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DTSTART;TZID=America/Detroit:20260815T190000
DTEND;TZID=America/Detroit:20260815T220000
DTSTAMP:20260717T181651Z
CREATED:20260603T182409Z
LAST-MODIFIED:20260717T181651Z
UID:10000335-1786820400-1786831200@bluellamaclub.com
SUMMARY:Kevin Jones and Tenth World
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/kevin-jones-tenth-world/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/05/kevin-jones.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260816T180000
DTEND;TZID=America/Detroit:20260816T210000
DTSTAMP:20260714T155342Z
CREATED:20260618T132350Z
LAST-MODIFIED:20260714T155342Z
UID:10000345-1786903200-1786914000@bluellamaclub.com
SUMMARY:Braxton Cook
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/braxton-cook/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/06/braxton-cook.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260819T190000
DTEND;TZID=America/Detroit:20260819T213000
DTSTAMP:20260707T154525Z
CREATED:20260707T154525Z
LAST-MODIFIED:20260707T154525Z
UID:10000349-1787166000-1787175000@bluellamaclub.com
SUMMARY:Third Coast Swing
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/third-coast-swing-3/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/third-coast-swing-august.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260820T190000
DTEND;TZID=America/Detroit:20260820T213000
DTSTAMP:20260805T171009Z
CREATED:20260720T181000Z
LAST-MODIFIED:20260805T171009Z
UID:10000371-1787252400-1787261400@bluellamaclub.com
SUMMARY:Newk's Time: A Tribute to Sonny Rollins
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/sonny-rollins/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/sonny-rollins.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260821T190000
DTEND;TZID=America/Detroit:20260821T213000
DTSTAMP:20260707T154929Z
CREATED:20260707T154929Z
LAST-MODIFIED:20260707T154929Z
UID:10000350-1787338800-1787347800@bluellamaclub.com
SUMMARY:La Tanya Hall 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/la-tanya-hall-quartet/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/la-tanya-hall.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260822T190000
DTEND;TZID=America/Detroit:20260822T220000
DTSTAMP:20260707T155126Z
CREATED:20260707T155126Z
LAST-MODIFIED:20260707T155126Z
UID:10000351-1787425200-1787436000@bluellamaclub.com
SUMMARY:Sean Dobbins Organ Trio ft. Tiffany Gridiron
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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-8/
ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/SeanDobbinsBNW.jpg-sqLg.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260823T180000
DTEND;TZID=America/Detroit:20260823T203000
DTSTAMP:20260818T135709Z
CREATED:20260618T152031Z
LAST-MODIFIED:20260818T135709Z
UID:10000346-1787508000-1787517000@bluellamaclub.com
SUMMARY:Sunny Wilkinson Jazz 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/sunny-wilkinson-jazz-quartet/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/sunny-wilkinson.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260826T190000
DTEND;TZID=America/Detroit:20260826T213000
DTSTAMP:20260810T173213Z
CREATED:20260612T150003Z
LAST-MODIFIED:20260810T173213Z
UID:10000344-1787770800-1787779800@bluellamaclub.com
SUMMARY:Aya Sekine 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/aya-sekine-trio-3/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/Aya-Sekine-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260827T190000
DTEND;TZID=America/Detroit:20260827T213000
DTSTAMP:20260603T182545Z
CREATED:20260603T182545Z
LAST-MODIFIED:20260603T182545Z
UID:10000336-1787857200-1787866200@bluellamaclub.com
SUMMARY:Stephen Rush 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/stephen-rush-trio/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/05/stephen-rush.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260828T190000
DTEND;TZID=America/Detroit:20260828T220000
DTSTAMP:20260618T142921Z
CREATED:20260603T182709Z
LAST-MODIFIED:20260618T142921Z
UID:10000337-1787943600-1787954400@bluellamaclub.com
SUMMARY:Xavier Davis 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/xavier-davis-quartet/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/05/xavier-davis.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260829T190000
DTEND;TZID=America/Detroit:20260829T213000
