocations, our health issues, our enthusiasms and frustrations. I saw in him a kindred soul, a fighter, an obstinate cuss who'd never let his own human frailties win.
Though his body finally failed him, Dave did not lose. He has transitioned to the next world and rests in eternal comfort; he is survived in this frail mortal frame by his immense and immutable body of work, by the love and friendship he fostered, by the gift of self he gave without measure.
I will remember Dave with a jaunt through the ECM catalog and, in a manner befitting a Canadian, a pint of Molson. You may each remember him in your own preferred fashion, perhaps with some King Crimson about whom he elucidated with such brilliance that the band itself would have been inspired to write a 20-minute song about it which Dave would have then been compelled to write about even more brightly thus creating an infinite cycle of review/recording that would eventually culminate in a singularity whereby Robert Fripp would explode in an infinite cloud of verbs.
Rest well, Dave, and know that you left the music better than you found it.
Michael Bloom
17 years ago Dave gave me some spot-on, priceless advice about a "life situation" I was going through, for which I'll always be grateful. R.I.P. Scott Bluebond
_Scott_Bluebond_and_Pat_Metheny.jpg)
I assist Glass Onyon PR and was promoting 
Jeff Berlin
bass, electricb.1953
Jack Bruce
bass, acoustic1943 - 2014
Yes
band / ensemble / orchestra
Pat Metheny
guitarb.1954
Michael Brecker
saxophone, tenor1949 - 2007
James Hale
Ottawa is Canada's capital, but anything but a big city. That being the case, imagine my surprise when I discovered that John Kelman, whose work I'd been reading and enjoying, lived in Ottawa. How did I not know this guy? Turns out I had known him since about 1971, the year I saw him playing Allman Brothers Band covers with a young band that played at my high school.
Tags
AAJ Staff
Nenad Georgievski
Chris May
Duncan Heining
Bruce Lindsay
John Kelman
Dave Binder
Karl Ackermann
Joseph Vella
In Memoriam
Remembrance
Bill Bruford
Michael Ricci
Ian Patterson
Fiona Ord-Shrimpton
Kurt Ellenberger
Bill Milkowski
Jakob Baekgaard
Phillip Woolever
Victor L. Schermer
C. Michael Bailey
Glenn Astarita
Jerome Wilson
Mark Sullivan
Dave Kaufman
Dan Bilawsky
Geno Thackara
Doug Collette
Robert Middleton
Chuck Koton
Declan Colgan
Michael Bloom
Mike Jacobs
Sammy Stein
Alan Bryson
Deena McNichol
Big Band in the Sky
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