Born October 29, 1951, Cleveland, Ohio. At five years, writes his first song: "Archelon, the Giant Turtle", dedicated to a Mesozoic sea beast, in a style reminescent of Bizet. The house is always full of big band music and show tunes. After a move to Minnesota: choirs, trombone, jazz, high school rock bands. After hearing Rahsan Roland Kirk he takes up the flute.

On his way to a expected career in clinical psychology, Marriott walks out during a life affirming display of flatworm splicing in neurophysiology class. After returning to his room, he puts on a recording (Boulez's) of "Le Sacre" and his life is changed forever. Studies with Paul Fetler, Domenick Argento and Erik Stokes and plays free jazz all over Minneapolis with "Blue Freedom's New Art Transformation". Moving to California studies with Pauline Oliveras at UCSD, learns North Indian raga at the feet of Ali Akbar Khan and shakuhachi with Masayuki Koga.

With the birth of his first child, Jacques in 1980, he enrolls in a program teaching electronic technolgy, thinking he'd land a job at HP (or something). But fate lead him instead to Serge Modular, a synthesizer company on Haight St in San Francisco. With a bit of prodding by Serge Tchrepnin and Robin Whittle, he develops a way to drive a Casio keyboard with the control voltages of his Serge system. The Voltage Controlled Casio was sold to The Residents (they bought 3!) Throbbing Gristle, Tuxedo Moon, Don Preston, John Adams and many others. It was (and still is) capable of an astonishing range of timbre!

Began living above the Club Foot, a performance art nightclub. During this time, joined Snakefinger's Band and formed Club Foot Orchestra. During Snakefinger's Europe tour in 1983 (38 cities) played trombone, tenor sax and trumpet. Returning to San Francisco, he writes some of the most unlikely "club" music ever. Almost totally instrumental, it juxtaposes atonal funk, Rota-esque waltzes and Red Army choruses with virtuosic canons in 11/8 time. More about this on the Club Foot Orchestra site.

In part due to an odd alignment of television viewing, he decides to score The Cabinet of Dr Caligari for the ten piece Club Foot Orchestra. The shadows of the film became the notation for a sequence of dissonant chords. The sweet meets the horrific. The premiere at the 1987 Mill Valley Film Festival was successful, but nothing like the public feeding frenzy which accompanied a week of shows at SF's Roxie Cinema, followed by well-attended shows in Berkeley, Palo Alto and LA. Rave reviews

Club Foot Orchestra performed Marriott's score for Nosferatu to great acclaim and crowds at the Castro Theater in San Francisco. The ten-piece ensemble went on tours to Southern California, the Pacific Northwest, the Northeast and to the New Music America Festival in New York. Nosferatu featured some additional music composed by Gino Robair. Even more "collaborative" composing occured in the scoring of Metropolis, with Miles Boisen, Beth Custer, Sheldon Brown, Steve Kirk, Nik Phelps