BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Blue LLama - ECPv6.17.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Blue LLama X-ORIGINAL-URL:https://bluellamaclub.com X-WR-CALDESC:Events for Blue LLama REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Detroit BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250907T190000 DTEND;TZID=America/Detroit:20250907T223000 DTSTAMP:20250801T154232Z CREATED:20250801T154232Z LAST-MODIFIED:20250801T154232Z UID:10000071-1757271600-1757284200@bluellamaclub.com SUMMARY:Paul Cornish Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/paul-cornish-trio/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/07/paul-square.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250906T221500 DTEND;TZID=America/Detroit:20250906T234500 DTSTAMP:20250816T134330Z CREATED:20250801T191926Z LAST-MODIFIED:20250816T134330Z UID:10000074-1757196900-1757202300@bluellamaclub.com SUMMARY:LATE NIGHT: Junk Jazz-Djallo Djakate & Aya Sekine DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/late-night-junk-jazz-djallo-djakate-aya-sekine/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/08/image1-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250906T183000 DTEND;TZID=America/Detroit:20250906T213000 DTSTAMP:20250801T212407Z CREATED:20250801T190659Z LAST-MODIFIED:20250801T212407Z UID:10000073-1757183400-1757194200@bluellamaclub.com SUMMARY:Straight Ahead DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/straight-ahead-6/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/straight-ahead.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250905T190000 DTEND;TZID=America/Detroit:20250905T220000 DTSTAMP:20250801T190751Z CREATED:20250801T185950Z LAST-MODIFIED:20250801T190751Z UID:10000072-1757098800-1757109600@bluellamaclub.com SUMMARY:Straight Ahead DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/straight-ahead-5/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/straight-ahead.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250904T190000 DTEND;TZID=America/Detroit:20250904T223000 DTSTAMP:20250717T213009Z CREATED:20250717T212521Z LAST-MODIFIED:20250717T213009Z UID:10000058-1757012400-1757025000@bluellamaclub.com SUMMARY:George Porter Jr. DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/george-porter-jr/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/GPJ-Solo-4-Steve-Rapport-SM.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250903T190000 DTEND;TZID=America/Detroit:20250903T213000 DTSTAMP:20251124T201550Z CREATED:20250804T180812Z LAST-MODIFIED:20251124T201550Z UID:10000084-1756926000-1756935000@bluellamaclub.com SUMMARY:Rick Roe Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/rick-roe-trio/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/rick-roe.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250831T180000 DTEND;TZID=America/Detroit:20250831T203000 DTSTAMP:20250820T202237Z CREATED:20250820T202237Z LAST-MODIFIED:20250820T202237Z UID:10000107-1756663200-1756672200@bluellamaclub.com SUMMARY:The Triumvirate DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/the-triumvirate/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/08/IMG_4707.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250830T183000 DTEND;TZID=America/Detroit:20250830T213000 DTSTAMP:20250817T011335Z CREATED:20250713T130826Z LAST-MODIFIED:20250817T011335Z UID:10000050-1756578600-1756589400@bluellamaclub.com SUMMARY:Gene Dunlap Band DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/gene-dunlap-band/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/gene-dunlap.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250829T190000 DTEND;TZID=America/Detroit:20250829T220000 DTSTAMP:20250817T011203Z CREATED:20250721T222030Z LAST-MODIFIED:20250817T011203Z UID:10000059-1756494000-1756504800@bluellamaclub.com SUMMARY:Tariq Gardner & Evening Star DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/tariq-gardner-evening-star/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/space-odyssey.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250828T190000 DTEND;TZID=America/Detroit:20250828T213000 DTSTAMP:20250817T011034Z CREATED:20250721T223041Z LAST-MODIFIED:20250817T011034Z UID:10000061-1756407600-1756416600@bluellamaclub.com SUMMARY:Laura-Simone Trio ft. Xavier Davis & Nate Winn DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/laura-simone-trio/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/laura-simone.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250827T190000 DTEND;TZID=America/Detroit:20250827T213000 DTSTAMP:20250820T135744Z CREATED:20250721T230725Z LAST-MODIFIED:20250820T135744Z UID:10000066-1756321200-1756330200@bluellamaclub.com SUMMARY:The NoW Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/the-now-trio/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/07/image0.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250824T180000 DTEND;TZID=America/Detroit:20250824T203000 DTSTAMP:20250817T010854Z CREATED:20250721T230332Z LAST-MODIFIED:20250817T010854Z UID:10000065-1756058400-1756067400@bluellamaclub.com SUMMARY:Keigo Hirakawa Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/keigo-hirakawa-trio/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/hands.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250823T221500 DTEND;TZID=America/Detroit:20250823T233000 DTSTAMP:20250729T144741Z CREATED:20250721T224633Z LAST-MODIFIED:20250729T144741Z UID:10000064-1755987300-1755991800@bluellamaclub.com SUMMARY:LATE NIGHT: Alonso Umana Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/alonso-umana-quartet/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/alonso.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250823T183000 DTEND;TZID=America/Detroit:20250823T213000 DTSTAMP:20250817T010236Z CREATED:20250713T130410Z LAST-MODIFIED:20250817T010236Z UID:10000049-1755973800-1755984600@bluellamaclub.com SUMMARY:Nick Collins Sextet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/nick-collins-sextet-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/nick-collins.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250822T190000 DTEND;TZID=America/Detroit:20250822T220000 DTSTAMP:20250817T010807Z CREATED:20250711T180654Z LAST-MODIFIED:20250817T010807Z UID:10000045-1755889200-1755900000@bluellamaclub.com SUMMARY:Walter Blanding Quintet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/walter-blanding-quintet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/07/Blanding_Walter_.