Hailey Niswanger | Confeddie

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Jazz: Mainstream Jazz Jazz: Jazz quartet Moods: Featuring Saxophone
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Confeddie

by Hailey Niswanger

Young, female, jazz saxophonist, plays with interesting solo lines, beautiful tone and phrasing. Great interactivity between really swinging musicians that play with a depth of emotion and clarity of ideas far beyond their years.
Genre: Jazz: Mainstream Jazz
Release Date: 

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1. Four in One
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5:47 $0.99
2. Oliloqui Valley
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7:22 $0.99
3. Confeddie
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4:27 $0.99
4. La Mesha
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7:59 $0.99
5. Sometime Ago
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5:30 $0.99
6. Serenity
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5:35 $0.99
7. Stablemates
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7:40 $0.99
8. Yes or No
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6:24 $0.99
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ABOUT THIS ALBUM


Album Notes
THE BUZZ ABOUT HAILEY…
Hailey Niswanger won the saxophone competition at the Mary Lou Williams Women In Jazz Festival in 2008 and earned an invitation to return as a headliner at the Kennedy Center in Washington, D.C. in 2009. I was very impressed by the way she played and handled herself, especially as a leader. Her group was very good -- very tight – and they got a standing ovation. I especially liked Hailey’s playing…she makes the saxophone do what it’s supposed to do. Her set was varied with both original compositions and things that people recognized. Hailey's trying to say something personal and that’s what jazz is about. What she's saying is “here's the music of some jazz masters and I want to join them and spread the joy of this music and keep it alive for future generations.” I’m delighted when I encounter young people like Hailey who are saying “jazz is a lot of fun and this is how I have fun – presenting it to you.” -Dr. Billy Taylor

Hailey Niswanger’s debut CD is mind blowing on several levels. Her advanced, lyrical and interesting solo lines are mature beyond imagination. She naturally flows through her extended vocabulary of historical saxophone combined with newer, fresher ideas. But I am primarily swept away by the joy she emanates as her soul pours from the bell of her horn. I am a proud and huge fan. – John Clayton

Hailey Niswanger has all the important characteristics of true jazz musicianship. Her consummate debut "Confeddie," illustrates her bright and rising voice in the sound of jazz today, etched in a deep-rooted sense of tradition and legacy. What makes Hailey so special is her sound and phrasing (beyond her years), as well as her attention to melody and song - not just notes and scales. I have had the great pleasure of observing her development over the last few years since she was a sophomore in high school, so I feel confident in saying that the face of jazz is changing - to include more young women - and the future of jazz is in great hands. - Terri Lyne Carrington

The greatest compliment I received as a young, aspiring jazz musician came from the "elder statesmen" of jazz. After hearing my friends (Chris McBride, Roy Hargrove, Nick Payton to name a few) and me play they were relieved to see the jazz legacy they worked so hard to protect was indeed in good hands. I’m very proud to pass that sentiment on to Hailey and the young musicians she assembled on her debut CD. They play with a depth of emotion and clarity of ideas far beyond their years and I'm excited to listen as the future of jazz unfolds in their hands! - Mark Whitfield (Sr.)

Hailey’s put together a tasteful collection of terrific straight-ahead jazz on Confeddie, highlighted by great interactivity among really swinging musicians. She has a strong voice on her instrument and will be exciting to watch for years to come. – Taylor Eigsti

Hailey's Bio-
Hailey Niswanger (pronounced “NICE–wonger”) – entering her sophomore year at the Berklee College of Music in Boston where she is studying jazz performance on a full scholarship in the fall of 2009 -- has an impressive list of accomplishments that reach far beyond the borders of her home in Oregon and well beyond her 19 years. Born February 12, 1990 in Houston, Texas, she has already shared the stage with DeeDee Bridgewater, George Duke, George Garzone, Red Holloway, Terell Stafford, Phil Woods, James Moody, Steve Nelson, Christian McBride, McCoy Tyner, Maceo Parker, Wynton Marsalis, Mark Whitfield and other jazz greats and leads her own quartet that has performed at the Portland Jazz Festival, Jimmy Mak’s Jazz Club, Mt. Hood Jazz Festival and other jazz venues around Portland. With the June 2009 release of her recording debut as a leader -- the self-produced and self-released CD Confeddie -- Hailey is poised to “break out” nationally through U.S. jazz radio promotion and publicity campaigns.

