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  • Sunna Gunnlaugs

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE

Network Node

  • Name: Sunna Gunnlaugs
  • City/Place: Reykjavik
  • Country: Iceland

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: The Washington Post described her music as possessing "such timeless virtues as lyricism and grace… elegantly bridges soul-searching passages with uncluttered swing." Sunna Gunnlaugs reaffirms that assesment on her latest album, "Ancestry" which features her working trio (fellow Icelander, bassist Þorgrimur Jónsson and long-time cohort, Scott McLemore on drums) with the addition of the Finnish trumpet player Veneri Pohjola. It's at once everything listeners have come to expect from this trio and another layer of melodic intricacy as the trumpeter seems to meld with the sensitivity of the trio and still push it's dynamic boundaries.

    As a child growing up on a small peninsula called Seltjarnarnes not far from Reykjavik she began taking lessons on the organ at the urging of her mother. "The idea of playing the piano didn't appeal to me as a kid. I associated it with classical pianists who seemed to have no fun. But on the organ you could play anything, the Beatles, polkas, Strauss and that seemed like more fun." By her teens, having realized that you could in fact play a variety of music on the piano, it was the gift of a Bill Evans trio record (appropriately named "You're Gonna Hear From Me") that sold her on modern jazz.

    In 1993 she made her way to the US as a student at William Paterson College and began to hone her own distinct musical voice both as an improvisor and a composer while immersing herself in the standards and studying the masters. Just a 15 minute drive from Manhattan, inspiration was not hard to find. "Suddenly being able to go to the Village Vanguard or Bradley's any night of the week and hear amazing pianists was an incredible experience. It was such a stimulating environment," and one that Gunnlaugs had no intention of leaving after graduating in 1996. She moved to Brooklyn and made her debut recording "Far Far Away" with her trio: bassist Dan Fabricatore and drummer (and future husband), Scott McLemore.

    In New York her focus shifted decidedly to performing her own music. She began appearing at listening rooms such as Cornelia Street Cafe and the Knitting Factory, and rave reviews followed. Gunnlaugs was proclaimed an "impressive newcomer" by the Village Voice.

    However, the music she was writing began to need more than just a trio. "I had been listening a lot to the Keith Jarrett quartet and Jan Garabrek with Bobo Stenson and the sound of the quartet was so appealing to me." She called upon saxophonist Tony Malaby and bassist Drew Gress. "I was familiar with Tony from his own bands and was stunned by how expressive he was. Drew, I knew from his work with Fred Hersch and Dave Douglas. He always added such a bounce to my tunes, while keeping it really open." In 1999, along with McLemore, the quartet recorded "Mindful" and, with time left over on the same day, they recorded "Songs from Iceland."

    A stunning quartet." – All About Jazz

    "Mindful" (chosen as one of the top 10 CDs of the year by the Virginian Pilot) was as personal a statement an artist can make. From the opening flurry of notes in duet with Malaby the listener knows something special is coming. There is at once a joyful buoyancy and ethereal melancholy which envelops the listener from start to finish. That ambience continues on "Songs from Iceland" and the relationship with the material, five Icelandic folk-songs that Gunnlaugs grew up with, is just as personal. "These were tunes that we were playing on concerts, and when we felt "Mindful" was complete I suggested we record these for posterity. I wasn't really sure what I would do with them, but it seemed important to document." Almost a decade later "Songs from Iceland" was released, adding more weight to a recommendation from Jazziz Magazine that her "unique blend of jazz piano and Icelandic folk music" is a "great listen."

    In the meantime Sunna released 2 albums, the first was 2002's "Fagra Veröld" (music written to Icelandic poetry), featuring Gress and McLemore as well as the voice of Kristjana Stefánsdóttir and saxophonist Sigurdur Flosason. The 2nd was 2003's high-energy "Live in Europe" which rode the jazz charts into the top 10 in both the US and Canada. It was recorded in Prague in the middle of a three-week tour of Europe with saxophonist Ohad Talmor and bassist Matt Pavolka.

