BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Blue LLama - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Blue LLama X-ORIGINAL-URL:https://bluellamaclub.com X-WR-CALDESC:Events for Blue LLama REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Detroit BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20270314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20271107T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260201T180000 DTEND;TZID=America/Detroit:20260201T203000 DTSTAMP:20260416T090019 CREATED:20251215T184620Z LAST-MODIFIED:20260119T163939Z UID:10000212-1769968800-1769977800@bluellamaclub.com SUMMARY:Sandra Bomar Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sandra-bomar/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/05/SandraBomarBNW.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260131T190000 DTEND;TZID=America/Detroit:20260131T213000 DTSTAMP:20260416T090019 CREATED:20251120T215809Z LAST-MODIFIED:20260119T163825Z UID:10000169-1769886000-1769895000@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 \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/russ-macklem-detroit-quintet-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/RussMacklemCOLOR-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260130T190000 DTEND;TZID=America/Detroit:20260130T213000 DTSTAMP:20260416T090019 CREATED:20251120T215720Z LAST-MODIFIED:20260119T163716Z UID:10000185-1769799600-1769808600@bluellamaclub.com SUMMARY:Dwight Adams Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/dwight-adams-quartet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/dwight-adams.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260130T160000 DTEND;TZID=America/Detroit:20260130T183000 DTSTAMP:20260416T090019 CREATED:20251124T212552Z LAST-MODIFIED:20260119T163624Z UID:10000184-1769788800-1769797800@bluellamaclub.com SUMMARY:Swing Happy Hour: Kerrytown Stompers DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/swing-happy-hour-kerrytown-stompers-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/kerrytown-stompers.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260129T190000 DTEND;TZID=America/Detroit:20260129T213000 DTSTAMP:20260416T090019 CREATED:20251120T215546Z LAST-MODIFIED:20260122T185142Z UID:10000183-1769713200-1769722200@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 \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/aya-sekine-trio/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/Aya-Sekine-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260128T190000 DTEND;TZID=America/Detroit:20260128T213000 DTSTAMP:20260416T090019 CREATED:20251128T221137Z LAST-MODIFIED:20260119T163456Z UID:10000189-1769626800-1769635800@bluellamaclub.com SUMMARY:Elvin Sharp Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/elvin-sharp-quartet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/elvin-sharp.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260125T173000 DTEND;TZID=America/Detroit:20260125T220000 DTSTAMP:20260416T090019 CREATED:20251205T185402Z LAST-MODIFIED:20260112T184950Z UID:10000175-1769362200-1769378400@bluellamaclub.com SUMMARY:Hamilton de Holanda DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/hamilton-de-holanda/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/hamilton-de-holanda.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260124T190000 DTEND;TZID=America/Detroit:20260124T213000 DTSTAMP:20260416T090019 CREATED:20251120T215417Z LAST-MODIFIED:20260112T173719Z UID:10000182-1769281200-1769290200@bluellamaclub.com SUMMARY:Nick Collins Sextet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/nick-collins-sextet-5/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/nick-collins.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260123T190000 DTEND;TZID=America/Detroit:20260123T213000 DTSTAMP:20260416T090019 CREATED:20251120T215253Z LAST-MODIFIED:20260112T173400Z UID:10000188-1769194800-1769203800@bluellamaclub.com SUMMARY:Ona ft. Gayelynn McKinney\, Laura-Simone & Redwood DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/ona/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/GayelynnMcKinneyBNW_copy.png.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260122T190000 DTEND;TZID=America/Detroit:20260122T213000 DTSTAMP:20260416T090019 CREATED:20251120T215137Z LAST-MODIFIED:20260112T172902Z UID:10000187-1769108400-1769117400@bluellamaclub.com SUMMARY:Max Bowen Special Quintet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/max-bowen-special-quintet/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/MaxBowenBNW.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260121T190000 DTEND;TZID=America/Detroit:20260121T213000 DTSTAMP:20260416T090019 CREATED:20251203T164517Z LAST-MODIFIED:20260118T193809Z UID:10000210-1769022000-1769031000@bluellamaclub.com SUMMARY:Tumbao Bravo DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/tumbao-bravo-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/tumbao-bravo.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260118T180000 DTEND;TZID=America/Detroit:20260118T203000 DTSTAMP:20260416T090019 CREATED:20251120T214940Z LAST-MODIFIED:20251120T214940Z UID:10000167-1768759200-1768768200@bluellamaclub.com SUMMARY:Sarah D'Angelo & Cliff Monear DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sarah-dangelo-cliff-monear-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/07/CliffMonearCliffMonear.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260117T183000 DTEND;TZID=America/Detroit:20260117T213000 DTSTAMP:20260416T090019 CREATED:20251120T214809Z LAST-MODIFIED:20260109T154442Z UID:10000181-1768674600-1768685400@bluellamaclub.com SUMMARY:Sean Dobbins Organ Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sean-dobbins-2-2/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/SeanDobbinsBNW.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260116T190000 DTEND;TZID=America/Detroit:20260116T220000 DTSTAMP:20260416T090019 CREATED:20251124T201709Z LAST-MODIFIED:20260116T182536Z UID:10000191-1768590000-1768600800@bluellamaclub.com SUMMARY:Shahida Nurullah & Good Company DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/shahida-nurullah-good-company/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/shahida-nurullah.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260116T160000 DTEND;TZID=America/Detroit:20260116T180000 DTSTAMP:20260416T090019 CREATED:20251124T201328Z LAST-MODIFIED:20251124T201328Z UID:10000190-1768579200-1768586400@bluellamaclub.com SUMMARY:WEMU 5:01 Jazz Series: Rick Roe DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/wemu-501-jazz-series-rick-roe/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/rick-roe.