“The 15 phantasmagoric minutes of  Bubble in my Eye ought to win trombonist Monique Buzzarté a place in her instrument’s Hall of Fame….This is classical music recorded the way it ought to be…”
Laurence Vittes, Gramophone (February 2011)

“…it’s the multitracked acoustic instruments – the distant yelps and growls of Buzzarté’s trombone, Martelle’s twittering flute – that grab the attention, shooting through the dark foliage of strange queasy drones like shafts of late afternoon sunlight….This is strange, haunting, serious music… something best appreciated alone, in a quiet corner of your life.”
Dan Warburton, Paris Transatlantic (Yule 2010)

“Merging in and out of Fullman’s overtones, Buzzarté’s trombone – sometimes serene and stately, sometimes wolf-howl mournful – adds abstract colours to the immense, humming backdrop that the LSI generates. Her somber poise is the perfect complement to Fullman’s playing.”
Mark Fisher, The Wire (May 2008)

“At the more daring end of the spectrum was trombonist Monique Buzzarté’s Elegy, which used sampling and sound-delay techniques to create a sonic wash of contemplative depth and force.”
Peter Lefevre, Orange County (CA) Register (March 2, 2007)

“…an incredible musician who transcends any limitations of her instrument to create a fantastic spectrum of sounds.”
Sarah Cahill, Contemporary Music Review, Volume 25, Nos. 5/6 (October/December 2006)

“Each selection displays a unique ethereal quality and textural complexity….Buzzarté’s improvisations throughout the recording showcase not only her creativity but her incredible pitch and dynamic ranges and her extensive palette of tonal colors.”
Brian French, International Trombone Association Journal, Volume 32, Number 2 (April 2006)

“…exemplifies the relationship a human being can have with the aural environment.”
Hsiao-Lan Wang, International Alliance for Women in Music Journal, Volume 12, No. 1 (Winter 2006)

“…cutting-edge trombonist Monique Buzzarté…is as elegant as it is boundary-pushing. Laptop wizardry transforms Buzzartés horn into a fragmented death knel ….the acoustic in-between spaces play like shapely minimalist chamber work…”
Phillip Buchan, Splendid Magazine (December 6, 2005)