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: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:20260228T190000 DTEND;TZID=America/Detroit:20260228T220000 DTSTAMP:20260418T101059 CREATED:20251215T192817Z LAST-MODIFIED:20260216T163744Z UID:10000198-1772305200-1772316000@bluellamaclub.com SUMMARY:Chico Pinheiro + Kzoo Jazz Project 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/chico-pinheiro-kzoo-jazz-project/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/chico-pinheiro.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260227T190000 DTEND;TZID=America/Detroit:20260227T213000 DTSTAMP:20260418T101059 CREATED:20260119T171905Z LAST-MODIFIED:20260216T163315Z UID:10000197-1772218800-1772227800@bluellamaclub.com SUMMARY:Kahil El'Zabar's Ethnic Heritage 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/kahil-el-zabar/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/kahil-el-zabar.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260226T190000 DTEND;TZID=America/Detroit:20260226T213000 DTSTAMP:20260418T101059 CREATED:20251215T192530Z LAST-MODIFIED:20260216T162719Z UID:10000218-1772132400-1772141400@bluellamaclub.com SUMMARY:Houston Patton & Hidden Nomination 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/houston-patton-hidden-nomination-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/houston-patton.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260225T190000 DTEND;TZID=America/Detroit:20260225T213000 DTSTAMP:20260418T101059 CREATED:20260105T185307Z LAST-MODIFIED:20260216T162058Z UID:10000234-1772046000-1772055000@bluellamaclub.com SUMMARY:Ramona Collins 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/ramona-collins-quartet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/01/ramona-collins.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260222T180000 DTEND;TZID=America/Detroit:20260222T203000 DTSTAMP:20260418T101059 CREATED:20260107T161929Z LAST-MODIFIED:20260209T163523Z UID:10000236-1771783200-1771792200@bluellamaclub.com SUMMARY:Jordan Anderson 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/jordan-anderson-trio/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/01/jordan-anderson.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260221T190000 DTEND;TZID=America/Detroit:20260221T213000 DTSTAMP:20260418T101059 CREATED:20251215T192055Z LAST-MODIFIED:20260209T162636Z UID:10000173-1771700400-1771709400@bluellamaclub.com SUMMARY:Sean Dobbins All Star 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/sean-dobbins-3/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/SeanDobbinsBNW.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260220T190000 DTEND;TZID=America/Detroit:20260220T213000 DTSTAMP:20260418T101059 CREATED:20251215T191936Z LAST-MODIFIED:20260209T162151Z UID:10000172-1771614000-1771623000@bluellamaclub.com SUMMARY:Nate Winn Group DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \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/nate-winn-group/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/11/nate-winn.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260220T160000 DTEND;TZID=America/Detroit:20260220T183000 DTSTAMP:20260418T101059 CREATED:20251215T191734Z LAST-MODIFIED:20260119T171100Z UID:10000196-1771603200-1771612200@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-3/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/kerrytown-stompers.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260219T190000 DTEND;TZID=America/Detroit:20260219T213000 DTSTAMP:20260418T101059 CREATED:20251215T191417Z LAST-MODIFIED:20260209T161402Z UID:10000217-1771527600-1771536600@bluellamaclub.com SUMMARY:Ken Kozora 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/ken-kozora-quartet-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/ken-kozora-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260218T190000 DTEND;TZID=America/Detroit:20260218T213000 DTSTAMP:20260418T101059 CREATED:20251215T191130Z LAST-MODIFIED:20260209T160938Z UID:10000216-1771441200-1771450200@bluellamaclub.com SUMMARY:Nate Topo 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/nate-topo-quintet/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/NateTopoBNW.png.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260215T180000 DTEND;TZID=America/Detroit:20260215T203000 DTSTAMP:20260418T101059 CREATED:20251217T151119Z LAST-MODIFIED:20260202T160120Z UID:10000220-1771178400-1771187400@bluellamaclub.com SUMMARY:Chris Glassman DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/chris-glassman/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Chris-Glassman-the-Technocats.