A Guitar, A Heritage, A Legacy: OSU history professor publishes book, co-curates Bob Dylan Center exhibition about Jesse Ed Davis

Tuesday, December 17, 2024

Media Contact: Elizabeth Gosney | CAS Marketing and Communications Manager | 405-744-7497 | egosney@okstate.edu

After years of research, writing and collaboration, Oklahoma State University Department of History professor Douglas Miller finally saw the fruits of his labor unveiled this fall with the publication of his book, “Washita Love Child: The Rise of Indigenous Rock Star Jesse Ed Davis” and the opening of the “Jesse Ed Davis: Natural Anthem” exhibition at The Bob Dylan Center in Tulsa.

Both Miller’s book and his exhibition — which he co-curated with U.S. Poet Laureate Joy Harjo — celebrate guitarist Jesse Ed Davis, an Oklahoma native and Indigenous musician whose work shaped the sound of a generation.

“Around the '60s and '70s people were making what we’ll end up calling the Tulsa sound, a sort of combination of rock and roll, gospel, blues and country,” Miller said. “Jesse Davis was really at the center of that sound. The music that he made as an Oklahoman ends up being the sound of albums by the most popular artists of his day. His music was heard by millions of people, even if they didn't know his name.”

Miller hopes his work will shed light on the contributions Davis made to the music industry and earn him the recognition he deserves. Despite playing with legends like John Lennon, George Harrison, Bob Dylan, Eric Clapton, Taj Mahal, Rod Stewart, Willie Nelson and Cher, Davis’ story has remained largely untold until now.

“Why don’t we know more about Jesse Davis? I'd seen his name in my record collection for years but didn't know much about him,” Miller said. “I realized there's not much out there, so I thought that it would make for a great history project because Jesse Ed Davis is really compelling as a Native American person, historically, which dovetails with my research expertise and what I teach at OSU.”

Miller, who is a professor of Native American and U.S. history, was deep into his research on Davis for his book when he was approached by the Bob Dylan Center to create an exhibition. Harjo had recently become the center’s first artist-in-residence, so she and Miller collaborated to bring the exhibition to life with artifacts like Davis’ personal guitars, rare photographs, original concert posters and memorabilia from his decades of work.

The exhibition builds on the more than 120 interviews Miller conducted for his biography on Davis; with little recorded history of Davis, Miller created his own archive by talking with contemporaries and musicians who knew Davis, including Jackson Browne, Bonnie Raitt, Robbie Robertson, Taj Mahal and Jim Keltner.

Miller’s five years of work resulting in “Washita Love Child” and the Bob Dylan Center exhibition is officially the first comprehensive study of Davis’ life and legacy. Miller tells the story of an artist who navigated complex cultural identities while making his mark on music history.

Miller explained that Davis’ relationship with his Indigenous heritage was multifaceted. He didn’t necessarily market himself as just a Native musician but instead preferred the freedom to explore any musical direction that called to him.

“Jesse experienced a lot of pain as an Indigenous person growing up as an otherwise middle, almost upper class kid in Oklahoma City, where he was often the only Indigenous student in his school,” Miller said. “He experienced a lot of bullying because he was Native American and kids around him made it really hard for him to be an Indigenous person. So while his heritage was certainly part of his experiences, he didn't want to market himself in just that way.”

Yet, Davis’ story is particularly meaningful in the context of Oklahoma’s rich musical heritage, where gospel, rock, country and Native American traditions intersected to create something entirely new in the '60s and '70s. While Davis passed away in 1988, his legacy continues to resonate with musicians and music lovers who appreciate both his technical talent and his role in bridging cultural traditions.

“His music was during the time of my coming of age, as a young Native woman,” Harjo said. “When a lot of his music came out … I was just starting at the University of New Mexico. His music really embodies those times, even though he didn’t put himself out there as a Native musician, he put himself out there as just a musician.”

Harjo explained that the exhibition and Miller’s book also explore Davis’ return to his roots. In the mid-1980s, during what would become his final comeback before his untimely death at age 43, Davis reconnected with his Indigenous heritage, attending powwows and participating in traditional cultural practices.

“He was a conscientious person from all that I've learned about him,” Harjo said. “He was thoughtful of being an Oklahoma native, that was really important to his identity.”

“Jesse Ed Davis: Natural Anthem” is currently on view at the Bob Dylan Center. A tribute concert featuring past collaborators Jackson Browne, Taj Mahal, Joy Harjo and the Grafitti Band is set for Feb. 6, 2025, in Tulsa. Miller’s book “Washita Love Child: The Rise of Indigenous Rock Star Jesse Ed Davis” is available now through major booksellers.

Story By: Kierstin Pigg, graduate assistant | kierstin.pigg@okstate.edu