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260115T190000 DTEND;TZID=America/Detroit:20260115T213000 DTSTAMP:20260416T090019 CREATED:20251120T214648Z LAST-MODIFIED:20251208T211337Z UID:10000180-1768503600-1768512600@bluellamaclub.com SUMMARY:Jonathan Barahal Taylor Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/jonathan-barahal-taylor-quartet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/jonathon-barahal.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260114T190000 DTEND;TZID=America/Detroit:20260114T213000 DTSTAMP:20260416T090019 CREATED:20251201T161642Z LAST-MODIFIED:20260105T172714Z UID:10000195-1768417200-1768426200@bluellamaclub.com SUMMARY:Alain Sullivan's SoulHeart 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 \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/alain-sullivans-soulheart-collective/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/AlainSullivanBNW.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260111T180000 DTEND;TZID=America/Detroit:20260111T203000 DTSTAMP:20260416T090019 CREATED:20251124T202004Z LAST-MODIFIED:20251124T202004Z UID:10000192-1768154400-1768163400@bluellamaclub.com SUMMARY:The Triumvirate DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/the-triumvirate-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/08/IMG_4707.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260110T183000 DTEND;TZID=America/Detroit:20260110T213000 DTSTAMP:20260416T090019 CREATED:20251009T135340Z LAST-MODIFIED:20260107T173153Z UID:10000157-1768069800-1768080600@bluellamaclub.com SUMMARY:Don Was and the Pan-Detroit Ensemble DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/don-was-and-the-pan-detroit-ensemble-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/10/Don-Was.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260109T183000 DTEND;TZID=America/Detroit:20260109T213000 DTSTAMP:20260416T090019 CREATED:20251009T135227Z LAST-MODIFIED:20260102T172100Z UID:10000156-1767983400-1767994200@bluellamaclub.com SUMMARY:Don Was and the Pan-Detroit Ensemble DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/don-was-and-the-pan-detroit-ensemble-1/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/10/Don-Was.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260108T190000 DTEND;TZID=America/Detroit:20260108T213000 DTSTAMP:20260416T090019 CREATED:20251120T214257Z LAST-MODIFIED:20251229T161828Z UID:10000178-1767898800-1767907800@bluellamaclub.com SUMMARY:Signal Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/signal-quartet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/signal-quartet.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260107T190000 DTEND;TZID=America/Detroit:20260107T213000 DTSTAMP:20260416T090019 CREATED:20251120T214135Z LAST-MODIFIED:20251120T214135Z UID:10000177-1767812400-1767821400@bluellamaclub.com SUMMARY:Arnold/Jassi/Kramer: World Transcendence DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/arnold-jassi-kramer/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/ArnoldJassiKramerBNW.png.jpg-sqLg-1.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251231T210000 DTEND;TZID=America/Detroit:20251231T235900 DTSTAMP:20260416T090019 CREATED:20251029T224200Z LAST-MODIFIED:20251031T165048Z UID:10000140-1767214800-1767225540@bluellamaclub.com SUMMARY:New Year's Eve with Thornetta Davis DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/new-years-eve-with-thornetta-davis/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/thornetta-davis.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251231T190000 DTEND;TZID=America/Detroit:20251231T200000 DTSTAMP:20260416T090019 CREATED:20251029T224259Z LAST-MODIFIED:20251217T203719Z UID:10000141-1767207600-1767211200@bluellamaclub.com SUMMARY:Early NYE with Paul Keller Quintet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/paul-keller-quintet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/paul-keller.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251228T180000 DTEND;TZID=America/Detroit:20251228T203000 DTSTAMP:20260416T090019 CREATED:20251001T164928Z LAST-MODIFIED:20251228T181337Z UID:10000154-1766944800-1766953800@bluellamaclub.com SUMMARY:Brandon Rose & Soul Therapy DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/brandon-rose-soul-therapy/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/10/brandon-rose.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251227T221500 DTEND;TZID=America/Detroit:20251227T231500 DTSTAMP:20260416T090019 CREATED:20251028T172311Z LAST-MODIFIED:20251215T161241Z UID:10000163-1766873700-1766877300@bluellamaclub.com SUMMARY:Late Night: Bunkerman DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/bunkerman/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/10/BunkermanBNW.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251227T183000 DTEND;TZID=America/Detroit:20251227T213000 DTSTAMP:20260416T090019 CREATED:20251001T163924Z LAST-MODIFIED:20251215T160721Z UID:10000153-1766860200-1766871000@bluellamaclub.com SUMMARY:Ralphe Armstrong Trio DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/ralphe-armstrong-trio/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Ralphe-Armstrong.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251226T190000 DTEND;TZID=America/Detroit:20251226T220000 DTSTAMP:20260416T090019 CREATED:20251001T163122Z LAST-MODIFIED:20251030T210615Z UID:10000152-1766775600-1766786400@bluellamaclub.com SUMMARY:Sean Dobbins Soulful Holiday Show DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/sean-dobbins-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:20251226T170000 DTEND;TZID=America/Detroit:20251226T183000 DTSTAMP:20260416T090019 CREATED:20251117T175520Z LAST-MODIFIED:20251117T175520Z UID:10000186-1766768400-1766773800@bluellamaclub.com SUMMARY:Swing Happy Hour: Dawn Giblin Quintet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/swing-happy-hour-dawn-giblin-quintet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/Dawn-Giblin.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20251221T180000 DTEND;TZID=America/Detroit:20251221T213000 DTSTAMP:20260416T090019 CREATED:20250917T152527Z LAST-MODIFIED:20251208T162355Z UID:10000125-1766340000-1766352600@bluellamaclub.com SUMMARY:Maurice MOBETTA Brown DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/maurice-mobetta-brown/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/maurice-brown.png END:VEVENT END:VCALENDAR