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Last updated: Monday, January 21, 2008
Artist History ==> Web Page 13 of 26
Dombrovski briefly rehearsed as drummer for Bill McCracken and Tim Sands' previously-mentioned progressive rock group RARE FORM from approximately February 1996 through April 1996.
DOMBROVSKI: Yeah, Tim Sands and I go way back. I'll talk about the long chain of events leading up to my rehearsing with RARE FORM in 1996. I think it was late 1986, about 10 years earlier, when I first attended a rehearsal in Wilmington, DELAWARE, U.S.A., for a band named PROJECT Z, in which Tim was playing keyboards and bass, plus covering backing vocals. Bill McCracken was on vocals and guitar. Don Patridge was on drums. I was drumming in the band RAEL at the time, but I think what was to become RAEL was then known as THE MERGE. Anyway, our singer Mara DePace recorded a song with PROJECT Z entitled "Just Believe," and she may have been helping them out at that time. I don't remember the exact reason I was at that rehearsal, but that's when I first met Tim Sands, Bill McCracken, and Don Patridge.
DOMBROVSKI: I seem to remember PROJECT Z doing a cover version of the RUSH song "Subdivisions" at that rehearsal, plus some other stuff. PROJECT Z's material was art/progressive/jazz fusion-like rock. Relative to Rock-n-Roll, PROJECT Z was playing technically difficult music. I remember lush, hybrid chords and intricate rhythms. Lyrically, they were working with themes more challenging than boy meets girl, boy inserts penis.
DOMBROVSKI: In 1987, the bassist I was in THE MERGE a.k.a. RAEL with, Bill Craig, had a party at a house in Wilmington, DELAWARE, U.S.A., which I just helped him move into; Bill invited a bunch of musicians over, among them Don Patridge, Bill McCracken, and Tim Sands of PROJECT Z. Everybody was playing tapes of their music, and I remember Don and Tim playing me something called "The Quadragy." I thought it was very cool. "The Quadragy" just had that progressive, keyboard-dominated sound, including interesting chord progressions and sonic textures. It was big and musically adventurous. Tim Sands was 20 at the time.
DOMBROVSKI: Well, as a result of a name change "THE MERGE" became "RAEL," and when we (RAEL) began gigging regularly, I would occasionally see Tim, Bill, and/or Don in the audience. This would go on for about a year-and-a-half. On December 4, 1988, RAEL did a gig at THE SOFT ROCK CAFE in DELAWARE, U.S.A. PROJECT Z metamorphosed into "SYD FX." Tim and Bill were using a different drummer, the new drummer being Rick Rossier. SYD FX opened for RAEL at that gig. Again, SYD FX covered YES, RUSH, and other similar bands, plus SYD FX performed their own original material.
DOMBROVSKI: On July 17, 1988, I remember RAEL doing a gig at a company picnic. Besides being in SYD FX, Tim Sands and Rick Rossier were in another band, which was some kind of funk band that included black musicians. Well, RAEL, plus Tim and Rick's funk band, played at the company picnic that day.
DOMBROVSKI: RAEL's singer Ken Eros landed RAEL an audition at WPVI TV, channel 6, Philadelphia, PENNSYLVANIA, U.S.A., for the VARIETY CLUB Telethon. On December 5, 6, and 7, 1988, Tim Sands engineered a recording RAEL needed for that audition. The songs RAEL and Tim recorded were: (1) "Undercover Lover," written by RAEL lead vocalist and guitarist Ken Eros and RAEL keyboardist Dan Long; (2) "Reason to Stay," written by keyboardist Dan Long. Tim has great ears, plus he knew enough about EQ, compression, and mixing to give RAEL one of the band's most polished and punchy recordings up to that date. I believe we made the recording on a TASCAM four-track recorder.
DOMBROVSKI: On January 12, 1989, RAEL did a gig at THE BUGGY TAVERN in Wilmington, DELAWARE, U.S.A., and Tim Sands ran sound for the band. On January 27, 1989, Tim Sands actually joined RAEL as bassist, but by February 18, 1989, the three original members of the band--(1) guitarist Dave Fox; (2) bassist Bill Craig; (3) and me, drummer--were leaving the band; however, we did one last gig on February 18, 1989, with RAEL at THE SOFT ROCK CAFE in DELAWARE. Tim played bass on several songs. Oh yeah, drummer Rick Rossier played on a couple of tunes, too, with RAEL and with Tim Sands on bass. By March 1989, RAEL metamorphosed into a band named BODY TALK, which featured: (1) Ken Eros, formerly of RAEL, on lead vocals; (2) Mara DePace, formerly of RAEL, on lead vocals; (3) Dan Long, formerly of RAEL, on keyboards; and new members: (4) Tim Sands on bass; (5) Rick Rossier on drums; (6) and Chris Webb on guitar.
