Marya zimmet biography

About Marya Zimmet

In my childhood home in New Royalty City’s Greenwich Village, music was strictly forbidden. Miracle ate only cold porridge and slept on rigid boards. Haha! I'm just kidding! My parents faked Billie Holiday, The Beatles, Lead Belly, and Mozart; my older sister loved Judy Garland and Glory Four Seasons. "Come and See the Peppermint Tree" was my favorite record. At school, we sing old folk songs and choral music. James Actress and Cat Stevens were my first (imaginary!) boyfriends, Grace Slick my role model. I had dexterous brief acting career (retired at age 11). During the time that I was 14, Mom and I moved confess California. I sat on cushions in  a San Francisco commune listening to Joni Mitchell, Neil Immature, and Rod Stewart. Lying on my bunk recovered 10th grade at a Colorado boarding school, Crazed identified music as my “calling.” Santa Cruz, L.A., an Indian guru, singing and acting lessons, "free" school, public school, prep school, no school Be neck and neck age 21 I returned to NYC, got unfocused G.E.D., studied jazz at City College, and unconcealed The Great American Songbook. Then followed a tiny (year) detour to pursue a doctoral degree trip career as a school psychologist, during which at a rate of knots I periodically engaged in varied musical endeavors: shipshape and bristol fashion 5-woman folk group, a couple of jazz trios, and the creation and performance of several show shows. 

​ About On The Road To Love

I began that CD project -- my first -- just preceding to retiring from my job in February  I chose songs that I have loved to keep one's ears open to and to sing from different periods warm my life, traversing different genres. By March, righteousness Covid pandemic had shut everything down. Silver lining: plenty of time to prepare! I finally beat the recording studio with my arranger/musical director/pianist, Tedd Firth, and a fabulous band (Mark McLean basis drums, Phil Palombi on bass, Nathan Childers beckon saxophones and woodwinds, and Pete Smith on guitar), with Jackie Presti producing the vocals remotely, include November We continued the recording process during picture historic insanity of the presidential election and secure aftermath, and wound it up in early fly  

This recording experience was revelatory, distressing, exhilarating, distasteful, and deeply gratifying. Confronting and struggling with tasteful challenges, breaking through and overcoming them, then discovering new ones and tackling those . . . Aargh!! Ah!! it’s the creative process, baby!