| a_s1576_t92-023 | Al Poindexter performing at the 1992 Florida Folk Festival (Main stage) | Sound | Guitarist
Musicians
Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Performances
Music performance
Guitar music
Guitarists
Banjo music
Old time music
String instruments
Singing
Banjoists | /fpc/memory/omeka_images/thumbnails/audio.jpg |
| a_s1576_t92-060 | Al Poindexter performing at the 1992 Florida Folk Festival (Old Marble Stage) | Sound | Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Performances
Folk singers
Singing
Banjo music
String instruments
Music performance
Guitar music
Old time music
Guitarists
Guitarist
Banjoists
Musicians
Singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
| 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_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
| 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_s1576_04_c81-015 | Blues guitarist Emmett Murray playing in Pahokee | Sound | Fieldwork
Blues (Music)
Guitar music
African Americans
Guitarists
Electric guitar
Singing
Musical tradition, African diaspora
Performing arts
String instruments
Guitarist
Blues singers
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Blues guitarist Emmett Murray playing in Pahokee
- Date
- 1980-04-08
- Description
- One audio cassette. Murray's "Mobile Blues" was featured on the FFP-produced recording "Drop on Down in Florida," a double LP that featured traditional African American music in the state. For another recording with Murray, see reels T83-62 through T83-64, in S 1576.
- Collection
| a_s1714_reel23 | Blues musician Buck Thompson playing on his porch | Sound | Fieldwork
Research methods
Collecting
Sound recording
String instruments
Blues (Music)
African Americans
Musical tradition, African diaspora
Guitarists
Guitar
Guitar music
Music performance
Music
Guitarist
Musicians
Blues singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Blues musician Buck Thompson playing on his porch
- Date
- 1985-02-14
- Description
- Two reel to reel tapes. Sound recording of fifty-year old blues guitarist Buck Thompson playing tunes that he learned from the radio on his front porch. A former railroad worker, he played the juke circuit in the 1950s. Because of the recording location, sounds of traffic and pedestrians can be heard. Images of the performance can be found in S 1577, v. 27, slides 1467-1495. In winter 1985, the Bureau contracted with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the St. Johns River Basin Folklife Area at the 1985 Florida Folk Festival.
- Collection
| a_s1640_22_tape03 | Country-blues guitarist Tampa Blue performing with his apprentices | Sound | Fieldwork
Apprentices
Guitar
Musical instruments
String instruments
Music performance
Sound recordings
Guitarists
Blues (Music)
Singing
Guitar music
Guitarist
Blues singers
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Country-blues guitarist Tampa Blue performing with his apprentices
- Date
- 1991-06-21
- Description
- Two audio cassettes (DAT tapes) A copy of Tampa Blue's album 'Come to Sing' can be found in S 1640, box 22, tape 2. Michael Davis dropped out of the program before his apprenticeship was completed. For more information on Tampa Blue and his apprentices, see S 1644, box 7, folder 6. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| a_s1576_t77-280 | Doc and Merle Watson Concert with Chubby Anthony and Big Timber Bluegrass | Sound | Concerts
Guitarists
Music performance
Singing
Old time music
Bluegrass music
Country music
Guitar music
Banjo music
Fiddle music
Singers
Musicians
Guitarist
Bands (Music)
Banjoists
Bluegrass musicians
Fiddlers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Doc and Merle Watson Concert with Chubby Anthony and Big Timber Bluegrass
- Date
- 1977-04-30
- Description
- Two reel to reels. Recording of a free concert at the Stephen Foster Center, and sponsored by the Florida Folklife Program. Anthony and Big Timber opened for the Watsons, and later joined them for the finale. Doc Watson was discovered by folklorist Ralph Rinzler in 1960 while recording old-time musician Clarence Ashley in North Carolina. Blind since early childhood, Watson had been playing the guitar for much of his adult life when Rinzler found him. Eagerly accepted by the folk revival boom of the 1960s, he soon began recording best-selling albums and playing folk festivals. His son, Merle, joined him by the mid-1960s. They played old time, country, and bluegrass songs. Known primarily for his flat picking on the acoustic guitar, by the 1970s, Watson and son were highly sought after performers. When Donald "Chubby" Anthony died in Gainesville in 1980, he was considered one of the best bluegrass fiddlers in the nation. Born in Wellborn, South Carolina, Anthony began his career as a teen playing for the bluegrass group, the Stanley Brothers. He moved with them to Florida in 1958 to Live Oak.
- Collection
| a_s1701_01_tape03b | Evening Program at the Old Marble Stage (Tape 3) | Sound | Concerts
Community concerts
Songs
Folk singers
Guitarists
Minorcans
Guitar music
Performing arts
Music performance
Singing
Florida history
Local history
Singers
Musicians
Performers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Evening Program at the Old Marble Stage (Tape 3)
- Date
- 1995-10-21
- Description
- One DAT tape. Grooms is continued on tape 4. There were two programs (morning and evening) for the 1995 Songs Along the Suwannee concert, recorded onto five DAT tapes. Tape 3 contains both the finale of the AM program (described in another entry) and the start of the evening program.
- Collection
Listen: The Folk Program