Special Music Greeny, The Christmas Tree      Around 1971-72, Kiyo (Dabek’s partner at that time) had a friend named Sahra Nichols who had written a children’sstory about the trials and successes of a Christmas treenamed Greeny. Sahra’s goal was to bring the story to animation with narration and music, asked if he would be interested in writing music and doing a narrative workup of the script. Dabek wrote several songs for the project and worked in Fred Bennett’s studio along with Bob Klimes to produce a rendition of the manuscript with Bob as narrator, Fred as the voice of Greeny, and Dabek as various peripheral characters and performing the music written for it. That restored recording is included here. Another version of the story was done a bit later with Deborah Tomlinson (Dabek’s sister and an experienced actress doing the voice of Greeny as well as other characters) which has not survived through the last thirty years. Greeny, The Christmas Tree is a copyrighted work of Sahra Nichols. Music for “The Clouds”      After relocating in Traverse City after two years in Seattle,Dabek was contacted by Deborah Tomlinson (who was then a drama professor at State University of New York, Plattsburg Campus) and asked if he would be willing to participate in a project and write some music for an upcoming production of an  original translation by William Arrowsmith of Aristophanes’ “The Clouds”. Deborah was directing and producing this first performance of the new translation. The result was a collection of scene music performed on piano, to which the various actors would either dance or move in concert with for added dramatic effect and atmosphere.  Interestingly, one of the actors in Deborah’s class, and a principal  character in the production was Tim Robbins, later to become one of the remarkable creative talents in the world of film. These compositions have been restored and edited from old tape copies of the music as performed and recorded at the audio facilities at the Plattsburg Campus and are the only known extant copies of these works. Barely Successful Synthesizer Experiments      In 1978, after relocating again to Seattle, Dabek became enthralled by the remarkable possibilities of electronic and synthesizer based composition and recording. First came the Crumar Orchestrator and a beatbox of unknown manufacture, followed by his first real synthesizer, the Arp Odyssey.  Armed with his Arp, a collection of various other sound generation devices from that era and reels of tape for his Teac 40-4, Dabek delved into the world of electronic music with the purpose of expanding and enhancing his musical horizons.  Some of these surviving experiments are included here.