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by Denney Goodhew
"Beth Fleenor transcends labels - a multi-talented, creative force in Seattle."
- City Arts Magazine
"...a supremely versatile and virtuosic maverick"
- The Stranger
"Fleenor performs with emotional immediacy and good humor. Her tone is vibrant and full bodied, and her ideas fertile."
- All About Jazz, Seattle
"An adventurous clarinetist"
- The Stranger
Since arriving in Seattle in 1998, clarinetist / vocal percussionist / composer Beth Fleenor has carved a place for herself as an energetic multi-instrumentalist and dynamic generative artist. Her robust sound, organic approach, and openness to experimentation in all forms, actively fuels a long and varied list of collaborations. Ranging from shows in nightclubs, festivals, schools and galleries, to prisons, parties and concert halls, Fleenor's work has been featured in live music, theater, performance art, recordings, modern dance, film, sound art and art installations.
Subscribing to the principle that "art is the discipline of being," Fleenor harbors a strong love for variety and all forms of sonic manipulation. Such flexibility has allowed her to move freely through genres including, but not limited to, jazz, rock, classical, contemporary chamber, metal, Slavic & American folk, ambient, surf, and noise.
In 2004, Fleenor commissioned and premiered ten works for clarinet - compositions ranging from standard ensemble configurations and notation, to works that included laptop, found instruments and electronics, prepared instruments and conducted improvisations. A recording of her commission Dubious Diversions, by composer Tom Swafford, is included as part of the audio guide at Seattle Art Museum.
In 2007, Fleenor was awarded an Earshot Golden Ear award for Performance of the Year, as a member of the Monktail Raymond Scott Project. That same year she launched the sonic module Figeater, a time-based, performance process emphasized ensemble (see page).
In 2010, she began work on a series of Movement Exercises for Blindfolded Ensemble, etudes created to unify and activate deeper ensemble intention and communication.
In 2011 she began a multi-year installation and outreach project called Mother May I that incorporates cross-stitched sound wave forms used as graphic scores.
Fleenor is honored to have worked with artists such as Wayne Horvitz, Denney Goodhew, Robin Holcomb, Butch Morris, Bobby Previte, King Crimson's Trey Gunn, Mike Dillon, Matana Roberts, Jherek Bischoff, Joshual Kohl, David Byrne, Jim Knapp, Paris Hurley, Bill Patton, Yemin Kim, Paul Moore, Timothy Young, Samantha Boshnack, William O. Smith, Eyvind Kang, Malcom Goldstein, Marco Benevento, Gretta Harley, Amy Denio, Bright Archer (Johanna Kunin), Parenthetical Girls, Robin Lynn Smith, Gino Yevdjevich, Deerhoof's Greg Saunier, Shane Perlowin, Jessika Kenney, Implied Violence, Paul Budraitis, Jessica Lurie, Jeff Huston, Tom Swafford, John Burrow, Tiflin, Brad Hebert, Matthew Richmond, Izaak Mills, Stephen Parris, Mark Ostrowski, Michael Owcharuk, Stephen Fandrich, and Zachary Watkins, among many others.
Currently she can be found performing with Crystal Beth, Bling, Figeater, Owcharuk 5, Double Yoko, Tango Ahora!, Seattle Conduction Band, Seattle Jazz Composers Ensemble, Samantha Boshnack Quintet, PK & What Army?, Chick Influenza, and projects of the Monktail Creative Music Concern. She has also been sited ensuing mayhem with Balkan punk shaman clan Kultur Shock including performances at the Creation of Peace Festival (Russia) and Sayan Ring (Siberia).
Fleenor holds a Bachelor of Music from Cornish College of the Arts. Her work has been supported by Jack Straw, 4Culture, Allied Arts, and the Seattle Office of Arts & Cultural Affairs.
Please visit Fleenor's webstation for more info:
For complete immersion in Fleenor's artistic practice visit: