| a_s2044_02_tape18 | Glenn Lee interview for the Sacred Steel Guitar Recording Project | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Musical groups
Churches
Religion
Christianity
Protestants
Interviews
Life histories
Personal experience narratives
Oral histories
Oral history
Bands (Music)
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Glenn Lee interview for the Sacred Steel Guitar Recording Project
- Date
- 1994-03-07
- Description
- Three audio cassette recordings. Interview with steel guitarist Glenn Lee at his Perrine residence. He discussed his family (including uncles, steel guitarists Willie Blue and M.J. Harrison), learning steel guitar, Keith and Jewel Dominion churches, steel guitarists Henry Nelson, Darrel Blue, & Aubrey Ghent, influence of country music (Willie Nelson, Hank Williams, Dolly Parton), playing Spanish guitar, fiddle, & banjo, his education, steel guitar tunings and playing styles, various people he has trained, playing the National Assembly in Nashville, and the lack of female sacred steel guitarists. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape12 | Aubrey Ghent and Henry Nelson interview for the Sacred Steel Guitar Recording Project | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Personal experience narratives
Interviews
Oral histories
Life histories
Oral history
Protestants
Christianity
Churches
Religion
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent and Henry Nelson interview for the Sacred Steel Guitar Recording Project
- Date
- 1993-11-26
- Description
- Four audio cassette recordings. Recorded at Nelson's sister's house (Mary Linzy) in Ocala. Ghent and Nelson discuss the origins of the Sacred Steel tradition, early influences (e.g. Troman and Willie Eason), the House of God tradition, and playing styles. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape11 | Henry Nelson performing Amazing Grace | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Henry Nelson performing Amazing Grace
- Date
- 1993-09-05
- Description
- One audio cassette recording. For more of Nelson, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape10 | Glenn Lee performing Pass Me Not Oh Gentle Savior | Sound | Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Guitarist
Singers
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Glenn Lee performing Pass Me Not Oh Gentle Savior
- Date
- 1994-03-07
- Description
- One audio cassette recording. For more of Lee, see tapes 2 and 4. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape09 | Aubrey Ghent performing Father in Jesus Name | Sound | Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Guitarist
Singers
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent performing Father in Jesus Name
- Date
- 1993-09-05
- Description
- One audio cassette recording. For more of these two, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape08 | Sonny Treadway performing Hold to Gods Unchanging Hand | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Sonny Treadway performing Hold to Gods Unchanging Hand
- Date
- 1994
- Description
- One audio cassette recording. Rough mix recording of the song. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape07 | Sonny Treadway performing two takes of This is a Holy Church | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Sonny Treadway performing two takes of This is a Holy Church
- Date
- 1994-10-12
- Description
- One audio cassette recording. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape06 | Master of the Sacred Steel album | Sound | Guitarist
Singers
Audiotape recordings
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Religion
Churches
Christianity
Concerts
Community concerts
Protestants
Church services
Prayer
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Master of the Sacred Steel album
- Date
- 1994-10-13
- Description
- One audio cassette recording. Master version of the Sacred Steel album, which was released in 1995 by the Florida Folklife Program. The album is divided into two sections: side 1 is instrumentals and concerts; side 2 are church services. For more information on musicians, recording locations, and production credits, see accompanying booklet, which can be found in S 2044, box 1, folder 22. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape04 | Sonny Treadway performing sacred steel music with a band at a House of God church | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Musical groups
Churches
Religion
Christianity
Protestants
Bands (Music)
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Sonny Treadway performing sacred steel music with a band at a House of God church
- Date
- 1994-02-20
- Description
- One audio cassette recording. Made during the last day of the annual State Assembly of the Jewell Dominion churches of Florida. These are excerpts from a longer recording. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape03 | Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Festivals
Folk festivals
Special events
Church attendance
Church services
Protestants
Christianity
Churches
Religion
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events
- Date
- 1993-11-26
- Description
- One audio cassette recording. (Duplicate can be found on tape 5.) The first half of the tape was recorded at a House of God "Family and Friends Day Celebration" in Daytona Beach on 5 September 1993. The second half was recorded at the Ocala House of God Church #2 on 26 November 1993, and the then at the 1994 Florida Folk Festival on May 24 1994 (for entire festival performance, see D94-20 in S 1576.) On the second half, the vocals are weak. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
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