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Artist History ==> Web Page 19 of 26
Earlier in 1996, Dombrovski found himself back in CALIFORNIA, U.S.A., visiting music associates in Los Angeles in March and visiting electronic composer Vincent Eoppolo in San Francisco in August 1996, Eoppolo having moved to San Francisco circa October 1995 from Chesapeake, VIRGINIA, U.S.A.
DOMBROVSKI: Way back in 1981, when I was 13, maybe 14, I met a guy named Sean Brooks in high school. Throughout high school, we shared a mutual interest in music. We'd hang out on occasion after school and even after we graduated in 1985. On July 30, 1989, I saw Sean perform at a place named THE STINGER LOUNGE with a group he had in Wilmington, DELAWARE, U.S.A., named THE PROMISE. Well, Sean eventually relocated to Los Angeles, CALIFORNIA, U.S.A. I know he was living there in 1991.
DOMBROVSKI: On August 16, 1994, I was living in Stanton, DELAWARE, U.S.A., and I received a tape from Sean Brooks, who was still living in Los Angeles. The tape was really good. The production was excellent. The tape contained original material, and the genre was R&B/dance-pop.
DOMBROVSKI: On December 28, 1995, I was still living in DELAWARE, U.S.A., and I received another tape of original material from Sean in Los Angeles. It was labeled 10 Things That Every Woman Needs by "Nubar Brooks." It read, "(C) 1995 GIG PRODUCTIONS." The material was pop/soul/retro/R&B/dance/experimental. I was even mentioned in the "Special thanks to:" credits. Anyway, the productions Sean was involved with kept getting better and better, along with the songwriting. This was the first tape I received including Sean's production partner, keyboardist/vocalist Mark Nubar. I believe Sean and Mark were on the roster of GIG RECORDS at the time. Sean Brooks and Mark Nubar were a production team known as "Nubar Brooks." Sean Brooks was also known as "Dr. Brooks."
DOMBROVSKI: While I was in DELAWARE, U.S.A., I kept in touch with Sean. He knew about the home recording/project studio I assembled for myself. On February 22, 1996, I mailed Sean a tape of original material I was involved with. Some of that material was written as far back as 1991. Sean and I would talk on the phone. Sean had good critiques of my stuff.
DOMBROVSKI: On March 2, 1996, I was in Los Angeles, and I was hanging out with Sean. Sean played me more Nubar Brooks music, plus I watched some TV productions Sean was involved with. It was obvious Sean was making more and more connections in the entertainment industry. That's also when I toured MIT in Hollywood, CALIFORNIA, U.S.A. I was interested in MIT's keyboard program, KIT, and on March 4, 1996, I was given a tour of MIT by instructor Dave Valencia. I was back in Wilmington, DELAWARE, U.S.A., on March 5, 1996. That had been the first time I was in Los Angeles since April 1992. I was planning on relocating to Los Angeles after I finished a few projects in DELAWARE, but that would take another several months.
DOMBROVSKI: Yeah, on September 3, 1994, Vince Eoppolo left Wilmington, DELAWARE, U.S.A., and moved to Chesapeake, VIRGINIA, U.S.A. Circa October 1995, Vince moved to San Francisco, CALIFORNIA, U.S.A.--well, Vince was actually living in San Carlos, about 25 miles south of San Francisco, and he worked in San Francisco. I think living in the San Francisco Bay Area had always been a dream of Vince's. Circa March 11, 1996, Vince sent me a tape of original music entitled Tunes and Turmoil, which was music he recorded in the home recording/project studio he had in San Carlos, CALIFORNIA, U.S.A. I think the influence of San Francisco's Chinatown, and the mystical vibe of San Francisco in general, were exerting an influence on Vince's music because Tunes and Turmoil had a heavy Taoist, oriental, ethereal sound. Some of this was a result of the instrumentation Vince chose.
