Hilmar Jensson, born in 1966, is a guitarist whose career has taken him from the vibrant musical environment of Iceland to influential circles in American and European jazz. His work spans solo albums, collaborations with leading artists, and contributions to innovative collective projects.
From Reykjavík beginnings to Berklee and beyond
Jensson began his musical education at the FIH music school in Iceland in 1982. Driven by an early passion for guitar, he developed his skills and musical perspective in Reykjavík before continuing his studies at the renowned Berklee College of Music in Boston in 1991. He also received private lessons from celebrated musicians Mick Goodrick, Jerry Bergonzi and Hal Crook, absorbing a range of influences from these American mentors.
After time in the United States, Jensson continued to expand his horizons with further study under saxophonist Joe Lovano in New York between 1993 and 1994. This period in New York exposed him to the deep currents of jazz innovation, connecting him with artists across genres and backgrounds.
Collaborative spirit and diverse sounds
Returning to Iceland, Jensson became a linchpin in the local music scene. His collaborative energy has brought him into recording studios and onto stages with musicians such as Tim Berne, Wadada Leo Smith, Kevin Drumm and Herb Robertson, among many others. These projects bridge traditional jazz, experimental music, and avant-garde improvisation.
Jensson’s role as a founding member of the Icelandic artist collective Kitchen Motors highlights his commitment to artistic innovation. Kitchen Motors has operated both as a hub for creative collaboration and as a record label, fostering connections between Icelandic musicians and the broader international community.
In 1999, Jensson joined the band AlasNoAxis, led by drummer Jim Black. A few years later, he helped establish the trio Tyft, again with Jim Black and with Andrew D’Angelo. These ensembles exemplified a playful and unconventional approach to jazz, incorporating influences from both sides of the Atlantic.
Jensson’s collaborative discography is extensive, featuring work with Icelandic contemporaries such as Kjartan Ólafsson, Óskar Gudjónsson and Skúli Sverrisson. His name appears alongside projects ranging from solo albums like “Dofinn” (1995) and “Ditty Blei” (2004), to contributions with groups like Mógil and Bly De Blyant.
Through decades of recording and performance, Jensson has become an important ambassador for Icelandic music, illustrating the ways in which personal history, education abroad, and a dedication to collective creativity can build cultural bridges across continents.