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250821T190000 DTEND;TZID=America/Detroit:20250821T213000 DTSTAMP:20250817T010725Z CREATED:20250721T222535Z LAST-MODIFIED:20250817T010725Z UID:10000060-1755802800-1755811800@bluellamaclub.com SUMMARY:Sam Corey Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sam-corey-trio/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/image0-2.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250820T190000 DTEND;TZID=America/Detroit:20250820T213000 DTSTAMP:20250817T010442Z CREATED:20250721T224119Z LAST-MODIFIED:20250817T010442Z UID:10000063-1755716400-1755725400@bluellamaclub.com SUMMARY:Wesley Reynoso Quintet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/wesley-reynoso-quintet/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/weynoso.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250817T180000 DTEND;TZID=America/Detroit:20250817T203000 DTSTAMP:20250817T010529Z CREATED:20250721T231031Z LAST-MODIFIED:20250817T010529Z UID:10000067-1755453600-1755462600@bluellamaclub.com SUMMARY:An Evening with Bob Mervak DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/an-evening-with-bob-mervak/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/mervak.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250816T221500 DTEND;TZID=America/Detroit:20250816T233000 DTSTAMP:20250729T145630Z CREATED:20250721T223519Z LAST-MODIFIED:20250729T145630Z UID:10000062-1755382500-1755387000@bluellamaclub.com SUMMARY:LATE NIGHT: Phillip Buchman Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/phillip-buchman-quartet/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/phillip.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250816T183000 DTEND;TZID=America/Detroit:20250816T213000 DTSTAMP:20250729T145950Z CREATED:20250715T161836Z LAST-MODIFIED:20250729T145950Z UID:10000053-1755369000-1755379800@bluellamaclub.com SUMMARY:Sean Dobbins Organ Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sean-dobbins-organ-trio/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/SeanDobbinsBNW.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250815T190000 DTEND;TZID=America/Detroit:20250815T220000 DTSTAMP:20250729T150120Z CREATED:20250715T161614Z LAST-MODIFIED:20250729T150120Z UID:10000052-1755284400-1755295200@bluellamaclub.com SUMMARY:Roger Jones & Higher Calling DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/roger-jones-higher-calling/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/roger-jones.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250814T190000 DTEND;TZID=America/Detroit:20250814T213000 DTSTAMP:20250729T150217Z CREATED:20250713T125550Z LAST-MODIFIED:20250729T150217Z UID:10000047-1755198000-1755207000@bluellamaclub.com SUMMARY:Chris Glassman & the Technocats DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/chris-glassman-the-technocats/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Chris-Glassman-the-Technocats.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250813T190000 DTEND;TZID=America/Detroit:20250813T213000 DTSTAMP:20250807T152355Z CREATED:20250721T160041Z LAST-MODIFIED:20250807T152355Z UID:10000048-1755111600-1755120600@bluellamaclub.com SUMMARY:Ralphe Armstrong Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/ralphe-armstrong/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Ralphe-Armstrong.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250810T180000 DTEND;TZID=America/Detroit:20250810T203000 DTSTAMP:20250808T124758Z CREATED:20250710T210341Z LAST-MODIFIED:20250808T124758Z UID:10000044-1754848800-1754857800@bluellamaclub.com SUMMARY:Marquis Hill DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/marquis-hill/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/MarquisHill-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250809T183000 DTEND;TZID=America/Detroit:20250809T213000 DTSTAMP:20250722T145128Z CREATED:20250710T205759Z LAST-MODIFIED:20250722T145128Z UID:10000043-1754764200-1754775000@bluellamaclub.com SUMMARY:Sheila E. & The E. Train DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sheila-e-the-e-train/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Sheila-E.-Approved-Photo-2-4-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250808T190000 DTEND;TZID=America/Detroit:20250808T220000 DTSTAMP:20250729T150522Z CREATED:20250713T125027Z LAST-MODIFIED:20250729T150522Z UID:10000046-1754679600-1754690400@bluellamaclub.com SUMMARY:Joshua Watkins & Ascension DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/joshua-watkins-ascension/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Joshua-Watkins-Ascension.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250807T190000 DTEND;TZID=America/Detroit:20250807T213000 DTSTAMP:20250805T225635Z CREATED:20250715T161245Z LAST-MODIFIED:20250805T225635Z UID:10000051-1754593200-1754602200@bluellamaclub.com SUMMARY:Lisa Sung Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/lisa-sung-trio/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/lisa-sung-piano.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250806T190000 DTEND;TZID=America/Detroit:20250806T213000 DTSTAMP:20250729T150717Z CREATED:20250725T193821Z LAST-MODIFIED:20250729T150717Z UID:10000070-1754506800-1754515800@bluellamaclub.com SUMMARY:Sarah D'Angelo & Cliff Monear DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sarah-dangelo-cliff-monear/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/07/CliffMonearCliffMonear.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250803T180000 DTEND;TZID=America/Detroit:20250803T203000 DTSTAMP:20250729T150826Z CREATED:20250707T135613Z LAST-MODIFIED:20250729T150826Z UID:10000035-1754244000-1754253000@bluellamaclub.com SUMMARY:Paul Vornhagen Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/paul-vornhagen-quartet/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/IMG_9662.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20250802T221500 DTEND;TZID=America/Detroit:20250802T233000 DTSTAMP:20250729T151048Z CREATED:20250725T153621Z LAST-MODIFIED:20250729T151048Z UID:10000068-1754172900-1754177400@bluellamaclub.com SUMMARY:LATE NIGHT: Jauron Perry Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/jauron-perry-quartet/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Screenshot-2025-07-25-at-11.32.24 AM.jpg END:VEVENT END:VCALENDAR