Stepping Beyond Tradition: Native American Rock, Country, and Jazz Sounds from the 1950s and Beyond
When many people think of Indigenous music, traditional songs and ceremonies often come to mind—rhythms echoing across prairies, dances around the crackling fire, and voices carrying centuries of culture and stories. However, during the 1950s, 1960s, and into the 1970s, a lesser-known musical movement was quietly taking shape among Native American communities across North America: artists and bands blending rock, country, jazz fusion, and other “modern” genres. Their recordings—created on vinyl, cassette, or 8-track—represent a groundbreaking chapter in Indigenous history, illustrating the creativity and adaptability of musicians who chose to meld contemporary styles with their own cultural identities.
Today, thanks to the work of cultural stewards like the Sičháŋǧu Lakȟóta-owned and operated archival project Watheca Records from Justis Brokenrope, these historic—and sometimes long-forgotten—albums are reappearing. Digitally preserved and generously shared, each record provides a look into a past era when Indigenous performers first picked up electric guitars, drum sets, and microphones under the spotlights of rock-and-roll clubs and local fairs. This living archive not only amplifies these artists’ legacies, it also reconnects them with tribal communities and the wider public, celebrating their trailblazing spirit and honoring the families who have kept these stories alive. Read more: Lakota vinyl collector revitalizes Indigenous music, language one record at a time | MPR News
The Mission of Watheca Records
Based out of Mní Sóta, Watheca Records is committed to bringing forward and preserving music by Indigenous artists from North and Central America. These recordings—be they country ballads, surf-rock tunes, soulful quartets, or jazz-inspired improvisations—belong first and foremost to the artists and their communities. The goal is straightforward: share these underrepresented voices with family members, tribal communities, and anyone who wishes to learn about the many facets of Indigenous musical expression.
Artists and Albums that Broke New Ground
Below are a few highlights from the Watheca Records collection. Each artist embodies the spirited creativity of Indigenous musicians venturing into new genres—from country-western to jazz fusion—during a period when such music was rarely associated with Native performers.
________
Join Our Membership - Free!
________
Harry Rusk with the Rodgers Brothers Band – “The Country Favourites Of” (1967)
Dene from Kahntah – Slavey First Nation
A heartfelt mix of country standards, such as “In The Blue Canadian Rockies” and “Streets of Laredo,” featuring a Dene musician’s rich vocal style supported by the Rodgers Brothers’ band.
Zuni Midnighters – “The Long Journey” (1970s) Zuni
This group’s shift toward 1970s rock and pop includes soulful renditions of “Have You Ever Seen The Rain” and “Time Is Tight,” showcasing a distinctly Southwestern perspective.
Ahbleza – “On The Avenue” 45′ (1981) Standing Rock Lakota, Red Lake Ojibwe, Leech Lake Ojibwe
Self-described “South Minneapolis NDN Jazz Fusion,” Ahbleza combined jazz elements with urban rock grooves. Tracks like “On The Avenue” and “Livin On The Street” capture the heartbeat of city life through an Indigenous lens.
Navajo Sundowners present Harold Mariano – “Volume Six” (1974) Navajo
Country ballads tinged with desert images, reflecting the landscapes of the Navajo Nation while incorporating influences from mainstream hits like “Country Road.”
Wilfred Numkena – “The Boy From Hopi Land” (1965) Hopi
Originally released by Red Feather Records, Numkena’s album fuses folk revival numbers such as “Blowing In The Wind” with rock-inspired staples like “Johnny B. Goode.” His voice carries the enduring spirit of Hopi tradition, even when performing popular American hits.
Richard Dick – “Alta Marie” (1969) Tlingit (Eagle Clan) from Skagway, Alaska
A moving story of love and perseverance, this album highlights original songs dedicated to Richard’s wife Alta Marie and the Tlingit language, with tracks sung in both English and Tlingit.
The Mysterians – Self-Titled (1967) Hopi/Laguna Pueblo
Upbeat rockers and ballads—like “Wooly Bully,” “Land of a Thousand Dances,” and “Love Me Right”—burst with the vigor of the 1960s, performed by Hopi and Laguna Pueblo members (plus a Sioux bandmate).
Apache Spirit – “Keep Movin’ On” (1977) Apache from Fort Apache Indian Reservation
Featuring country-rock tunes and heartfelt harmonies, this album stands as an example of how “modern” genres found a home in tribal celebrations and social events.
Arizona Indian Youth Music Caravan – “Peace, My Friend” (1970s) Various Tribes
An intertribal youth project that merges gospel, folk, and soft rock. Tracks like “Let It Be” and “I Will Lift Up My Eyes” offer a powerful message of harmony and solidarity.
The Cheechoo Family – “Graham Townsend Presents” (1984) Cree
Fiddle-driven melodies, lively breakdowns, and gospel-inflected numbers form a unique blend of country reels and Cree family harmonies.
A Revival Sparked by Family and Community
One of the most moving parts of this initiative involves how relatives reconnect with musical legacies. A Hopi family member in Arizona shared an old photograph of an artist who had recently passed away. Their efforts to learn more led them to recordings posted by Watheca Records, prompting renewed involvement and conversation across the community.
As additional individuals come across these albums, tribal nations throughout North America gain updated understandings of how earlier generations pursued music off the reservation, built careers under stage lights, and honored their heritage within mainstream scenes.
Amplifying Native Voices—Past, Present, and Future
By shining a light on these albums and the histories behind them, museums, cultural centers, and online platforms can introduce more avenues for honoring Indigenous musical breakthroughs. Exhibits might showcase vintage 45s playing on period-appropriate record players, concert photos of groups like the Zuni Midnighters, or interactive listening stations where audiences can hear songs in Tlingit or Hopi. Educational programs could invite younger people to value this music not as a departure from tradition, but as a vibrant extension of storytelling and cultural affirmation in ever-changing contexts.
We invite you to:
- Follow @watheca.records on Instagram and YouTube for additional insights into rock, country, jazz, and folk by Native artists.
- Look into your own family’s musical background or tribal community history—an overlooked box of records might hold an extraordinary sound.
- Pass along these spotlighted classics to younger generations, emphasizing the longstanding influence of Native artists on American music.
As we honor these innovative artists—both those still among us and those who have journeyed on—we recognize their creativity and salute the enduring strength of Native cultures. Through the work of Watheca Records and inclusive museum showcases, more voices are being heard, revealing the wide range of Indigenous soundscapes. This music remains a vital part of our collective story, a constant reminder that cultural identity can flourish in any style, tempo, or genre.
–––
For questions, or if any artist or family wishes to request removal of particular recordings, please contact watheca.records directly. May these recordings continue bringing families and communities together, sparking remembrance and celebration of this vibrant chapter of Native American music.
