| n2015-7_b001_f12_02 | Program for the Southern Christian Leadership Conference's Dr. Martin Luther King, Jr. Birthday Celebration, 1997 | Text | Festivals, Events and Conferences
Episcopal Church -- Florida
Celebrations | /fmp/selected_documents/thumbnails/n2015-7_b001_f12_02.jpg |
| 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
| a_s1640_23_tape29 | Recording of the Folk Arts Apprenticeship Review Committee of the Florida Folklife Council for 1993-1994 | Sound | Meetings
Apprentices
Public officials
Folklore
Folklife
Oral communication
Public officers
Public officer
Musicians
Anthropologists
College teachers
Folklorists | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Recording of the Folk Arts Apprenticeship Review Committee of the Florida Folklife Council for 1993-1994
- Date
- 1993-09-24
- Description
- Four audio cassettes. The meeting was held between 1pm and 5pm at the Visual Arts Building Conference Room (University of Central Florida) to decide upon which master-apprentice applicants would receive funding for 1993-1994. Folklorist Stone submitted twenty-five applications to the committee, which consisted of Jumper, Hansen, Tucker (non-voting member), Bucuvalas, Congdon, Foreman, Rodriguez, and Waterman. Bureau chief Loomis also attended. After ranking each application, the committee recommended the following teams: palmetto basket maker Marian Bowers & Martha Jones; gigante maker Isaac Duenas & David Duenas/Ramon Zepeda; old-time fiddler Willie Jones & Trenda Slaughter; African acrobatics Augustine and Felix Omdeben & Akila Baki/Moses Campbell; Sacred Steel guitarist Aubrey Ghent & Elton Noble; white oak basket maker Alfonso Jennings & Michael Steen; and pysanki artist Ola Kryway & Mary Martin. They also recommended pianist Alex McBride & Teddy Williams, but it was cow whip maker George Mills & J. Taylor Marcus who were ultimately funded. For more information on the meeting, S 1644, box 11, folder 20. 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 2004.
- Collection
| a_s2034_04_cd03-010 | Saturday performances at the 2003 Florida Folk Festival (Main Stage) (Disc 3) | Sound | Guitarist
Festivals
Folk festivals
Folklore revival festivals
Special events
Performing arts
Music performance
Singers
Steel guitars
Musical tradition, sacred
Religious music
Religious songs
African Americans
Gospel (Black)
Bands (Music)
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Saturday performances at the 2003 Florida Folk Festival (Main Stage) (Disc 3)
- Date
- 2003-05-24
- Description
- One compact disc. State folklorist Bob Stone was the emcee. The Lee Boys were a sacred steel band, and consisted of Alvin Lee (guitar), Alvin Cordy (Electric bass), Derrick Lee (vocals), Keith Lee (vocals), Roosevelt Collier (steel guitar), and Earl Walker (drums). They are based out of the House of God Holiness Pentecostal Church in Perrine, Florida. According the recorder's log sheet, they band played a encore (If You Are Happy and You Know It) but the CD was already finalized, and it was not recorded.
- Collection
| a_s1576_68_c97-084 | Saturday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tapes 14, 15) | Sound | Folk festivals
Folklore revival festivals
Festivals
Special events
Oral performance
Life histories
Interviewing
African Americans
Steel guitars
Guitar music
Gospel (Black)
Gospel music
Gospel musicians
Religious music
Religious songs
Personal experience narratives
Singers
Musicians
Guitarist | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Saturday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tapes 14, 15)
- Date
- 1997-05-24
- Description
- Two audio cassette recordings. Sonny Treadway and Willie Eason, interviewed by Bob Stone, discuss sacred steel music and the history of their music. Treadway describes the making of his instrument and his mentor, Bishop Lorenzo Harrison. Stone mentions Eason's ability to make his steel guitar sound like a human voice. They perform several songs -- many of which were unidentified.
- 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_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_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_s1576_43_d94-020 | Sunday performances at the 1994 Florida Folk Festival (Main Stage) (Tape 7) | Sound | Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Music performance
Singing
Blues (Music)
Guitar music
African Americans
Steel guitars
Gospel (Black)
Gospel music
Gospel musicians
Gospel songs
Religious music
Religious songs
Singers
Guitarist
Musicians
Blues singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Sunday performances at the 1994 Florida Folk Festival (Main Stage) (Tape 7)
- Date
- 1994-05-29
- Description
- One digital audio tape (DAT). (Copied onto C94-102/103) Hoovler served as the emcee. Polk City-based guitarist Book Binder performed blues music. Ghent, discovered by Florida folklorist Robert Stone, performed "Sacred Steel" music - a form of black gospel performed on the steel guitar (aka the Hawaiian guitar), At the time, he was involved in the Folk Arts Apprenticeship program.
- Collection
| a_s1576_44_d94-032 | Sunday performances at the 1994 Florida Folk Festival (Old Marble Stage) (Tape 3) | Sound | Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Music performance
Old time music
Steel guitars
Musical ensembles
Guitar music
Gospel (Black)
African Americans
Haitian Americans
Storytelling
Sing alongs
Blues (Music)
Musicians
Guitarist
Folklorists
Storytellers
Blues singers
Singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Sunday performances at the 1994 Florida Folk Festival (Old Marble Stage) (Tape 3)
- Date
- 1994-05-29
- Description
- One digital audio tape (DAT). Storyteller Louis served as emcee. Louis and Fitchen told stories and sang to fill in for the scheduled gospel group Versiteers. Blues guitarist Book Binder lived in Polk City, and discussed the history of the songs he performed. Folklorist Stone introduced steel guitarist Ghent by providing a history of the sacred steel tradition.
- Collection
Listen: The Assorted Selections Program