DOMBROVSKI: In June 1989, I learned Tim Sands was recording his original material in NEW YORK, U.S.A., with a guy named Dennis Martin producing. Ken Eros was on lead vocals and Chris Webb was on guitar. On July 13, 1989, I sat in on drums for two tunes with BODY TALK at THE BUGGY TAVERN in Wilmington, DELAWARE, U.S.A.; however, I was already working on my first solo project, plus I was playing drums in the heavy metal/hard rock group EXXESS. Anyway, this was the night I learned BODY TALK was breaking up. I think part of the reason was Tim Sands needed more time to pursue his solo project with Dennis Martin in NEW YORK. I heard Tim's work with Dennis Martin, and it sounded great. The production values were incredible. Ken Eros' voice sounded excellent on Tim's progressive-pop material.
DOMBROVSKI: On August 19, 1990, I joined the PINK FLOYD tribute group ECHOES as drummer. Tim Sands was on lead vocals and playing keyboards. At this time, Tim was still working with producer Dennis Martin in NEW YORK, U.S.A. Tim even recorded copies of some of my original material with the intention of presenting it to Dennis Martin.
DOMBROVSKI: It was then I asked Tim Sands to produce and engineer a song written by vocalist/keyboardist Mario Padovani. Mario wanted me to help with the drums, and Mario wanted former-EXXESS lead guitarist Mike Walker on guitar. Tim agreed, and on September 2, 1990, Tim, Mario, and I began working on Mario's song "Can't Let Go." I think Mario and Tim made each other's acquaintance earlier in some prior situation where Mario became so enraged with Tim over a musical dispute that Mario slapped Tim.
DOMBROVSKI: On September 15, 1990, Tim and a guitarist were looking to put together a jazz-rock-fusion type band, and I drummed with them. One of the tunes we played included "Metal Fatigue" by Allan Holdsworth and something by bassist Jeff Berlin, plus, I think, a tune entitled "Night Rhythms" by Lee Ritenour. That group situation didn't work out.
DOMBROVSKI: On September 16, 1990, since the previous jazz-rock-fusion situation didn't work out, I suggested to Tim that we try it again with guitarist Mike Walker, formerly of EXXESS. I talked to both Tim and Mike, and they agreed. I think Mike gave me a tape the next day, and three songs we planned on covering first were:
1. Greg Howe -- "Kick It All Over"
2. Jeff Beck -- "Play With Me"
3. STRETCH -- "A Sunny Day at Sea"
DOMBROVSKI: Nothing ever came of that situation because all three of us were too busy with other projects, one being the PINK FLOYD tribute group ECHOES, which Tim and I were members of.
DOMBROVSKI: On September 23, 1990, Tim and I began working on another version of my song "You're the Girl" at Tim's home recording studio. On September 25, 1990, Mindy Cintron, former-EXXESS lead vocalist Mark Ridley, and Mario Padovani recorded the background vocals on Padovani's song "Can't Let Go." Tim was engineering the session at his home studio, and I was there. Mario liked to get my opinion on the sound of certain things. On October 8, 1990, future-TRAUMA UNIT guitarist Vince Eoppolo recorded a rhythm guitar part for "You're the Girl" at Tim's studio. On October 11, 1990, Tim and I sat in on bass and drums respectively during a jam session at Neel's Bar in Wilmington, DELAWARE, U.S.A. On October 13, 1990, Tim, Mario Padovani, and guitarist Mike Walker were working on Padovani's "Can't Let Go" at Tim's home studio. I think Tim was still working with NEW YORK producer Dennis Martin on Tim's own material at this time, and on November 2, 1990, Tim asked me to play drums in his band, if he got a record deal out of the recording he was creating with Dennis Martin. Tim and I were still playing in the PINK FLOYD tribute group ECHOES at this time, too.
DOMBROVSKI: On October 27, 1990, I finished lyrics for "You're the Girl," and on December 9, 1990, I had an arranger at a recording session at Tim's studio to help with the background vocals. Mario Padovani was there, too, so it was going to be Tim, the arranger, Mario, and myself on backing vocals; however, Tim and the arranger had a disagreement over a vocal part. That ended the recording session, so I left "You're the Girl" as an instrumental.
DOMBROVSKI: Basically, from December 1990 through August 1991 where Tim and I were concerned was just performing with the PINK FLOYD tribute group ECHOES. My last gig with ECHOES before attending BERKLEE COLLEGE OF MUSIC in Boston, MASSACHUSETTS, U.S.A., was on August 17, 1991. After BERKLEE, I was in Los Angeles, CALIFORNIA, U.S.A., for awhile, and when I returned to DELAWARE, U.S.A., on April 13, 1992, I was gigging off and on again with ECHOES. Tim was still in ECHOES, and on May 17, 1992, and May 23, 1992, Tim and I began re-cutting a song I wrote back in 1997 entitled "Sherry," at Tim's home recording/project studio; however, I don't remember finishing that track. Back to ECHOES--I drummed with ECHOES from August 1992 through January 1993. I left ECHOES and began working with THE JOHN DOUGHERTY TRIO in May 1993; that was over by July 1993. Then I worked in my home recording studio and on other projects. Musically, I didn't do much work with Tim until May 1994, more than a year later, when I briefly joined ECHOES as a keyboardist. I quickly pulled out of the group as a keyboardist. I wanted to spend more time working on my own material. I briefly joined ECHOES again as a keyboardist in July 1994, but I left ECHOES again in August 1994. I was supposed to back up Tim on keyboards. I think it was at this time I played Tim the jazzy/R&B chords that would become the basis for a song Tim and I would collaborate on entitled "Philly 'Till Dawn."
