In addition to Mary’s two Grammy Awards and three nominations, she was the first woman to win “Flutist of the Year” in both 1999 and 2000. She also won “Best Female Artist” in 2000 at the Native American Music Awards (NAMMYS).

Mary’s fourth album Feed the Fire was nominated for the 2005 Grammy “Best Native American Music Album.” Mary’s original melodies and lyrics spanned a variety of musical styles and instruments – her wood flutes, piano, alto flute and sweet vocals. Special guest appearances by Ian Anderson (of Jethro Tull), Bill Miller, and Joanne Shenandoah all contributed to Mary’s album full of energy, warmth and passion. The tribute song “Feed the Fire” for her birth parents and dedicated to her birth mother will melt your heart.

Mary’s third album Beneath the Raven Moon, won the 2003 Grammy Award for “Best Native American Music Album.” Silver Wave Records considered this a poetic concept album - the title of each track being from Mary’s thematic poetry reflecting the Human Journey. Mary’s beautiful voice harmonizing along with her many flutes debuted with the instrumentation of award winning producer Tom Wasinger. Of Mary’s exemplary flute playing coupled with two of her favorite American music styles, Classical and Blues, Dirty Linen Magazine stated, “Mary Youngblood brings a fresh perspective to original melodies.”

Mary’s second album Heart of the World found Mary weaving her flute melodies with the lush accompaniment of guitar, percussion and the exquisite voice of Joanne Shenandoah. Heart of the World won “Best Native American Recording” by The Association for Independent Music (INDIE Award), the New Age Voice (NAV) Award, and the 2000 Native American Music Awards (NAMMY) for “Best New Age Recording.” The track ‘Cold Wind’ will blow right into your chest and thump you hard. It is amazing.

Mary’s debut album The Offering was a solo flute effort recorded live to DAT in the huge underground chamber of the Moaning Cavern in California. The natural acoustics lent an amazing echo and organic quality to the distinctly memorable melodies that Mary created with her flutes. The Monterey County Herald News wrote, “In addition to the haunting sounds of various handcrafted wooden flutes, the listener can occasionally hear the drip of water in the cavern, which adds a surreal you-are-there feeling.”

Mary Youngblood takes little credit for the intense emotions people feel when they listen to her music. “I am only a vessel between Creator and this instrument. As a sculptor would tell you, the clay has a spirit of its own and decides what it will become; so it is with the flute. These songs came from those who walked before me.”

• “Blending Folk and Native American music, Youngblood is subtle tonic for hectic times.” — Utne Reader
• “With excellent skill and heartfelt interpretations her melodic tone is impeccable and buttery.” — New Age Voice Magazine
• “Her original compositions are performed with distinct character and an experimental edge that sets her music apart.” — Aboriginal Voices
• “She uses a variety of flutes to create sounds that are fresh and arresting while remaining true to her Aleut/Seminole heritage.” — NAPRA Review
• “...simple and reverent…” — San Francisco Chronicle
• “Absolutely enchanting! Youngblood beautifully demonstrates the talent that earned her numerous Native American Music Awards.” — Billboard