Complete Recordings

Shrine

Scott Detweiler

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2019 (Detweiler Records)

Shrine is about prayer and the most beautiful thing ever created.

Instrumental. All sounds by Scott Detweiler. Composed and produced by Scott Detweiler. © 2001, 2019 Detweiler Music, ASCAP. All Rights Reserved. International Copyright Secured.

Shrine is an instrumental composition inspired by prayer. Actually, prayer attempt. Detweiler explains…..

“When I say, ‘I pray’, or I tell people, ‘oh, I heard your dad is sick….I’ll pray for him…’, or, ‘I’ll pray that you get that job…’, etc, it really means that I will try to pray. Because whenever I start to pray, my mind starts racing…going on tangents that have nothing to do with prayer or even what I had originally set out to do when I decided to ‘pray’. Thoughts about work, or my dog, or my schedule, or my family, new music or whatever, fly through my mind and distract me from the actual prayer. I used to think that this phenomenon would end someday or that I would master my own mind to the point that I would be able to lock into prayer mode and lock everything else out. But at this stage of my life I am resigned to the fact that this is something I may have to live with. I am not giving up hope. Perhaps it is a dream. “

“Often times when I pray I am able to cut through the madness of distracting thoughts, zeroing in on a dialogue with God. And when I do it is glorious. It makes the whole idea of prayer a worthwhile and important endeavor to me. It is through the exercise that I get to spend time alone, time to myself…time on myself. This time alone gives me valuable introspection about where I have been, where I am now and where I want to go….”

Shrine is Detweiler’s musical interpretation of the endeavor of prayer. The chromaticism infused groove sets a hectic pace from the beginning. This represents the effort it sometimes takes to actually get to the act of praying. And then, of course, the fervor continues as random thoughts and ideas start racing in and out of the mind, distracting the campaign.

The trumpet solo (1:18) represents the voice of God. It is the breakthrough, or as Detweiler explained above, “….(the) cut through the madness…”. It is when the focus of the mind delivers the intended connection to the maker. The muted horn sound gives the tone restraint without being overbearing, depicting a gentle tone of the voice of the Lord. The space between the notes of the solo indicate wisdom, much like the cadence and pace of the words spoken by an older person when in contemplative mode.

The piece then goes out as it comes in: wild and feverish as the distracting, non-prayer related thoughts race back through the mind…until the next breakthrough, when the voice of the Lord might be again heard.

ABOUT THE COVER

Detweiler has always designed his own cover art for his albums and singles. It is a true extension of his music that is reflected visually. During the course of his over 30 (thirty) years in this practice, the single, “Shrine”, proved to be one of his more challenging. Detweiler explains, “I really struggled with trying to represent the effort of prayer (described above) in one frame for the cover of ‘Shrine’. I did several covers but I couldn’t come up with anything that worked. So then I thought I would just put a picture of an impressive place of worship….mosque, temple or church….but that seemed to be stale, too, because it would not tell a story. I needed a story in one frame”.

What he would ultimately settle on is what the cover of ‘Shrine’ ultimately became: the female torso.

“I did end up deciding to use a picture of the female torso, from the belly of the breasts to the middle of the hips. This is because after thinking about it for a long time, about the word ‘Shrine’ and about its definition, I realized that the female torso is one of the most powerful things ever created. It is the center of life and lust all rolled into one. I thought of the wars fought over it, its role in the doctrine of much of organized religion and that it ultimately produced all of the people who have shaped the history of civilization”, says Detweiler. “…and of course, it is one of the most beautiful things ever created”.

This is Detweiler’s, “Shrine”. From his Detweiler Records 2004, all instrumental album, “Slumber Tongue”, digitally released for the first time.

All sounds by Scott Detweiler. Composed, engineered and produced by SD.

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Black Girls

Scott Detweiler

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2019 (Detweiler Records)

Black Girls is 3 (three) girls walking to the corner store after school to by chips and fruit-flavored soda. Then they walk home laughing.

Instrumental. All sounds by Scott Detweiler. Composed and produced by Scott Detweiler. ©2001, 2019 Detweiler Music, ASCAP. All Rights Reserved. International Copyright Secured.

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St. John Bayou

Scott Detweiler

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2019 (Detweiler Records)

St. John Bayou is the story of a man lost in New Orleans during a hurricane and then rescued by a snake-dancin woman on Bayou St. John.

All lyrics and sounds by Scott Detweiler. Composed and produced by Scott Detweiler. ©1989, 2004, 2019 Detweiler Music, ASCAP. All Rights Reserved. International Copyright Secured.

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Be Gentle

Scott Detweiler

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2019 (Detweiler Records)

Be Gentle is a man's plea to a beautiful woman from a man who has had his heart broken many times.

All music, lyrics and sounds by Scott Detweiler. Produced by Scott Detweiler. ©2007, 2019 Detweiler Music, ASCAP. All Rights Reserved. International Copyright Secured.

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Between Lake and River

Scott Detweiler

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2018 and 2003 (Detweiler Records)

2018 marks the 300th anniversary of the founding of the City of New Orleans and the 15th anniversary of the recording and release of "Between Lake and River". This epic studio album is Detweiler's haunting tribute to his hometown of New Orleans.