    Gunnlaugs enjoys touring and has performed throughout the US, Canada and Europe, as well as in Japan. "I really like traveling by train in Europe, where you can just relax and reflect. It's a lot different than driving a mini-van in the US. But whenever you tour you never really know what to expect. We once had to get in a tiny little boat to play in Vancouver, and there was almost no room for the upright bass. Also, when you are touring you get to visit little towns that you probably wouldn't go to as a tourist."

    The year 2005 was a major milestone as Gunnlaugs and McLemore decided to move to Iceland and start a family. Before they left New York, the couple had been playing mostly with alto saxophonist Loren Stillman and Norwegian bassist Eivind Opsvik. That quartet played one tour in Europe and felt as if it was developing into something great. But the decision was made to hit the pause button, and although Opsvik came to Iceland for a brief tour that band didn't record until 5 years later.

    “The Dream” (featuring Stillman, Opsvik and McLemore) was released in 2010 jumped straight to #2 on the Canadian jazz charts and to #20 on US CMJ charts. The title referred to the wonder of being able to maintain a family with 2 daughters and a career in music. The album was recorded at Systems Two in Brooklyn and mixed and mastered in Iceland by Kjartan Kjartansson, the engineer who would go on to record most of the pianist's work in the ensuing years.

    "Proof that jazz is as much a part of the picture as the pop of Björk or SigurRos.” – Time Out New York

    In 2011 she formed her trio featuring bassist Þorgrímur Jónsson and Scott McLemore and released "Long Pair Bond" which was well-received by the press and lead to major performance opportunities including the London Jazz Festival and the Kennedy Center as part of their Nordic Cool series.

    Scott McLemore released his 2nd album in 2012 called "Remote Location" which featured Gunnlaugs on piano and Wurlitzer. That same year, the trio embarked on a bi-coastal tour of the US and began developing material for a new album. They also performed at the Oslo Jazz Festival with special guest Tore Brunborg.

    Their next album was called "Distilled" and was released in 2013 and the trio was named the Official Band of Reykjavík for that year. Gunnlaugs also began a duo with the Dutch bass clarinetist Maarten Ornstein with whom she performed on the Reykjavík Jazz Festival.

    In 2014 the trio once again set off on a bi-coastal tour of the US with shows on the Rochester Jazz Festival, Vancouver Jazz Festival and Nordic Jazz Festival in Washington, DC. They also had a major tour in Europe and performed at the Faroe Islands Jazz Festival. That year, Sunna was also invited to perform at the Felleshus in Berlin with German pianist Julia Hülsmann for the first time.

    The trio released their third album in 2015 called "Cielito Lindo" on the Reykjavík Jazz Festival and toured extensively in Europe also taking part in the traveling jazz festival in the Czech Republic called Bohemia Jazz Festival. Sunna was also invited to perform as a special guest in Toronto, Canada on the JazzFM91 Festival.

    2016 was the year of the duo for Sunna performing both with Julia Hülsmann in Iceland and Maarten Ornstein in Holland, and she was also featured on Winter Jazz in Cologne with trumpeter Ryan Carniaux. Sunna and Maarten also released their duo album "Unspoken" with a concert at Bimhus in Amsterdam. However, she continued to perform extensively with the trio in Europe and while they were on tour they won Performer of the Year at the Icelandic Music Awards. Yay!

    Gunnlaugs also began writing music for Icelandic television and her first filmscore for the movie Reykjavík. This inspired music for string quartet and piano which she premiered at the University of Iceland.

    Having performed the previous year at the Women in Jazz Festival in Halle, Germany, Gunnlaugs began to think about the lack of opportunities for female jazz musicians in Iceland and wondered if she could have an impact on that. In 2017 she started her own concert series at the National Museum called "Freyjujazz" and has featured female performers from all over the world including Myra Melford, Hildegunn Øiseth, Eva Kruse and Luca Kezdy.