DOMBROVSKI: By September 1994, my home recording studio, which I named "TOXIC STUDIOS," was pretty much configured and ready to go in my apartment in Stanton, DELAWARE, U.S.A. On September 17, 1994, Tim and I collaborated on a piece entitled "Here Today, Gone Tomorrow." On September 24, 1994, Tim and I began recording a STEELY DAN-like, R&B, jazz-flavored instrumental I wrote (except for the bridge, which Tim wrote) entitled "Philly 'Till Dawn." We finished on September 25, 1994. That song can be heard on my 2003 debut demo recording Intro.
DOMBROVSKI: The next thing Tim and I worked on was a song written by Tim entitled "Look Into My Eyes," which was a mid-tempo, Todd Rundgren-like, keyboard-dominated love song with Tim on all vocals and instruments. I did some assistant engineering and offered some production tips, but that song is pretty much Tim's effort. That song was recorded in December 1994 at TOXIC STUDIOS.
DOMBROVSKI: So, all the above pretty much shows the chain of events leading to my rehearsing with RARE FORM. Basically, Tim and I had a history of working together. Plus, outside of working situations, Tim and I were friends. We spent time hanging out.
DOMBROVSKI: On June 3, 1995, I saw Tim on bass performing with RARE FORM at a club in Wilmington, DELAWARE, U.S.A., named THE CLUBHOUSE. Obviously, RARE FORM was formed sometime before this date, probably in 1995. Well, on November 19, 1995, Tim made me an offer to join RARE FORM, and on January 24, 1996, Tim told me RARE FORM might soon be without their then-current drummer. On January 27, 1996, Tim Sands, and RARE FORM vocalist/guitarist Bill McCracken stopped by my apartment and dropped off a tape containing songs by RUSH and GENESIS (early non-commercial GENESIS config.) for me to practice drums to. The next day I was practicing "La Villa Strangiato," a tricky instrumental by RUSH. I called Tim and told him I'm probably going to be leaving DELAWARE relatively soon to return to Los Angeles, CALIFORNIA, U.S.A. Tim said RARE FORM would use me on drums as long as possible.
DOMBROVSKI: Bands require a big commitment, if the band is to be worthwhile and anything more than an expensive, time-consuming hobby. I'd been in at least six different bands before I agreed to help RARE FORM, so there was no convincing me otherwise. I just didn't see myself staying in DELAWARE long enough to get RARE FORM to the level the band wanted to be at.
DOMBROVSKI: Anyway, on February 6, 1996, Tim stopped by my apartment with his bass, and he and I practiced "La Villa Strangiato," plus a RARE FORM original entitled "Stake My Claim," written by Tim Sands and Bill McCracken. I couldn't use a drum kit in my apartment because real drums and cymbals are much too loud, so I used a REMO practice pad kit instead. It functions like a drum kit, but it's much quieter, relatively speaking. On February 8, 1996, Tim and Bill McCracken were over my apartment, and we rehearsed some RUSH and GENESIS cover songs. Tim and I practiced as a rhythm section on February 11, 1996. On February 15, 1996, Tim and Bill were over my apartment again, and we rehearsed. On February 16, 1996, RARE FORM was talking about making a recording. On February 22, 1996, I received a letter from apartment management complaining about "loud drumming." I knew at that point my days as RARE FORM's drummer were numbered. The band didn't have a proper rehearsal space, plus I knew I was eventually leaving DELAWARE, U.S.A., for CALIFORNIA, U.S.A.; therefore, I didn't see the point in spending money on a rehearsal space, which meant we were confined to rehearsing in my apartment at the whims of when my apartment neighbors weren't around to complain in writing. It wasn't a very supportive environment for a fledgling musical group. On March 28, 1996, RARE FORM rehearsed at my apartment again. On April 4, 1996, in my home recording studio, Tim and Bill began recording an original written by Bill entitled "Matthew's Song." "Matthew's Song" was finished on April 8, 1996. On April 11, 1996, RARE FORM rehearsed again in my apartment. On April 13, 1996, I called Bill McCracken to tell him I was quitting RARE FORM. My basic reasons were: (1) I didn't believe I was going to be in DELAWARE long enough to make the commitment to RARE FORM required to do the band's material justice; (2) I was working on my own projects outside RARE FORM; (3) I felt like I wasn't doing anyone any good spreading myself too thin. I think there may have been disappointment and anger on Tim and Bill's part initially, but in the end it was best for everyone. RARE FORM's music is above average in difficulty, and you can't do their music justice if you don't put in the required time practicing it. Tim and Bill had equipment at my apartment they were using during rehearsals, and they picked it up on May 2, 1996. That was the end of my association with RARE FORM as a drummer.
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Artist History ==> Web Page 13 of 26