DOMBROVSKI: On August 29, 1996, I caught a flight out of Philadelphia, PENNSYLVANIA, U.S.A., and I was in San Carlos hanging out with Vince. Over the next several days, Vince showed me San Francisco, and we did a lot of exploring of the surrounding areas and communities. On September 4, 1996, I was back in Wilmington, DELAWARE, U.S.A.
After the December-1996 release of the two DAMAGE recordings, Dombrovski dismantled TOXIC STUDIOS in January 1997; visited business associates in San Diego, CALIFORNIA, U.S.A., in February 1997; and briefly lived in Los Angeles, CALIFORNIA, in February and March 1997, moving his keyboard rig, drums, and a minimal amount of studio gear required for demos and live performance into storage in Los Angeles. Then Dombrovski returned to Wilmington, DELAWARE, U.S.A., and began selling the now-defunct TOXIC STUDIOS' recording gear in April 1997. Additionally, in April 1997, Dombrovski was in New York City, NEW YORK, U.S.A., with recording artist Mario Padovani attending a session presented by THE SONGWRITERS GUILD OF AMERICA. The remainder of 1997 Dombrovski spent practicing keyboards, studying music, and attending sessions (with Padovani) of the PHILADELPHIA SONGWRITERS ASSOCIATION (PSA) (founded in 1997 by Vincent James).
DOMBROVSKI: Once again, you know, I felt the DAMAGE recordings were as far as I could go recording in an apartment-based, home recording/project studio. An apartment-based studio suffers from serious acoustic problems and limitations from a professional standpoint. Despite all the expensive recording gear I had, I discovered I couldn't overcome the acoustic problems and limitations of recording in an apartment, said limitations and problems becoming quite irksome to me. To take things to the next level acoustically would've required a heavy commitment of funds towards the purchase or leasing of property where I could run a proper studio with excellent acoustics; however, I didn't want to make that commitment or move in that direction. I didn't want to be responsible for maintaining and running a professional recording studio.
DOMBROVSKI: I decided when I limited my scope and approach to recording demos I was very satisfied with the results because the fine acoustic details were not really a serious concern. Instead, all I needed to focus on was the shape, form, and style of the demo, so to speak. Demos are like an architect's miniature scale model shown to a client to demonstrate a building design. The miniature model lacks the final details of the actual building. Well, that's what really bugged me about recording in an apartment and trying to move beyond demos towards a finished recording ready for release--I couldn't get those important acoustic details. Plus, I knew I had way more recording gear than was necessary to produce demos. When I limited myself to just making demos, I knew it would be a waste leaving so much of the recording gear not needed just sitting there unused. In reference to demos, I'm saying I was afraid having so much recording gear would produce a strange compulsion in me to get involved with recording projects too large to be healthy, which would ultimately be no more than attempts justifying utilizing as much recording gear as possible. After I realized that, I tore down my home recording/project studio in January 1997; moved what gear I could use for recording demos and playing live gigs to storage in Los Angeles, CALIFORNIA, U.S.A.; and I returned to DELAWARE, U.S.A., to sell the rest of my recording gear.
DOMBROVSKI: For a time in 1996 in DELAWARE, U.S.A., before I incorporated NOVUS PRODUCTIONS in October 1996, I did some very basic business research concerning what forms business entities could actually take, among other things. As a result of asking certain questions, I was directed towards some very insightful contacts in San Diego, CALIFORNIA, U.S.A.; those contacts had a lot of knowledge concerning law, finance, and commerce. Before I actually went to Los Angeles in February 1997, I traveled to San Diego first to meet my contacts there face to face. I spent several days there, and we agreed we'd keep in touch. The ensuing relationships would prove very helpful later because my forte was music, not law, finance, nor commerce, and I was going to need help. From San Diego, I was off to Los Angeles.
