Denton, 9.17.2025

Tonight's Joan of Bark Presents at Rubber Gloves Rehearsal Studios was Improv Lotto al fresco (on the patio), which created a challenging sonic environment for sound technician extraordinaire Aubrey Seaton, with bleed through from a rock show in the show room as well as the usual passing trains that are a rite of passage for any musician who plays at Gloves. I assisted curator Sarah Ruth Alexander in pulling names from the hat (and previewing the lineup for December 13's Joan of Bark Fest). Then the ad hoc groups -- a quartet and three trios -- commenced their performances.

The evening's first ensemble comprised guitarist Shane Wright, electric vibraphonist Chelsey Danielle, bassoonist Victoria Donaldson, and cellist Will Frenkel. Chelsey Danielle has been the dominant presence in any ensemble I've ever seen her in, and this was no exception. Here the textural contrast between her mallet percussion and Donaldson's bassoon was a set highlight; unfortunately, the subtle dynamics of this group's music were often drowned in thunderous bass from the rock show inside. At one point, I thought about going to stand by the stage to see if the sound was more audible and gesturing to folks to move up if it was, but I lost my nerve. Wha-wha.

In the second ensemble, dancer Jordan Fuchs made his Improv Lotto debut accompanied by vocalist Jo Hazel and electronic musician Abbas Khorasani. The musicians created a Middle Eastern vibe, while Jordan's movements, constrained at first, became more expansive as the piece unfolded. Only non-snazz aspect of this performance was the stage monitors that obscured Jordan from view while he was on the floor. 

I've been watching Sarah Gamblin dance since 2010 and have always been impressed by her work, but her performance in the third ensemble might I've been the most riveting I've seen from her. Gamblin inhabited the space with fluid motion, and excelled as always at listening to her accompanists and finding visual analogs for what they're doing. She even managed to incorporate the troublesome monitors into her movement. Lo Ramirez set the pace on vocals and electronics, and Kourtney Newton played every part of the cello, including beating on its face for tabla-like effects, adding triangle for textural variety and then applying the striker to her strings. 

The last ensemble was the only one of the evening that managed to compete with the rock show's volume. Poppy Xander vocalized operatically while accompanying herself with keyboard sounds that varied dynamically from chamber music delicacy to heavy rock roar, while Camella Weedon on theremin and Rose Kamego on electronics provided sonic seasoning. It was a satisfying conclusion to an evening of thrilling extemporization, and an object lesson that an improvising performer always has to work the room. 

Next Joan of Bark Presents is October 29. Don't you dare miss it.