Melinda Given Guttmann
Nine CD's Using
Psycho Acoustic Brainwave Music for Emotional Healing, Cognitive Growth,
and Creavtive Power
Whether you are making love, suffering from a panic
attack, or solving a difficult problem, Tom Kenyon's acoustical music
gives you a natural "high" which can enhance your pleasures
or resolve your fears.Twenty years ago, while searching for new music
by Kitaro, the celebrated Asian composer of the classic New Age recording,
Silk Road, I noticed a CD entitled Soma. Soma, described in the Hindu
Vedas as a potion created from mushrooms, was considered the first reference
to "god inducing" plants (entheogens) in recorded history. The
composer of Soma, Tom Kenyon, had been researching how to elicit euphoric
feelings in the brain produced by Alpha and Theta waves in his electronic
music, by opening neurological passages through the two hemispheres of
the brain. I found to my amazement, that unlike many New Age assumptions
which I considered foolish, or occult, like the power of wearing crystals,
channeling and astrological charts, the music had a profound effect on
me instantaneously in sensuous immediacy. The Ultimate Brain, produced
in 2006, explores the range and depth of Kenyon's experiments in the last
two decades as founder of the Acoustic Brain Research institute. By Melinda
for "Open the Gates" by Robert Cohen. See: "In Defense
of the Cantor in Judaism"
In Defense of the
Cantor in Judaism
When music by the famed theater composer Elizabeth Swados appeared on
Robert Cohen's new CD, "Open the Gates," we sent the anthology
off to Melinda Guttmann for a theater critic's eye view. Ms. Guttman,
whose latest book is "The Enigma of Anna O.," is a frequent
contributor on Jewish subjects to the NYTW. "Open the Gates"
threorizes that the key to the new American Jewish heart may be found
in American Jewish composers who are more more reflective of Woody Guthrie
or Judy Collins than the synagogue choirs of the 19th and early 20th centuries.
Guttmann disagrees, and avers that the most significant American addition
to Jewish spirituality is not found in popular music, but the voice of
the woman cantor. Here, she reviews three different CDs of modern sacred
Jewish music: "Open the Gates! New American-Jewish Music for Prayer,"
Robert Cohen Producer, 2002; "Sacred Chants of the Contemporary Synagogue,"
Cantor Rebecca Garfein, Bar Productions, 1998; and "Songs to the
Invisible God," Ruth Weider Magan, 2001, Sounds True.
Loney's Music Notes
and Music CD Roundup
For some months, review copies of music CD recordings have been piling
up on Glenn Loney's desk. So he's started to sort them out and make some
lists of the best.
|Audra McDonald stars in original
cast recording of Marie Christine.
CD Roundup at the OK Music Corral
Stacks of CDs of operas & musicals—old & new, orchestras,
instrumentalists, soloists, and cabaret artists have been piling up over
the summer and into the autumn. Here are listings of some of the more
outstanding—or unusual—recordings. By Glenn Loney
More CD and Video Reviews by Glenn
Twenty-five new releases including: Opera Fanatic on Video/Broadway
Masterworks Remastered/Call Jennifer Larmore Mister/Chanticleer's Guadalupe
Virgin Matins/Salzburg Festival Documents/Thomas Adès' Powder Her Face.
Literally hundreds of reviews
This collection of reviews is a major part of the cyberspace legacy of Bert Wechsler, who was editor of Music Journal for eight years, a music and dance critic for the New York Daily News and New York Concert Review, dance critic and associate editor for Attitude, video critic for video Review, music editor of High Performance Review, dance critic for Der Tanz der Dinge (Switzerland), recordings critic for High Fidelity, and a correspondent for the music magazine Rondo in Finland and newspapers in Norway (regular column) and Denmark as well as other free-lance activities. He was co-author of "Dear Rogue," the biography Lawrence Tibbett, published by Amadeus Press. He was also associate Editor of Computer Buyers' Guide. He was a member of the Music Critics Association, the Outer Critics Circle, The Bohemians, an honorary life member of the New York Mahlerites, and a founder of the Manhattan Festival Ballet and the Center for Contemporary Opera. Although officially retired from performing, he retained his membership in four theatrical unons. At the time of his death on November 30, 1997, he was critic-at-large for The New York Theatre Wire.
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