New York native guittarist Marc Shulman is the son of the cellist Alan Shulman who influenced him to follow the musician career. He began playing professionally while attending high school in Wetchester County just north of New York City. His eclectic concert experience includes stints with rhythm and blues singer Billy Vera, soul artist Martha Reeves, folk singer Odetta, bluesman Big Jay McNeeley, and songwriter Charles Telerant.

Marc Shulman has been performing with the Bacon Brothers, Chris Botti, Shawn Colvin, Cliff Eberhardt, Martha Reeves, Junior Wells, Billy Vera and Jewel, and as session musician is credited in albums by, among others, Will Ackerman, Marc Anthony, The Bee Gees, Celine Dion, Derrik Jordan, Lucy Kaplansky, Jennifer Kimball, Patty Larkin, David McGrath, October Project, Bob Telson and Vanessa Williams.

He was a member of the house band on Richard Belzer's Lifetime Cable Show, Hot Properties, on which he performed with B.B. King, Charlie Pride, Bo Diddley and Rodney Crowell, and played on the soundtracks to the films, "Philadelphia", "Pokemon" and "Wendigo".

Marc Shulman replaced Jon Gordon in the Suzanne Vega band in late 1986. He was part of the band that recorded "Solitude Standing" (1987), being credited in some songs, and doing the subsequent world tour.

Marc Shulman participated in the recording of "Days of Open Hand" (1990) and "99.9°F" (1992) taking part in all tours until the end of 1993.

How did it happen that you joined the Suzanne Vega band?

In the fall of 1986 I was aware of Suzanne but I had not yet heard her music. A colleague of mine, the fine New York bass player and producer Tony Conniff recommended me to Suzanne's producer Steve Addabo.

I auditioned three times - The first time, just for Steve. The second time meeting Suzanne and the band and playing through some songs. We always hope for a callback, and when they asked me to come up with some parts for her (as yet unrecorded) song "Luka" I knew I had a chance. I went home, wrote some parts, put them down on a cassette, and then went back for a third and final audition to play the song. I've often felt that the only place I play worse than in an audition setting is trying out instruments in a music store... In case the audition was tense I gave Suzanne the cassette that I'd made at home.

A few days later Steve called me up and invited me to join the band.

(A footnote: Suzanne had in fact recorded a very nice early version of "Luka" earlier in the year. My predecessor Jon Gordon had composed and played his classic beautiful chiming solo that is now such a signature part of the tune. They of course brought Jon in to play it for the final record.)

What, according to you, did your way of playing bring to the live performance of Suzanne's songs?

Whenever I am playing, I am giving 100% - I play with urgency, passion and electricity. When I joined the band I learned Jon Gordon's parts nearly verbatim from Suzanne's brilliant debut record. In my opinion it was his spare clean architecture that gave that record its sound. I had good parts to play! My own roots are in Rhythm & Blues and Chicago Blues so this no doubt informed the way I played her music.

What instruments did you play live in the Suzanne Vega band?? When I auditioned for Suzanne I played my 1964 Epiphone Crestwood Deluxe guitar. I'd played this guitar for 19 years. When they invited me to join the band they said, "Welcome aboard, gotta get a new guitar!" They wanted a "Fender" sound as Jon had played a Fender. Suzanne's manager loaned me the money to get a new guitar: A custom made "Strat" style guitar by Pensa-Suhr. Live with Suzanne I played this electric guitar and a Guild thinbody acoustic/electric 12 string guitar for "The Queen And The Soldier." A few years later, we had a brief "unplugged" segment in the concert in which I played my modified Martin Tiple, a small 10 string instrument tuned a fourth higher than the guitar.

What are the characteristics of Suzanne's music that attract you the most, both as a musician and as a listener?

I have always loved Suzanne's singing. Somehow she struck me as the "Astrud Gilberto of Folk music." There is a purity there that makes the delivery of her intelligent lyrics particularily compelling. That there is so much space in the music allows us to focus on her singing and the song. She's also got a unique and distinctive approach as a guitarist.

What are your main music influences, and musicians you look up to?

Chamber music around the house when I was growing up; The Paul Butterfield Blues Band, Stevie Wonder, Donald Fagen & Walter Becker, The Beatles, Joni Mitchell, The Miles Davis Quintet, Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams.

Apart from playing with Suzanne, which are the other projects, you have been participating in, that you're more proud of?

There are so many!... But a few high points:

I have had a longtime musical association with the composer Bob Telson who wrote the score for the movie "Bagdad Cafe"with it's wonderful song "Calling You" - Playing his music is always challenging and enriching. His album "Calling You"is mostly a ballet commissioned by Twyla Tharpe. A very cool record.
Singer/songwriter Jennifer Kimball (formerly of The Story) and her album "Veering From The Wave"
Singer/songwriter Patty Larkin and her albums "Perishable Fruit", "Regrooving The Dream" and "Red = Luck"
Singer/songwriter, composer, arranger Rob Mathes and his amazing album "Evening Train" (and check out Billy Masters on this!! Impeccable taste).
J.D. Dallam (aka J.D. Duvall) and his CD "Blood Red Moon".
... And finally a new artist called Anna Dagmar who is brilliant! Keep an ear out for her music.