Mark Sullivan

About Mark Sullivan

Mark Sullivan was born in 1952 in Detroit. He began playing the guitar at age fourteen, and started writing songs almost immediately, in folk and rock styles. He got interested in jazz and classical music in college (the University of Michigan, Ann Arbor). He earned a BA in psychology and an MA in Library Science, also taking courses in music theory, musicology, and composition. His principal composition teacher was George Cacioppo (a former member of the avant-garde ONCE group), who he studied with for over two years privately.

While in Ann Arbor, Mark performed in a workshop orchestra under the direction of Karl Berger of the Creative Music Studio (1979), was a founding member of the Sinewave Sessions contemporary music series (1980), and between 1977 and 1986 gave numerous solo performances with electric guitar, electronics, and delay units, and led improvising groups that mainly played his compositions. He also was Music Consultant and accompanist for Dance Theatre Studio, and composed modern dance scores.

Since moving to Charlotte, North Carolina in 1986 Mark has joined an eclectic group called Cornerstone, which plays everything from country swing to free jazz -- the common thread is that nearly all their music is original, and there's lots of improvisation. Mark has also been a reviewer for OPTION magazine since its birth.

Mark's e-mail address is msulli2@ix.netcom.com.

Commentary on the Tunes

The Skronk (80 k) was written for Cornerstone; the title comes from a favorite adjective a local critic likes to use to describe our music. We're playing it with just the rhythm section (2 guitars, bass, drums, and percussion) so for variety I double the head at the 4th during the repeat. It has a swing feel throughout, with walking bass; the bars in 3/4 were notated that way to make the phrasing clear, not to imply a shift into waltz time.

Waltz For George (105 k) is dedicated to George Cacioppo, my former composition teacher. It's not really a waltz--more like a 6/8 feel--but then what would I do about the title?

Pharaoh's Key (125 k) was written under heavy Bitches Brew influence. Any two instruments can play the head in a pinch--I've often done it with guitar and sax--but ideally it should have a horn on each line.

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