56 items found
Collection ID is exactly "1" AND Subject is exactly "Steel guitars"
Interview with steel guitarist Glenn Lee

Interview with steel guitarist Glenn Lee

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
Interview with steel guitarist Aubrey Ghent and his father Henry Nelson

Interview with steel guitarist Aubrey Ghent and his father Henry Nelson

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
Interview with steel guitarist Aubrey Ghent and apprentice Elton Noble

Interview with steel guitarist Aubrey Ghent and apprentice Elton Noble

Date
1994-07-30
Description
Two audio cassettes. 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.
Collection
Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble

Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble

Date
1994
Description
39 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
Collection
Images of the steel guitarist Aubrey Ghent with apprentice Elton Noble

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
Henry Nelson performing Amazing Grace

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
Gospel musician Willie Eason playing the steel guitar

Gospel musician Willie Eason playing the steel guitar

Date
1990
Description
Six black and white prints. A popular gospel musician in the St. Petersburg area. He influenced most gospel steel guitarists. He won the 1995 Florida Folk Heritage Award.
Collection
Glenn Lee performing sacred steel music with a band at a House of God church

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
Glenn Lee performing Pass Me Not Oh Gentle Savior

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
Friday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tape 10)

Friday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tape 10)

Date
1997-05-23
Description
One audio cassette recordings. Side A: Catalina Delgado, a trunk and Mexican paper artist and Eileen Brautman, a Jewish paper artist are interviewed by Laurie Sommers. Delgado discusses paper-cutting techniques and how designs are made. Brautman explains traditional and contemporary calligraphy and paper cutting according to the European tradition. She tells of making stories from the Bible, use of animals and other designs and the making of a Ketubah (Jewish marriage contract). Side B: Sonny Treadway (Deerfield Beach, FL), sacred steel guitarist is interviewed by Laurie Sommers. He discusses sacred steel guitar and gospel music as well as his musical influences such as his father, other family members and church musicians. He plays by ear and has written several original songs.
Collection
Identifier Title Type Subject Thumbnail
a_s2044_02_tape18Interview with steel guitarist Glenn LeeSoundGuitarist
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
a_s2044_02_tape12Interview with steel guitarist Aubrey Ghent and his father Henry NelsonSoundGuitarist
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
a_s1640_24_tape13Interview with steel guitarist Aubrey Ghent and apprentice Elton NobleSoundFieldwork
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
Images of the steel guitarist Aubrey Ghent with apprentice Elton NobleImages of the steel guitarist Aubrey Ghent with apprentice Elton NobleStill ImageGuitarist
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 NobleImages of the steel guitarist Aubrey Ghent with apprentice Elton NobleStill ImageGuitarist
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
a_s2044_02_tape11Henry Nelson performing Amazing GraceSoundGuitarist
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
Gospel musician Willie Eason playing the steel guitarGospel musician Willie Eason playing the steel guitarStill ImageSingers
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_tape02Glenn Lee performing sacred steel music with a band at a House of God churchSoundGuitarist
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
a_s2044_02_tape10Glenn Lee performing Pass Me Not Oh Gentle SaviorSoundFieldwork
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
a_s1576_67_c97-070Friday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tape 10)SoundArtisans
Artists
Musicians
Guitarist
Folk festivals
Folklore revival festivals
Festivals
Special events
Oral performance
Life histories
Interviewing
Arts, Jewish
Jewish Americans
Jewish art and symbolism
Ketubah
Calligraphy
Marriage contracts
Decorative arts
Arts, Mexican
Mexican Americans
Paper art
African Americans
Steel guitars
Musical tradition, sacred
Gospel (Black)
Gospel musicians
Gospel music
/fpc/memory/omeka_images/thumbnails/catalog_audio.jpg