DTSTAMP:20260603T182814Z
CREATED:20260603T182814Z
LAST-MODIFIED:20260603T182814Z
UID:10000339-1788030000-1788039000@bluellamaclub.com
SUMMARY:Ben Paterson Organ Trio ft. Randy Napoleon
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/ben-paterson-organ-trio-ft-randy-napoleon/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/06/ben-paterson.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260830T180000
DTEND;TZID=America/Detroit:20260830T203000
DTSTAMP:20260603T183045Z
CREATED:20260603T183045Z
LAST-MODIFIED:20260603T183045Z
UID:10000340-1788112800-1788121800@bluellamaclub.com
SUMMARY: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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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-1/
ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/alonso.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260902T190000
DTEND;TZID=America/Detroit:20260902T220000
DTSTAMP:20260820T184828Z
CREATED:20260805T184745Z
LAST-MODIFIED:20260820T184828Z
UID:10000359-1788375600-1788386400@bluellamaclub.com
SUMMARY:Date Night: Aris Chalin Piano Duo
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/aris-chalin-piano-duo/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/aris-chanlin.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260903T190000
DTEND;TZID=America/Detroit:20260903T220000
DTSTAMP:20260716T180427Z
CREATED:20260716T180427Z
LAST-MODIFIED:20260716T180427Z
UID:10000363-1788462000-1788472800@bluellamaclub.com
SUMMARY:Max Bowen
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/max-bowen-1/
ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/MaxBowenBNW.jpg-sqLg.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260904T190000
DTEND;TZID=America/Detroit:20260904T220000
DTSTAMP:20260715T151742Z
CREATED:20260715T151742Z
LAST-MODIFIED:20260715T151742Z
UID:10000357-1788548400-1788559200@bluellamaclub.com
SUMMARY:Erinn Alexis' Huron Collective
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/erinn-alexis-huron-collective/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/erinn-alexis.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260905T190000
DTEND;TZID=America/Detroit:20260905T213000
DTSTAMP:20260709T200903Z
CREATED:20260709T200903Z
LAST-MODIFIED:20260709T200903Z
UID:10000352-1788634800-1788643800@bluellamaclub.com
SUMMARY:Isis Damil
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/isis-damil-2/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/isis-damil.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260906T180000
DTEND;TZID=America/Detroit:20260906T203000
DTSTAMP:20260803T184700Z
CREATED:20260803T184700Z
LAST-MODIFIED:20260803T184700Z
UID:10000386-1788717600-1788726600@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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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-4/
ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/IMG_9662.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260909T190000
DTEND;TZID=America/Detroit:20260909T213000
DTSTAMP:20260820T185814Z
CREATED:20260805T184546Z
LAST-MODIFIED:20260820T185814Z
UID:10000388-1788980400-1788989400@bluellamaclub.com
SUMMARY:Date Night: Jacob Hart Piano Duo
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/jacob-hart-piano-duo-3/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/jacob-hart.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260910T190000
DTEND;TZID=America/Detroit:20260910T213000
DTSTAMP:20260726T164042Z
CREATED:20260726T164042Z
LAST-MODIFIED:20260726T164042Z
UID:10000366-1789066800-1789075800@bluellamaclub.com
SUMMARY:Two James Spirits Dinner & Show with 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/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:20260911T190000
DTEND;TZID=America/Detroit:20260911T220000
DTSTAMP:20260810T170629Z
CREATED:20260630T134424Z
LAST-MODIFIED:20260810T170629Z
UID:10000343-1789153200-1789164000@bluellamaclub.com
SUMMARY:Tyreek McDole
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/tyreek-mcdole/
ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2026/06/tyreek-mcdole-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260912T183000
DTEND;TZID=America/Detroit:20260912T213000
DTSTAMP:20260709T200942Z
CREATED:20260709T200942Z
LAST-MODIFIED:20260709T200942Z
UID:10000353-1789237800-1789248600@bluellamaclub.com