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Magnificat In Blue

Scott Detweiler

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2017 (Detweiler Records)

Magnificat In Blue” is Detweiler's musical/lyrical interpretation of The Annunciation and visitation of Mary and Elizabeth. It is an oratorio in one act, based on the Gospel of Luke. The premiere performance was on May 13, 2017 at Our Lady of Grace Catholic Church in Encino, California, where SD is a member of the music ministry. It was performed by Mr. Detweiler (on guitar and vocals) and Bill Johnston (on soprano saxophone and clarinet).

“I first set the actual words from the Magnificat (Luke 1:46 – 55) to music. Then I built the piece around it with original lyrics”, explains Detweiler. Wikipedia lists the names of over 200 (two hundred) composers who have composed works based on The Magnificat, including Bach, Mozart, Tchaikovsky, and Rachmaninoff. Detweiler adds his name to the list with a score and libretto he hopes will touch and inspire listeners of all ages and of all faiths.

One of the unique aspects of the work, in addition to one person singing the parts of all four characters (Elizabeth, Zechariah, Gabriel and Mary) is that the lyrics tell the story from the perspective of Elizabeth. At the time Mary announces to Elizabeth that Elizabeth will bear a son named John, Elizabeth is beyond her child-bearing years. “My wife Elsa and I have very close friends who had great difficulty having children”, Detweiler says, “and I drew from the experience in supporting them through their struggle that helped me to write the lyrics from her perspective”.

The piece opens with the powerful acapella start to the song , “Change”, sung by Elizabeth (please listen to it at the top of this page). She explains her own change, from being a young bride with the hope of bearing a child for her husband, Zechariah, to the disappointment in her later years, as a childless woman. (History tells us that in this ancient culture, childless couples bore a stigma and were ostracized by those who had children). By the end of the oratorio, after Elizabeth receives the message from Mary and actually feels the kick of her infant son in her womb, she is transformed. Once again she experiences yet another change when she realizes that she has not been forsaken by God. She feels beautiful, valuable and relevant. “Magnificat In Blue”, is a story of hope and faith.
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Funkisimo

Scott Detweiler N.O. Jazz Funksemble

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2013 (Detweiler Records)

FUNKISIMO is one of 3 (three) albums released simultaneously in 2013. Performed by Detweiler’s New Orleans Jazz Funksemble, featuring Ed Cogan on piano/keyboards, Bill Johnston on saxes, Dale Jennings on bass and Albert Trepagnier on drums, it provides a candid glimpse of Detweiler’s raw and spontaneous performance style, as captured by a single microphone. There no overdubs or retakes, FUNKISIMO is Detweiler live, unrehearsed and in the truest and purest artistic form of music possible.

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Ghoses

Scott Detweiler

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2013 (Detweiler Records)

GHOSES is one of 3 (three) albums released simultaneously in 2013. Performed by Detweiler’s New Orleans Jazz Funksemble, featuring Ed Cogan on piano/keyboards, Bill Johnston on saxes, Dale Jennings on bass and Albert Trepagnier on drums, it provides a candid glimpse of Detweiler’s raw and spontaneous performance style, as captured by a single microphone. There no overdubs or retakes, GHOSES is Detweiler live, unrehearsed and in the truest and purest artistic form of music possible.

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Johnston Solo Sessions

Scott Detweiler

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2013 (Detweiler Records)

Johnston Solo Sessions is an intimate collection of songs performed solo by Detweiler (acoustic guitar and vocals) in one take. It was recorded at Addison Studios in North Hollywood, California. PRODUCED BY BILL JOHNSTON

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Lady of Lima

Scott Detweiler

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2013 (Detweiler Records)

Lady of Lima is an instrumental collection of pieces composed by Scott Detweiler. "The Sun Will Rise", composed for string quartet and alto saxophone, was inspired by the Hurricane Katrina disaster that struck New Orleans in 2005. Each of the four movements tells a chapter in Detweiler's story about the incident. Although he was not living in the Crescent City at the time of the tragedy, it affected him because of the devastation suffered by most of his family, including his siblings and their families, his parents, aunts, uncles and cousins and hundreds of childhood friends and neighbors. The first movement, "Glisten" is his musical interpretation of the glisten of lights on the flood waters. The water was still, the air was silent and since there was no electricity, the only lights available shine off of the water were the headlights of emergency vehicles or flashlights from the boats of emergency rescue teams. The second movement, "Dixie", is how New Orleans should sound (at least to the ears of the composer). The third movement, "Dirge", is a memorial penned to honor those who suffered the ultimate sacrifice at the hands of the storm. (Detweiler was on stage to conduct the premiere of "The Sun Will Rise" and could hear the audience sniffling and crying during the performance of "Dirge". It is considered to be one of his most moving compositions). The fourth and final movement, "Cigar", is Detweiler's musical portrait of a big man driving a big car through the dry streets of Post-Katrina New Orleans, smoking a big cigar. Because of the looting, fires, flood damage and the closed roads going into the city, goods like cigars were scarce until months after the disaster. The cigar is a symbol of prosperity and hope.

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