| a_s2044_02_tape02 | Glenn Lee 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 |
Glenn Lee performing sacred steel music with a band at a House of God church
- Date
- 1994-03-07
- Description
- One audio cassette recording. (Duplicate can be found on tape 5.) Recorded at a Church of God church (not during church services)in Perrine, Florida. The band consisted of Glenn Lee (steel guitar), Alvin Lee (bass), Benjamin Beckford (drums), and John Hampton (guitar). Excerpted from a longer recording (see tapes 18-20 in S 2044). 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
| Gospel musician Willie Eason playing the steel guitar | Gospel musician Willie Eason playing the steel guitar | Still Image | Singers
African Americans
Gospel (Black)
Gospel musicians
Steel guitars
String instruments
Musical instruments
Singing
Music performance
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
| 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
| Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble | Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble | Still Image | Guitarist
Fieldwork
Apprentices
Steel guitars
Guitarists
African Americans
String instruments
Musical tradition, sacred
Performing arts
Music performance
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
| Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble | Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble | Still Image | Guitarist
Fieldwork
Apprentices
Steel guitars
Guitarists
African Americans
String instruments
Musical tradition, sacred
Performing arts
Music performance
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble
- Date
- 1994
- Description
- Two proof sheets with 49 black and white images (plus negatives); eight color slides. Apprentice Noble agreed to learn from Ghent how to tune, play chords and melodies on the steel guitar, as well as learn the cultural background of "sacred steel" -- a form of African American gospel music performed on the steel guitar (aka the Hawaiian guitar). For more information, see S 1644, box 11, folder 24. 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, and then Robert Stone. The program was continued each year through 2004.
- Collection
| a_s1640_24_tape13 | Interview with steel guitarist Aubrey Ghent and apprentice Elton Noble | Sound | Fieldwork
Apprentices
Steel guitars
Guitarists
African Americans
String instruments
Musical tradition, sacred
Performing arts
Music performance
Interviews
Personal experience narratives
Gospel music
Religious music
Guitar music
Guitarist
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
| 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
| Performers at the 1994 Florida Folk Festival | Performers at the 1994 Florida Folk Festival | Still Image | Bands (Music)
Folk festivals
Folklore revival festivals
Festivals
Special events
Music performance
Drums
Percussion instruments
String bands
Performing arts
Steel guitars
Dancers
Drummers (Musicians)
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Performers at the 1994 Florida Folk Festival
- Date
- 1994-05-28
- Description
- One proof sheet with 30 black and white images (plus negatives). Performers on the main stage, including gospel steel guitarist Ghent; traditional Scottish dancers; a string band, Merriweather; and a Florida songwriter, Dunn;
- Collection
| a_s1640_25_tape04 | Recording of 1993-1994 apprentices & masters | Sound | Fieldwork
Music performance
Singing
Steel guitars
Guitar music
Guitarists
Fiddle music
Fiddling
Piano music
Fiddlers
Guitarist
Pianists
Singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Recording of 1993-1994 apprentices & masters
- Date
- 1994-02-17
- Description
- One audio cassette. No location given. 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, and then Robert Stone. The program was continued each year through 2004.
- Collection
| a_s2044_02_tape17 | Recording of 45 rpm by Joe May | 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
Sound recordings
Religion
Christianity
Protestants
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Recording of 45 rpm by Joe May
- Date
- 1995-04-28
- Description
- One audio cassette recording. Recording of a copyrighted 45 rpm, produced by Shannon Williams for Nashboro (6813/6812). Copied by Stone in April 1995. No duplicates of this recording will be made due to copyrights issues. 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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