press

“Bassoon colossus.”
--Philip Clark, The Wire

"Seriously bold leaps for the bassoon."
--Peter Margasak, Downbeat

“Comfortable in extremes, Katherine is a rare musician who possesses both the discipline and whimsy to perform in folk, free jazz, and chamber ensembles.”
--Venus Magazine

"[U]ndulating notes on the verge of exhaustion explore impressive multiphonics and stomach-gripping glissandos...."
--Touching Extremes

about Pretty Monsters 
"[T]hreatens to upend any comfortable divisions between music and noise."
-- Neil Tesser, Chicagomusic.org

"[E]ven in moments of abandon, this music feels controlled; the improvised solos sound like essential facets of the compositions. This is because Young, like her occasional employer Anthony Braxton, understands that selecting a musician and creating the right opportunity can be a powerful compositional act."
- Bill Meyer, Dusted

"[A solid vehicle for collective structure and Young’s compositional ideas, this is an impressive debut."
- Clifford Allen, New York City Jazz Record

about Young's cover of Arthur Russell's "Soon to Be Innocent Fun"
“The interest doesn't lie so much in the bassoon — though those glorious bass notes did rattle the heart — but how Young clasps Russell's vocal flutter and effortlessly tugged cello in one continuous thought.”
--NPR.org

about Inside UFO 53-32 for string quartet
“[A] raw, wailing, coloristic piece" with an "organic sweep.”
--Anthony Tommasini, New York Times

about Architeuthis Walks on Land 
"Compellingly weird...."
--Time Out New York

"[T]his terrifying monster of the sea is not without its own peculiar brand of grace and whimsy."
--The New York City Jazz Record

about Till by Turning
“The group belongs to a new generation of adventurous musicians bringing contemporary music to clubland....the players dip into the modern canon...and give breath to new works by their peers....Evoking both the elemental and the transcendental, Till by Turning promises to be anything but commonplace.”
--Time Out Chicago