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260214T190000 DTEND;TZID=America/Detroit:20260214T213000 DTSTAMP:20260418T101059 CREATED:20260114T212056Z LAST-MODIFIED:20260205T152707Z UID:10000171-1771095600-1771104600@bluellamaclub.com SUMMARY:Isis Damil DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \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/isis-damil/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/isis-damil.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260213T190000 DTEND;TZID=America/Detroit:20260213T213000 DTSTAMP:20260418T101059 CREATED:20260114T212019Z LAST-MODIFIED:20260212T213432Z UID:10000194-1771009200-1771018200@bluellamaclub.com SUMMARY:La Tanya Hall 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/la-tanya-hall-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/la-tanya-hall.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260212T190000 DTEND;TZID=America/Detroit:20260212T213000 DTSTAMP:20260418T101059 CREATED:20251216T153121Z LAST-MODIFIED:20260202T154626Z UID:10000219-1770922800-1770931800@bluellamaclub.com SUMMARY:Aguankó 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/aguanko-3/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/aguanko.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260211T190000 DTEND;TZID=America/Detroit:20260211T213000 DTSTAMP:20260418T101059 CREATED:20260107T155545Z LAST-MODIFIED:20260202T154223Z UID:10000235-1770836400-1770845400@bluellamaclub.com SUMMARY:Great Lakes Brass 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/great-lakes-brass/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2026/01/great-lakes-brass.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260208T180000 DTEND;TZID=America/Detroit:20260208T203000 DTSTAMP:20260418T101059 CREATED:20251215T190639Z LAST-MODIFIED:20260119T165949Z UID:10000215-1770573600-1770582600@bluellamaclub.com SUMMARY:An Evening with Bob Mervak DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/bob-mervak-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/10/bob-mervak.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260207T190000 DTEND;TZID=America/Detroit:20260207T213000 DTSTAMP:20260418T101059 CREATED:20251215T185951Z LAST-MODIFIED:20260126T155944Z UID:10000170-1770490800-1770499800@bluellamaclub.com SUMMARY:Olivia Van Goor 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/olivia-van-goor-quartet-3/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/OliviaVanoorBNW2.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260206T190000 DTEND;TZID=America/Detroit:20260206T213000 DTSTAMP:20260418T101059 CREATED:20251215T185842Z LAST-MODIFIED:20260119T165600Z UID:10000214-1770404400-1770413400@bluellamaclub.com SUMMARY:Tariq Gardner & Evening Star DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/tariq-gardner-evening-star-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/space-odyssey.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260206T160000 DTEND;TZID=America/Detroit:20260206T180000 DTSTAMP:20260418T101059 CREATED:20251215T185507Z LAST-MODIFIED:20260119T165448Z UID:10000193-1770393600-1770400800@bluellamaclub.com SUMMARY:WEMU 5:01 Jazz Series: organissimo 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-organissimo/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/organissmo.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260205T190000 DTEND;TZID=America/Detroit:20260205T213000 DTSTAMP:20260418T101059 CREATED:20251215T185131Z LAST-MODIFIED:20260126T154732Z UID:10000213-1770318000-1770327000@bluellamaclub.com SUMMARY:Ron Brooks 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/ron-brooks-quintet-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/RonBrooksBNW.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260204T190000 DTEND;TZID=America/Detroit:20260204T213000 DTSTAMP:20260418T101059 CREATED:20260105T183803Z LAST-MODIFIED:20260126T154429Z UID:10000233-1770231600-1770240600@bluellamaclub.com SUMMARY:Jauron Perry Quartet DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/jauron-perry-quartet-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/Screenshot-2025-07-25-at-11.32.24 AM.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260201T180000 DTEND;TZID=America/Detroit:20260201T203000 DTSTAMP:20260418T101059 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:20260418T101100 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:20260418T101100 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:20260418T101100 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:20260418T101100 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:20260418T101100 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:20260418T101100 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:20260418T101100 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:20260418T101100 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 END:VCALENDAR