    Also in 2017 Sunna was featured on the Münsterland Festival in Germany both with her trio and with Julia Hülsmann. She continued touring with Ornstein and with special guest bassist Tony Overwater and was featured on the Rotterdam Jazz Festival. That same year her trio was invited to play at the Tampere Jazz Happening in Finland and, after a special request by Sunna, trumpeter Verneri Pohjola was added to the concert. They had long since discussed working together at some point and this was the opportunity that finally presented itself. Verneri was awarded the Yrjö Jazz Prize that same night. After the concert they headed into the studio at the Sibelius Academy in the woods outside Helsinki. The resulting album is called "Ancestry" and was released on the 2018 Reykjavík Jazz Festival.

    2018 saw more writing for film with her filmscore for "Pity the Lovers" as well as more television soundtracks. She performed solo on the Gateshead International Jazz Festival in the UK. Her trio was presented in Moscow as part of the World Cup delegation, and she joined violinist Luca Kezdy for a duo tour of Hungary.

    Sunna's trio plus Verneri Pohjola was also given a showcase concert on the 2019 Jazzahead conference in Bremen, Germany and will be announcing further concert dates soon.

    Sunna is a board member of the European Jazz Network and has been a frequent panelist regarding gender balance in jazz.

    The 11 CDs she has released as a leader have consistently met with critical praise over the years, and she has appeared in publications such as JazzTimes, Downbeat, Jazziz, Jazzthetik, Orkester Journalen, Jazz 'n' More, Jazz Podium, Concerto, Stereo, Jazzman, Village Voice, Time Out New York, Swing Journal, Jazzwise, All About Jazz and The Washington Post.

Contact Information

  • Email: [email protected]
  • Contact by Webpage: http://www.sunnagunnlaugs.com/#contact

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.sunnagunnlaugs.com/#discography
  • ▶ Twitter: SunnaGunnlaugs
  • ▶ Instagram: sunnagunnlaugs
  • ▶ Website: http://www.sunnagunnlaugs.com
  • ▶ YouTube Channel: http://www.youtube.com/user/SunnaGunnlaugs
  • ▶ YouTube Music: http://music.youtube.com/channel/UC4ffZ3-lpatvcu3gfZRngwA
  • ▶ Spotify: http://open.spotify.com/album/1DHq3dUy9L6VEU2apjhG9W
  • ▶ Spotify 2: http://open.spotify.com/album/1tQGTEDddpWOLXlF6buz4g
  • ▶ Spotify 3: http://open.spotify.com/album/5TlNiSMrLTLtcHx0GSHNUu
  • ▶ Spotify 4: http://open.spotify.com/album/5UQx4skQ0fHLUjri3cXQ4x
  • ▶ Spotify 5: http://open.spotify.com/album/6EbpRufaLp8LRGKytLH0R6
  • ▶ Spotify 6: http://open.spotify.com/album/67GRymEW0ixW2AC7hA74jJ

Clips (more may be added)

  • 0:33:04
    jazzahead! 2019 - Sunna Gunnlaugs Trio Feat. Verneri Pohjola
    By Sunna Gunnlaugs
    291 views
  • Reykjavik Jazz Festival
    By Sunna Gunnlaugs
    578 views
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Sunna Gunnlaugs Curated (bridges in)

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  • Sunna Gunnlaugs
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    jazzahead! 2019 - Sunna Gunnlaugs Trio Feat. Verneri Pohjola
    Audio: Radio Bremen Line-Up: Sunna Gunnlaugs (p), Þorgrimur Jonsson (db), Scott McLemore (dr), Verneri Pohjola (tpt)
    • October 13, 2020
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    Reykjavik Jazz Festival
    CD Release Concert for Cielito Lindo available here http://sunnagunnlaugs.bandcamp.com/album/cielito-lindo Cielito Lindo Wintersong Icelandic Blues Summertim...
    • July 31, 2019
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  • English (Portuguese →)
  • (← Inglês) Português

English (Portuguese →)

 

PATHWAYS
from Brazil, with love

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

 

 

The Matrix was Born in Brazil, but It Embraces the Entire World

Why Brazil?

