Harmony, Serenity,
and Wellbeing
Sound Artistry and Breathwork
by Scott Buck
Discover my wellbeing practices where every breath and every sound is a step towards holistic harmony and serenity.
Harmony and Serenity
Vibrational Sound Therapy and Breathwork
________________________________
I guide individuals and groups using gentle, deep, heart-centered, non-cathartic breathwork, vibrational sound therapy, and movement to cultivate an easeful and relaxed sense of well-being.
Each session offers an opportunity for participants to tap into their inner balance and clarity by integrating the power of the breath, vibrations of gongs, singing bowls, drums, and stringed instruments.
I exclusively utilize live music and original compositions from my extensive personal catalog of recordings. Grounded in ancient traditions and inspired by future possibilities, my intention is to create a space of peaceful awareness, alignment, and restoration.
Certifications
_____________________________________
- Vibrational Sound Association certified Sound Therapist.
- Gong Master. Reiki attuned.
- Biofield tuning practitioner.
- Breathwork certified and qualified through Breathmasters 9D and Clarity Breathwork.
- Certified tantra facilitator at Tribal Tantra.
- Mesa Carrier and ceremonialist in the Pachakuti Mesa Shamanic Arts tradition.
- Yoga, pranayama, kirtan, nada yoga and meditation training from Shree Swami Satchidanada Saraswati.
- OSHO Sannyas initiation 1977, with residency at the OSHO meditation community in Poone, India and the mountain retreat in the hills outside of Kathmandu, Nepal.
- Graduate of Residential drumming program at Dagbe Cultural Institute, Kopeyia, Ghana.
My Story
I am a lifelong musician who grew up in a musical family, often sitting beside my grandfather on his piano bench while he played songs from the 1920s, ’30s, and ’40s.
As a little boy in the 1950s, my mother would take me to Washington Square Park on Sundays to listen to jug bands and groups of folk singers. My father was a wonderful singer who loved to perform, and his brother was a keyboardist and harmonica player.
Growing up in this environment, I always associated music with community, love, and joy. In all of my musical endeavors, I strive to recreate the warmth, connection, and sense of community I experienced as a child.
As a child of the 1960s, I was deeply immersed in the hippie era — the Fillmore East, the Grateful Dead, Jimi Hendrix, and the psychedelic explorations into non ordinary states of consciousness inspired by Timothy Leary and Richard Alpert.
Starting in my early teens, I played in numerous neighborhood bands, as many young musicians do, but I developed a deep curiosity for world music. I would spend countless hours in my parents’ basement, listening endlessly to the great Nonesuch Explorer Series recordings, released by Nonesuch Records beginning in 1967 and dedicated to showcasing traditional and indigenous music from around the world.
I continued playing guitar in swing and jump blues bands well into my 50s and led a band that performed regularly at Lucille’s, in the B.B. King’s Supper Club on 42nd Street near Times Square in New York City. That band had the honor of playing in the lounge room for legends like Johnny Winter, Buddy Guy, The Blues Brothers, and others.
After graduating from high school, I attended the School of Visual Arts in New York City as a visual arts student, but I later shifted my focus to study electronic music composition with Elias Tenenbaum at the Manhattan School of Music. My primary compositional interest at the time was the slow evolution of sustained tonalities.
Mr. Tenenbaum suggested that some of my musical interests might be better served under the tutelage of the great 20th-century composer John Cage. I was honored to have private mentorship with Mr. Cage, visiting him at his home on Bank Street in New York City. He would review my scores, offer feedback and suggestions, and I would return with updates and revisions.
It was during this period that I became deeply interested in the music of David Tudor, the dance works of Merce Cunningham, and, in particular, Tudor’s innovative prepared piano techniques.
I had first been introduced to the autoharp in the mid-1960s through the music of John Sebastian and The Lovin’ Spoonful, who often played and hung out on Bleecker Street. I purchased an autoharp at The Music Inn on West 4th Street but soon discovered that playing it traditionally didn’t suit me.
When I encountered David Tudor’s prepared piano, I was inspired to deconstruct my autoharp and play it as a zither. I experimented with inserting paper clips, resonators, sheets of paper, plastic toys, and other objects into its strings, much as Tudor had done with his piano.
The Beatles had introduced us all to Transcendental Meditation and the great Indian artists like Ali Akbar Khan and Ravi Shankar, whom I was fortunate to see live at Lincoln Center. Yet it was John Cage who introduced me to the Bhagavad Gita and the philosophy of Vedanta.
I was then blessed to begin a personal relationship with Sri Swami Satchidananda, from whom I received personal instruction in the science of breath (pranayama), the Raja yoga principles of Patanjali, and hatha yoga.
During this period, I also became familiar with the music of Alice Coltrane, known in our community as Turiyasangitananda. Her sweeping, cosmic harp compositions influenced me tremendously, inspiring me to explore my autoharps more deeply as spiritual instruments. I began electrifying them and using them in sound baths, creating sonic tapestries and soundscapes.
I also purchased a gong around 1970 from Jerry at The Music Inn—who would later serve as my wedding witness.
Greenwich Village was alive with music. The minute I turned eighteen, I began frequenting the iconic Village Vanguard, where, in 1969-70, I heard the great Pharoah Sanders perform the mind-blowing and transformative “The Creator Has a Master Plan.” That performance changed my life forever.
I was blessed to see Pharoah there many times, as well as other jazz luminaries like Rahsaan Roland Kirk. Pharoah was a light showing me the path, alongside Rahsaan. I would sit ten feet away—sometimes six—in awe, staring upward as Pharoah poured out sheets of impossible sound and magical incantations, opening star gates to unimaginable realms of cosmic consciousness and existential revelation.
