“Beth Fleenor transcends labels – a multi-talented, creative force in Seattle.”
(City Arts Magazine 2010)

“…a supremely versatile and virtuosic maverick”
(The Stranger 2011)

“exceptional clarinetist”
(Seattle Times 2013)

(New York Times 2013)

“….fare perhaps best described as world music from an imaginary planet — or at least one recently visited by Yoko Ono….quite compelling and magical….” (Seattle Times 2014) (Crystal Beth & the Boom Boom Band)

“The music moved through lyrical passages and primal bursts, and back again. The experience attained the nature of ritual, a ritual comprised of both tribal and cosmopolitan dimensions….{later} Fleenor put the woodwind aside and used her voice to incant voluminous melodies and howl with the guttural tones of a tortured beast.”
(Caleb Thompson / The Monarch Review 2011) (Mother May I installation)

“alternately buoyant and ponderous, transfixing and exceptional”
(City Arts Magazine 2013)

“Beth Fleenor has the ability to make hissing, primal wails and high-pitched singing into some incredible music. Julius Caesar’s death has never looked so beautiful on stage.”
(City Arts Magazine 2010)
(from Freehold’s Engaged Theater production of Julius Caesar)

“Each {Workshop Ensemble improvisation} lingered in time…. Sounds orbited around crescendo and eschewed discernable groove, cohering in ways I couldn’t enumerate but made emotional sense. They appeared spontaneously, assumed immediate presence, almost solidity, then were gone. The musicians onstage never wavered in their intent or power, then ended in unspoken unison. For all its structural ambiguity and lofty purpose, the music evoked a very real sensation of collective exploration and consensus resolution.”
(City Arts Magazine / Jonathan Zwickel: Mad Explosive Spontaneity 2013)

“Fleenor performs with emotional immediacy and good humor. Her tone is vibrant and full bodied, and her ideas fertile.”
(All About Jazz 2004)

“An adventurous clarinetist”
(The Stranger 2005)

“Led by clarinetist Beth Fleenor, Figeater make improvised music that ranges from insistently propulsive and buoyant – Fleenor can channel the spirit of Raymond Scott with aplomb – to aloof atmospheres, thugged-up backbeats, and loony, melismatic rants. (The Stranger 2008)

“I don’t know if Fleenor would point to chamber music as a direct influence or even a tertiary influence, but I heard Stockhausen, Cage and Reich in the Figeater set. “
(City Arts Magazine 2010)

“Daringly, {Figeater} was down right pretty, not a term often associated with free improv…while later it was visceral, convulsive and more than a bit creepy….”
(Seattle Weekly 2007)

“Clarinetist/composer Beth Fleenor bases her cargo-cult band {Figeater} on the arrival of unhinged, uncorked, unkempt provocations from a small, raucous band of collaborators. Expect some wailin’, some keening, and some siren-singing too.” (Earshot Jazz 2008)

2013 Press: Featured in the Monarch Review
A Frank Interview With Crystal Beth Fleenor

2013 Feature Story: City Arts Magazine – Mad Explosive Spontaneity

2013 Review: NYTimes – Wayne Horvitz’s Royal Room Collective Music Ensemble

2011 Review: Featured in the Monarch Review, Beth Fleenor – Mother May I

2009 Press: Featured on One Working Musician, Makin’ It Happen – Beth Fleenor

2007 Press: Featured in Seattle Weekly Fall Arts Guide

Beth Fleenor Pushes New Music into the Ring

2007 Press: Featured in Earshot Jazz Magazine

Frankly, She Does Give a Damn: A Clarinetist’s Music and Advocacy of Others’