DOMBROVSKI: I arrived in Los Angeles on February 20, 1997. I contacted Sean Brooks. We listened to the DAMAGE recordings I produced. I finally met Mark Nubar and some other people Nubar and Brooks were working with at the time, among them Gilli Moon. On March 18, 1997, while I was in Los Angeles, I saw Gilli Moon perform at The Troubadour in West Hollywood, CALIFORNIA, U.S.A., with a backup band, which included Nubar and Brooks on keyboards. I thought Gilli Moon was a fantastic vocalist and performer. When Gilli came off stage, I walked up to her and said, "How does it feel to be one in a million?" She looked at me like, "Is this guy for real?" I think she said something to me like, "Wow, I never heard a line like that." Then she quickly got away from me. All I know was I was blown away by the show that night. Again, I thought Gilli Moon was an incredible, passionate performer and vocalist. She was exciting. I actually had chills run up and down my spine during her performance. Oh yeah, now I remember, Gilli and I did talk a little bit. I mentioned something I'd heard about her leaving Los Angeles to return to AUSTRALIA, and she said she really didn't mind because she liked AUSTRALIA. Check out Gilli's online diary. She writes about what she was going through in early 1997 in Los Angeles. Check out Gilli's web site, too.
DOMBROVSKI: I believe Nubar and Brooks were on the roster of DRAMA! MUSIC in 1997, and DRAMA! MUSIC was operating out of Hollywood, CALIFORNIA, U.S.A., at the time. I remember being at a DRAMA! MUSIC meeting, or meetings, while I was in Los Angeles in 1997, and I remember seeing Gilli Moon, plus a guy named John Scott, show up. I returned to DELAWARE, U.S.A., and on August 18, 1997, I received a CD from Sean Brooks. The group now known as HYPNOGAJA was originally LUST, and LUST released their self-titled, debut CD, which I was sent. Gilli Moon sang a tune named "You Belong to Me," and John Scott appeared as EXECUTIVE PRODUCER and songwriter on the CD. The CD was released on the DRAMA! MUSIC label.
DOMBROVSKI: Looking back, I can see Sean a.k.a. "Dr. Brooks" and Mark Nubar were busy with the CD while I was in Los Angeles in February and March 1997. I was busy trying to get myself settled in Los Angeles. I briefly had an apartment, but I had to return to DELAWARE, U.S.A., to clean up a lot of loose ends and sell off more assets. I left what music equipment and instruments I needed to record simple demos and perform live in Los Angeles, but I still had a lot of recording gear left in DELAWARE, U.S.A. TOXIC STUDIOS, or what was left of my home recording/project studio, was no longer of use to me, so I began selling off the recording gear I had left.
DOMBROVSKI: Going back several years, I recall I first arrived in Los Angeles in January 1992, and after I left in April 1992, I knew I wanted to return after I finished the things I needed to do in DELAWARE, U.S.A. Those things would take about five years, but I always planned on returning to Los Angeles. Los Angeles forced me to stand alone.
DOMBROVSKI: My first attempt to settle in Los Angeles, from January 1992 through April 1992, was more a reconnaissance mission than anything else. About five years later, I arrived again in Los Angeles in February 1997, with the intention of staying, but I discovered it wasn't so easy for me to just drop everything I'd built up in DELAWARE. However, this time in 1997, I established a stronger foothold in Los Angeles, and I left myself an outpost there containing my music equipment and instruments, but I had to return again to my home country of DELAWARE, U.S.A. But before I returned to DELAWARE, I did some wheeling and dealing in Los Angeles with a consulting firm, then I returned to DELAWARE with that firm behind me and got myself a lucrative consulting contract there. I was able to work a few hours a day part-time, which gave me plenty of time for music, plus funds I was going to need to domicile in Los Angeles for good.