SUMMARY:Sean Dobbins & The Collegiate Collage
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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-the-collegiate-collage-2/
ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/SeanDobbinsBNW.jpg-sqLg.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260913T180000
DTEND;TZID=America/Detroit:20260913T203000
DTSTAMP:20260819T152835Z
CREATED:20260720T175458Z
LAST-MODIFIED:20260819T152835Z
UID:10000370-1789322400-1789331400@bluellamaclub.com
SUMMARY:Joaquin Moore: There and Back Again
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/joaquin-moore-there-and-back-again/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/joaquin-moore.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260916T190000
DTEND;TZID=America/Detroit:20260916T213000
DTSTAMP:20260820T185518Z
CREATED:20260805T184338Z
LAST-MODIFIED:20260820T185518Z
UID:10000360-1789585200-1789594200@bluellamaclub.com
SUMMARY:Date Night: Jacob Hart Piano Duo
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/jacob-hart-piano-duo/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/jacob-hart.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260917T190000
DTEND;TZID=America/Detroit:20260917T213000
DTSTAMP:20260731T160529Z
CREATED:20260731T160529Z
LAST-MODIFIED:20260731T160529Z
UID:10000379-1789671600-1789680600@bluellamaclub.com
SUMMARY:Ron Brooks 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/ron-brooks-quartet/
ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/RonBrooksBNW.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260918T190000
DTEND;TZID=America/Detroit:20260918T213000
DTSTAMP:20260716T182902Z
CREATED:20260716T182902Z
LAST-MODIFIED:20260716T182902Z
UID:10000365-1789758000-1789767000@bluellamaclub.com
SUMMARY:Vincent Chandler Experience
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/vincent-chandler-experience/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/vincent-chandler.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260919T190000
DTEND;TZID=America/Detroit:20260919T213000
DTSTAMP:20260731T165409Z
CREATED:20260731T160043Z
LAST-MODIFIED:20260731T165409Z
UID:10000378-1789844400-1789853400@bluellamaclub.com
SUMMARY:David Janeway Trio ft. Ali Jackson & Rodney Whitaker
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/david-janeway-trio-2/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/david-janeway-.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260920T190000
DTEND;TZID=America/Detroit:20260920T203000
DTSTAMP:20260820T184721Z
CREATED:20260820T184721Z
LAST-MODIFIED:20260820T184721Z
UID:10000396-1789930800-1789936200@bluellamaclub.com
SUMMARY:Pandit Partha Bose + Pandit Samar Saha
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/pandit-partha-bose-pandit-samar-saha/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/samar-saha-1-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260923T190000
DTEND;TZID=America/Detroit:20260923T203000
DTSTAMP:20260728T180201Z
CREATED:20260728T180201Z
LAST-MODIFIED:20260728T180201Z
UID:10000355-1790190000-1790195400@bluellamaclub.com
SUMMARY:Nicole Zuraitis 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/nicole-zuraitis/
ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/07/Nicole-Z-Square.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260924T190000
DTEND;TZID=America/Detroit:20260924T213000
DTSTAMP:20260715T151921Z
CREATED:20260715T151921Z
LAST-MODIFIED:20260715T151921Z
UID:10000356-1790276400-1790285400@bluellamaclub.com
SUMMARY:Nate Topo Group
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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/nate-topo-group/
ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/NateTopoBNW.png.jpg-sqLg.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20260925T190000
DTEND;TZID=America/Detroit:20260925T213000
DTSTAMP:20260709T201039Z
CREATED:20260709T201039Z
LAST-MODIFIED:20260709T201039Z
UID:10000354-1790362800-1790371800@bluellamaclub.com
SUMMARY:Russ Macklem Detroit 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		RESERVE TABLE(opens in new tab)	\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		RESERVE TABLE(opens in new tab)	\n\n\n\n	\n\n\n	\n		\n	\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/russ-macklem-detroit-quintet-4/
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