The sheer joy and force — the Afrocentric motherlode of earth and sky.
Weaving through the cramped aisles amidst tiny tables in the near darkness of the Village Vanguard, beneath that low basement ceiling, shards of sacred sound ricocheted through the room, baptizing me in the ancestral waters of the church of vibration. The sanctified church.
Every time I raise a whistle, a flute, a chain of bells, the drum, the rattle — I go back there. Night after holy night, the spirit visited that basement and transformed me forever.
In the early 1970s, I moved to San Miguel de Allende in Mexico, where I performed my first gong immersions at the Transcendental Meditation center around 1972-73. It was also there that I began working with shamanic practitioners who introduced me to sacred plant medicines such as peyote and psilocybin.
In the mid-1970s, I lived in Colorado, participating in the Satchidananda community in Boulder and Denver, and later became a resident at the city ashram in New York City. There, I deepened my kirtan repertoire and facilitated many sound immersion sessions.
Around this time, I discovered The Mysticism of Sound and Music by the great Islamic Sufi mystic Hazrat Inayat Khan, a book that had a profound and lasting influence on me.
My 13th Street Kirtan Circle was recorded during this period and remains available today on all music streaming platforms. The experience of deeply studying kirtan reshaped my understanding of musical organization.
Toward the late 1970s, I took initiation with Bhagwan Shree Rajneesh (later known as Osho) and became immersed in his active meditation techniques, participating in live performances of these practices at the Fifth Avenue center in New York City.
In the years that followed, I synthesized influences from modern music, electronics, jazz, world music, classical kirtan, and Osho’s dynamic meditation techniques.
I formed a band that still maintains a cult following today. We released the album Dance Free under the name Cloud Dance, a vinyl record still sought after by collectors more than 45 years later and beloved internationally.
During the 1980s and 1990s, while living in New York City, I worked with international musicians from the Caribbean, Africa, India, and Brazil, creating numerous recordings, including projects featuring a wonderful five-piece horn section.
Throughout the 1970s and my time in the Osho community, I also delved deeply into the study of the Tantra Sutras, spending years exploring commentaries, practices, and meditations.
I particularly enjoy leading groups and individuals in simple sound meditations inspired by the Vijnana Bhairava Tantra. One of my favorites is a single-gong meditation centered on mindful presence.
My passion for sound, music, and culture has taken me around the globe. I have traveled the world for fifty years—from Southeast Asia to southeast USA. From the Peruvian Andes to the Tibetan Himalayas, from the deserts of Egypt and Morocco to the rainforests of Costa Rica and Brazil.
Today, I continue to serve as a ceremonialist and composer, releasing original music and recordings that celebrate worldwide multiculturalism, available on Spotify, iTunes, Amazon, and all streaming platforms.
Offerings
Sound Bath,
Gong immersion,
Biofield with tuning forks, Vibrational Sound Therapy
using Tibetan bowls on the body
____________
All sound is birthed from silence. All sound returns to silence. My intention is to hold a space where we remember our silence.
I utilize vibration and rhythm to support a remembering of our timeless stillness. Emerging from the field of timeless stillness, sound invites us into silence and silence becomes sanctuary.
I offer in person and online individual and group sessions that allow you to immerse yourself in soothing vibrations that promote relaxation and rejuvenation.
Whether you're looking for a 1:1 or a group experience, my sessions are designed to nurture your mind, body, and spirit. Join me and discover the healing potential of sound.
Breathwork
____________
Breathing is happening. We are being breathed by the cosmos. I work with a gentle connected circular breath. It is a surrendered practice of breathing, a simple breath, not forcing or pushing anything. Not trying to get rid of anything. Not trying to throw off anything. We are embracing everything and allowing it to transform.
The body is not separate from the field. It never was isolated. It is a node of thread in a vast living weave. A shape carved from the field, expressing the whole in one specific form. We allow this shape to return to flow. It is the field rebalancing itself through you. You are not doing this alone.
I offer two distinct Breathwork experiences, in person or remotely. One is a group or personal sound session where participants hear the sound through a speaker system. The other is a unique experience in which each participant wears personal headphones. This headphone experience is ideal for groups of up to thirty participants and works exceptionally well in a wide range of settings—from corporate offices to home parties or individual sessions.
Ceremonialist
____________
Ceremony and ritual are interwoven throughout all of my practices and offerings.
The power of ceremony and ritual are shared by societies the world over as a vehicle of personal transformation and social connection.
In my work in performance and “mind-body-spirit” therapy I intuitively and spontaneously weave together the many traditions that have touched me throughout my journeys through life and the world.
Movement & Dance
____________
For the last 14 years I have been deeply involved in studying and dancing Gabrielle Roth's 5Rhythms, a shamanic movement practice and philosophy.
I have been fortunate to “dance the Rhythms” in North and South America, Europe, Iceland and Thailand.
Gabrielle is a powerful shamanic alchemist and one of the most influential teachers in my life. Her work has inspired and influenced me deeply.
My recording "Elements in Motion" has drawn inspiration from her body of work.
Musical Work & Collaborations
____________
I create music to move to, meditate or simply listen to by blending the sounds of harps, bells, gongs, string instruments, and percussions with innovative electronic treatments.
I love working and co-creating with people who share a heart-to-heart resonance and a common artistic and spiritual vision.
Whether it be sound baths, kirtan, performance art, or soundscapes that serve as a backdrop for dance or theater, it is one of the great joys of my life.
Pictures
Videos
CLICK image to view videos.
Book Online
Contact for Pricing
Contact for pricing
Contact for Pricing
Contact for Pricing