DOMBROVSKI: While I was consulting in Wilmington, DELAWARE, U.S.A., singer/songwriter/multi-instrumentalist Mario Padovani was the guy I hung out with discussing all things music, which also included the commercial realities of the music business. Musically speaking, one of the benefits of being in Wilmington, DELAWARE, is you're only a 30-minute-by-car drive away from Philadelphia, PENNSYLVANIA, U.S.A., a major music market, and you're only a two-and-a-half-hour-by-car drive away from New York City, NEW YORK, U.S.A., one of the world's major music capitals, New York City being sandwiched between Los Angeles, CALIFORNIA, U.S.A., and London, ENGLAND, two more music capitals of the world. With that in mind, Mario and I decided to attend a session given by THE SONGWRITERS GUILD OF AMERICA in New York City on April 9, 1997, with the hopes those capable of surviving in that ultra-competitive musical environment would enlighten the two of us as to how one goes from the musically defensive posture of simply justifying one's musical existence to the musically offensive [pun intended] posture of getting the music industry and audience demanding your musical wares. You know, the good thing about the sessions given by those making money in the music biz is you realize monetary success involves the mundane as well as the sublime. It's overlooking the mundane details of the market, relative to the sublimity of music, that trips folks up. The music is the orgasm. The mundane details are making sure there are no bugs in the bed and the sheets don't reek. I'm saying there's a practical side to music, too. The market is a cruel lover, and, although some abhor the fact, sometimes the market demands the sublimity of music be tempered with the practicalities of the market. That's what's exchanged when money's involved. You want money from the market, then the market wants accommodation to the practicalities of the market in exchange for that money--quid pro quo. If accommodating the practicalities of the market is not to your liking, then you get yourself a benefactor willing to give you musical carte blanche. More than likely, that benefactor is going to be yourself. That being said, at these sessions you learn practical approaches to hopefully generating more demand for your music, and you learn ways to help get your music to the marketplace. You also knock heads with other songwriters.
DOMBROVSKI: Again, Mario Padovani was the guy who made me aware of THE PHILADELPHIA SONGWRITERS ASSOCIATION (PSA). When we began attending, first in April 1997, the PSA was a brand-new organization. The two of us attended quite a few of those sessions. It was a much shorter trip from Wilmington, DELAWARE, U.S.A., to Philadelphia, PENNSYLVANIA, U.S.A., and Philadelphia's surrounding areas than from Wilmington, DELAWARE, to New York City, NEW YORK, U.S.A., which made attending the PSA sessions more convenient. Again, the thrust at those PSA songwriter sessions was making music marketable and learning the practicalities of getting said music to the market. Vincent James, who founded the PSA in 1997, is a good guy and a songwriter/musician himself. Vincent James was always at those sessions, and he brought in good people as guests to speak, among them entertainment attorney Simon Rosen. Again, after hearing about music from an entertainment attorney's perspective, you realize a lot of other factors outside artistic creation and expression themselves assert an influence upon music generating a cash flow. Call it ethical compromise, if you will, but it's good to be aware of those things if you want a shot at making a living as a musician. Most of the music I heard at those sessions ranked very high in terms of artistic craftsmanship, the obvious conclusion being most of the people at these sessions knew music; however, no one really understood the other practical necessities of effective distribution, promotion, and selling, which was probably the most likely reason why they were at those sessions in the first place, even if they didn't realize it. They wondered why they encountered massive indifference to their music despite the fact it sounded good. You also learned some of these peripheral crafts--distribution, promotion, selling--had their own terms of art, their own lingo, if you will. What I'm saying is, at those sessions you learned to confront the reality that no matter how great your recorded music sounded, you were not going to get decent distribution as an unknown with few or unverifiable record/CD sales, and that's a fact. You learned you had other people in the chain to keep happy other than just your music fans, and you learned why. Those sessions were the equivalent of vivisection, autopsy, and dissection of the music business where you confronted the squirmy innards of the biz. It was the stuff nobody wanted to look at.
DOMBROVSKI: I was consulting part-time during the day, so that gave me plenty of time for music. Most of my gear was in storage in Los Angeles, CALIFORNIA, U.S.A.; however, I had a keyboard in Wilmington, DELAWARE, U.S.A., and I would play that. The keyboard made it easy for me to improve and analyze what I was doing musically because everything was there at my fingertips--rhythm, melody, and harmony.
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Artist History ==> Web Page 19 of 26