 

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

 

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin (Bahia's Bay of All Saints received more enslaved human beings than any other final port-of-call throughout all of human history).

 

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people).

 

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Brazil itself is a matrix. Nowhere else but here.


Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

The matrix was created in Salvador's Centro Histórico, where Bule Bule above, among magisterial colleagues for whom this matrix was originally built (it's now open to all in the Global Creative Economy) sings, "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: A means by which those above, those below, and EVERYBODY ELSE in the creative economy can be divulged EVERYWHERE.

For by the seemingly magical mathematics of the small world phenomenon, all in the matrix will tend to proximity to all others, in the same way that most human beings are within some six or so steps of most others.

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil. Laroyê!

 

"Matrixado!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil

"Many thanks for this - I am  touched!"

✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist)

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington

 


The matrix is the ultimate evolution of a pathway which began in New York City decades ago per the "rescue" of unpaid royalties, performance & mechanicals, for artists burned by major labels: Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd of Kingston's Studio One (Bob Marley's producer; I made a copy of his original contract with Bob to take to CBS Records to argue; Bob was 17 when he signed and his aunt co-signed)...
...Funk Brother Wah Wah Watson (Melvin Ragin) and others. A long and winding road that led inexorably to the necessity of a truly open arts universe, for there is more in Heaven and Earth...

Tap people, tap categories, tap curations... The matrix is a maze of tunnels within King Solomon's creative mines.

(← Inglês) Português

 

CAMINHOS
do Brasil, com amor

"Fico muitíssimo feliz em receber seu e-mail! Obrigada por me incluir neste matrix maravilhoso."
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

 

 

O Matrix Nasceu no Brasil, mas Abraça o Mundo Inteiro

Por que construir o matrix no Brasil?

 

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem (a Baía de Todos os Santos recebeu mais seres humanos escravizados do que qualquer outro porto de escala final ao longo de toda a história humana).

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 
Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Brasil é um matrix mesmo. Em nenhum outro lugar a não ser aqui.


Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule acima, entre colegas magisteriais para quem este matrix foi originalmente construído (está aberto agora a todos na Economia Criativa Global) canta, "Chegou a hora dessa gente bronzeada mostrar seu valor..."

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim algo novo sob o sol tropical: Um meio pelo qual os acima, os abaixo e TODOS OS OUTROS na economia criativa podem ser divulgados em TODOS OS LUGARES.

Pela matemática aparentemente mágica do fenômeno do mundo pequeno, todos no matrix tenderão a se aproximar de todos, da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros.

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil. Laroyê!

 

"Matrixado!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil

"Muito obrigado por isso - estou tocado!"

✅—Julian Lloyd Webber
Estamos tocados também Sr. Webber!
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note)

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


O matrix é a evolução definitiva de um caminho que começou em Nova York há décadas atrás pelo "resgate" dos direitos autorais não pagos para Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd do Studio One de Kingston (o produtor de Bob Marley; Eu fiz uma cópia de seu contrato original com Bob para levar à CBS Records para discutir; Bob tinha 17 anos quando assinou e sua tia co-assinou)...
...Funk Brother Wah Wah Watson (Melvin Ragin) e outros. Um longo e sinuoso caminho que levou inexoravelmente à necessidade de um universo de artes verdadeiramente aberto, pois há mais no Céu e na Terra...

Toque em pessoas, toque em categorias, toque em curadoria... O matrix é um labirinto de túneis dentro das minas criativas do Rei Salomão.

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  • Kenyon Dixon Singer-Songwriter
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  • Zé Katimba Singer-Songwriter
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  • Alan Williams Furniture
  • Phineas Harper Journalist
  • Edsel Gomez Jazz
  • Melanie Charles Experimental Music
  • Stuart Duncan Guitar

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