Review: Marya Zimmet's Passion Shines Through at Don't Tella Mama

Marya Zimmet’s Zimmet Time… And The Livin’s Too Easy at Don’t Tell Mama is a dose of classic cabaret. She draws on old standards as well as soft rock, and then mixes in a couple left field musical choices, making for an engaging experience.

The show opens with "On The Street Where You Live," anchored around a walking bass. Zimmet’s classy delivery establishes the atmosphere early - exactly what one wants out of the first song in a cabaret show. "I Love to Sing," a proper standard made famous by Cab Calloway, is a particularly jazzy number. It was chosen by Zimmet to symbolize her unretirement. She explains that what led to the choice was her desire to follow other pursuits, from traveling to dating. Unfortunately, she made that decision in February of 2020, and thus was unable to pursue much of anything due to lockdown. Fortunately for us, Zimmet came out of the experience with a renewed desire to perform - as the song says, she loves to sing. Bassist Steve Doyle takes a strong solo partway through, and then the show quickly shifts into the next number, "Into White," from Cat Stevens. The band gets a real chance to shine here - drummer Eric Halvorson lays down a fun groove to back up a fast solo from pianist Tedd Firth, who darts up and down the keys to applause. Zimmet mixes her understated belting in with the overall emotive delivery, making the number is a real highlight. Both tracks ("I Love to Sing" and "Into White") were recorded for her CD, On The Road to Love (available for purchase at her website). Another standard chosen for the show is the iconic Gershwin tune "A Foggy Day," introduced with a humorous anecdote about a close encounter with an angry cow in rural England. Her rendition plays it straightforward - she adapts it for her vocal range, but maintains the casual refinement of Fred Astaire’s original. It’s a classic for a reason, after all - no need to fix what isn’t broken.

"You’d Be So Nice to Come Home To," a romantic number from Cole Porter, is arranged in a unique fashion - bass serves as the only instrument accompanying Zimmet’s vocals. Bassist Steve Doyle takes an impressive solo, utilizing a fingering technique that’s a delight both to hear and to watch. The arrangement enhances the intimacy of the number by leaving Zimmet free to take up the space that removing the piano creates, keeping her voice controlled and showcasing a softer delivery as she sings of a cozy romance and quiet yet intense desire.

Perhaps the show’s boldest choice is the inclusion of a cabaret version of "If I Were a Rich Man" (from Fiddler on the Roof). Zimmet’s rendition sees her find the similarity between herself and Tevye, the fictional dairy farmer from a Russian shtetl, saying that they both dream big. Going from the initial dirge-like section to a more upbeat middle and ending in a march-esque moment, it’s musically recognizable to the original, but manages to be a fresh take on such a recognizable tune. Tevye’s iconic lament might not have been written for a jazz trio in a bar, but Zimmet sticks the landing and makes it a memorable moment.

"Little Bird" sees Zimmet tap into her upper range. The song, taken from the solo work of Annie Lennox (of Eurythmics fame), describes the singer’s feelings towards a bird, of longing for that kind of freedom. It’s a poignant little number. It’s also from 1992, making it the second most recently-written song in the tracklist. The most recent is "I Wake Up Smiling," a 2020 number from Val Hawk, Zimmet’s contemporary in the NYC jazz scene. It’s a classy tune, and finds a good home in the hands of a performer like Zimmet.

Zimmet is clearly someone with an abiding love of cabaret as an art form, and her passion really shines through, as does her ability to draw up a setlist. Things connect together nicely, providing an engaging experience.

---

Learn more about Marya Zimmet at maryazimmetmusic.com.

Find more upcoming shows at Don't Tell Mama on their website.

To post a comment, you must register and login.