David R. Adler is a guitarist, music journalist and educator from New York. In addition to playing and teaching, he is currently editor-in-chief of JazzTimes Magazine. From 2022-2025 he lived in West Yorkshire, England and worked as an itinerant guitar instructor, teaching primary and secondary students in small groups in a wide range of area schools. His teaching work continues stateside in 2026 with online and in-person lessons.
David earned a BFA in 1990 from The New School’s then brand-new program in Jazz and Contemporary Music. There he had the rare and extraordinary privilege of studying with legendary guitarists Jim Hall, John Abercrombie, Steve Khan and Vic Juris.
In 2022, while living in Georgia, David gained certification in K-12 Music Education at the University of Georgia’s Hugh Hodgson School of Music. There he studied educational theory and human development, behavior and classroom management, choral conducting, vocal and piano pedagogy. He also completed intensive on-site training in schools ranging from nursery to high school — tasks ranged from directing musical theater for early grades to workshopping the reed section of a symphonic band and teaching a beginning choir to sight-sing.
As a session guitarist, David worked with a wide variety of artists in and around New York in settings including jazz, rock/pop, gospel, cabaret, musical theater and more. He gigged extensively with Tom Kitt — now a Pulitzer Prize, Tony and Grammy Award winner for his original Broadway musical Next to Normal — and performed in some of New York’s best-known venues, including Avery Fisher Hall, Roseland, Joe’s Pub, Knitting Factory, Second Stage Theater, Lucille Lortel Theatre, Gramercy Theatre, West Bank Cafe, Fez Under Time Café, Mercury Lounge, CBGB and The Living Room. As a member of the East Village–based band Keeta Speed (1996-1999), he recorded with the producers Dave McDonald (Portishead), Patrick Dillett (They Might Be Giants) and Dave Fridmann (Flaming Lips).
–“My goal is to help students discover the music within themselves, define their own expectations and pursue a plan for consistent improvement. Style or genre preference is secondary.
–“With me, students are learning musicianship, not just guitar. What is crucial for musicianship is that students develop their ears and their skills as listeners, as this enables us to play music with others at a higher level, regardless of genre.”
