A quick bio.
Photo by Jamie Croft
Dan Peter Sundland is a unique electric bass player and composer active in the jazz and improvising scenes in Norway and Berlin. His approach to the instrument carves a new, tactile approach to the electric bass. Adopting cello-like bowing and a varied palette of percussive colours, his expressive playing style places the electric bass comfortably in both acoustic and amplified settings.
His innovative development of the instrument has been recognised by both audiences and press:
«Sundland impresses not only with his bowing technique on the electric bass, but also offers a convincingly individual style with a technically unusual playing style that combines guitar and double bass elements.» - Robert Tendl, Kleine Zeitung Graz
In addition to being a mainstay of Berlin’s free jazz and improvising scene, Sundland frequently performs at clubs and festivals throughout Europe and beyond. He has performed at Jazzfest Saalfelden, Nattjazz (in Bergen, Norway), Jazzfest Berlin, Saarbrücken Free Jazz Festival, Jazz Festival Willisau, Molde Jazz Festival and Penang Island Jazz Festival, just to name a few.
Sundland’s discography approaches 30 albums, and includes compositional work for his own eleven-piece Elevenette and his Berlin based free jazz quartet Home Stretch, as well as the improvisation based «solo electric bass». In addition comes collective groups including MeoW! (with Cansu Tanrikulu, Liz Kosack and Jim Black), **Y** (with Liz Kosack and Steve Heather) Lina Allemano's Ohrenschmaus, and sideman work with Tobias Christl’s Wildern and Valentin Schuster’s metal fusion project Wobble.
Dan Peter was born in Oslo, Norway, 15th July, 1986, and grew up in a village outside Trondheim, Norway called Børsa.
He started playing bass at age 14, and studied with bass players Andreas Bergsland and Mattis Kleppen.
He attended the jazz department of Sund Folk College 2005-06 and attained a bachelors degree in performing jazz at the jazz department of NTNU Music Institute in Trondheim in 2010.A European Jazz Masters degree (EUJAM) at the jazz department of NTNU Music Institute in Trondheim with exchange to Berlin Jazz Institute (Spring 2012) and Rytmisk Musikkonservatorium in Copenhagen (Fall 2012) followed in 2013.
Teachers include Bjørn Alterhaug, Mattis Kleppen, Ole Morten Vågan, Mats Eilertsen, Michael F. Duch and Tor Haugerud.
Member of Midt-Norsk Ungdomsstorband (Middle-Norwegian Youth Big Band) 2004-2006. Member of big band S. Møller 2009-2010.
Lead Trondheim Improvisation Orchestra together with Peder Simonsen 2009-2010.
Received Geir Digernes memorial award in 2012 and Sparebank1 Jazz Talent Award 2013.
Nominated for ECHO Jazz Newcomer of the year 2017 with Clara Haberkamp trio.
Has been featured with musicians including Jim Black, John Hollenbeck, Axel Dörner, Tobias Delius, Hans Hulbækmo, Hanna Paulsberg, Eirik Hegdal, John Pål Inderberg and Tor Haugerud.
His innovative development of the instrument has been recognised by both audiences and press:
«Sundland impresses not only with his bowing technique on the electric bass, but also offers a convincingly individual style with a technically unusual playing style that combines guitar and double bass elements.» - Robert Tendl, Kleine Zeitung Graz
In addition to being a mainstay of Berlin’s free jazz and improvising scene, Sundland frequently performs at clubs and festivals throughout Europe and beyond. He has performed at Jazzfest Saalfelden, Nattjazz (in Bergen, Norway), Jazzfest Berlin, Saarbrücken Free Jazz Festival, Jazz Festival Willisau, Molde Jazz Festival and Penang Island Jazz Festival, just to name a few.
Sundland’s discography approaches 30 albums, and includes compositional work for his own eleven-piece Elevenette and his Berlin based free jazz quartet Home Stretch, as well as the improvisation based «solo electric bass». In addition comes collective groups including MeoW! (with Cansu Tanrikulu, Liz Kosack and Jim Black), **Y** (with Liz Kosack and Steve Heather) Lina Allemano's Ohrenschmaus, and sideman work with Tobias Christl’s Wildern and Valentin Schuster’s metal fusion project Wobble.
Dan Peter was born in Oslo, Norway, 15th July, 1986, and grew up in a village outside Trondheim, Norway called Børsa.
He started playing bass at age 14, and studied with bass players Andreas Bergsland and Mattis Kleppen.
He attended the jazz department of Sund Folk College 2005-06 and attained a bachelors degree in performing jazz at the jazz department of NTNU Music Institute in Trondheim in 2010.A European Jazz Masters degree (EUJAM) at the jazz department of NTNU Music Institute in Trondheim with exchange to Berlin Jazz Institute (Spring 2012) and Rytmisk Musikkonservatorium in Copenhagen (Fall 2012) followed in 2013.
Teachers include Bjørn Alterhaug, Mattis Kleppen, Ole Morten Vågan, Mats Eilertsen, Michael F. Duch and Tor Haugerud.
Member of Midt-Norsk Ungdomsstorband (Middle-Norwegian Youth Big Band) 2004-2006. Member of big band S. Møller 2009-2010.
Lead Trondheim Improvisation Orchestra together with Peder Simonsen 2009-2010.
Received Geir Digernes memorial award in 2012 and Sparebank1 Jazz Talent Award 2013.
Nominated for ECHO Jazz Newcomer of the year 2017 with Clara Haberkamp trio.
Has been featured with musicians including Jim Black, John Hollenbeck, Axel Dörner, Tobias Delius, Hans Hulbækmo, Hanna Paulsberg, Eirik Hegdal, John Pål Inderberg and Tor Haugerud.
Quotes
Dan Peter Sundland is simply outrageous on the electric bass. Words aren't enough. You have to see him play!
- Kresten Osgood
Sundland's electric bass is like few others, with lines and tone qualities inspired by acoustic bass players, at the same time as he with great imagination employs the guitar-like possibilities of the electric bass in his orchestral palette.
- Petter Petterson, Jazznytt No. 6 2011
- Kresten Osgood
Sundland's electric bass is like few others, with lines and tone qualities inspired by acoustic bass players, at the same time as he with great imagination employs the guitar-like possibilities of the electric bass in his orchestral palette.
- Petter Petterson, Jazznytt No. 6 2011