Although she also plays soprano sax, clarinet and flute, Hailey showcases solely her alto sax skills on Confeddie which features a rhythm section composed of fellow Berklee students Michael Palma on piano, Greg Chaplin on bass and Mark Whitfield Jr. on drums. She has delivered an authoritative straight-ahead recording featuring a level of instrumental virtuosity that belies her age on arrangements of modern jazz classics by Thelonious Monk, Herbie Hancock, Joe Henderson, Wayne Shorter, Kenny Dorham and Benny Golson. Hailey also penned the title track whose name is a combination of “confetti,” to convey the festive feeling that permeates the album, and the first name of legendary saxophonist Eddie Harris in whose style it was written.

Hailey hit the road running in May 2009 after completing her first year at Berklee in anticipation of the release of Confeddie. That month she was a featured artist at the Mary Lou Williams Women in Jazz Festival at the Kennedy Center in Washington, D.C. (she won the festival’s saxophone competition in 2008) and represented the Berklee College of Music in the Downbeat Invitational at the Tri-C Jazz Festival in Cleveland, Ohio. Highlights of Hailey’s activities in previous years include: touring with the Next Generation Jazz Orchestra which included performances at the North Sea Jazz Festival in The Netherlands and on the main stage of the 51st Monterey Jazz Festival (2008); playing with the Gibson/Baldwin GRAMMY® Jazz Ensemble in Hollywood and the Jazz Band of America in Indianapolis (2008 & 2007); performing with the Pacific Crest Jazz Orchestra and Combo at the IAJE conference in New York City and at pre-festival events for the 50th Anniversary Monterey Jazz Festival and attending the Vail Jazz Workshop under the direction of John and Jeff Clayton where she performed on the main stage of the Vail Jazz Festival with Taylor Eigsti who later invited her to appear with him at Jazz Alley in Seattle (2007); and receiving scholarships to attend the Berklee College of Music Summer Jazz Workshop under the direction of Terri Lyne Carrington (2006 & 2007).

A 2008 graduate of West Linn High School near Portland, where she moved with her family in 1992, Hailey played saxophone and clarinet in the school’s jazz and symphonic bands and was also a member of Thara Memory’s elite Pacific Crest Jazz Orchestra and Combo. During the summer of 2009, in addition to performing in the Portland area, Hailey will, as she also did in 2008, be teaching piano to 5-7 year olds and woodwinds to 12-18 year olds at Willowbrook Arts Camp where as an eight-year-old she played her first note on a woodwind (clarinet).


Reviews


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Chrisr at CD Baby


At age 19, this rising jazz star has already earned enough accolades to last a lifetime. I’ll let you read her bio if you want the full resume, but believe you me, it is truly impressive. And Hailey Niswanger’s alto sax skills are no less impressive. She is capable of both sophisticated restraint and explosive improvisations that cleverly twist melody in the very best kind of weird way. Her solid tone is assured and expressive. And Hailey has proven to be a very wise bandleader, as well, choosing great tunes and great players who are comfortable supporting one another without stepping on toes as so many young instrumentalists are prone to do.

Stéphane Lespès, from France

Confeddie pour francophones !
Et si l’envie revenait à l’honneur ? Dans ce premier disque-témoignage d’une jeune saxophoniste de 19 ans, d’obédience post-bop comme il se doit, à la sonorité riche et tranchante mais sans excès, on assiste bien à une démonstration, mais pas à celle que l’on croit, ou plus précisément, que l’on pouvait craindre. La technique est bien au rendez-vous (ouf, on est sauf…) sur un choix de thèmes pas des plus faciles (si vous avez aimé Freedom Jazz Dance d’Eddie Harris, vous aimerez Confeddie), mais c’est la générosité, le drive naturel, en un mot, l’envie qui emporte le(s) morceau(x), et nous avec ! Mention spéciale pour Sometime Ago, chaleureux et passionné, qui profite aussi d’une rythmique au diapason et du drumming actif de Mark Whitfield le jeune.
Sometime Ago, d’accord, bien qu’avec Miss Niswanger (prononcer « Nice-wonger » ou « Nailleceouongueur » pour les francophones) on ait déjà mis un pied dans le tomorrow…