BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Blue LLama - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH 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:20260527T190000 DTEND;TZID=America/Detroit:20260527T213000 DTSTAMP:20260414T073441 CREATED:20260309T150435Z LAST-MODIFIED:20260410T190651Z UID:10000290-1779908400-1779917400@bluellamaclub.com SUMMARY:Bob Sweet 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/bob-sweet-quartet-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/10/bob-sweet.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260528T190000 DTEND;TZID=America/Detroit:20260528T213000 DTSTAMP:20260414T073441 CREATED:20260219T155734Z LAST-MODIFIED:20260219T155734Z UID:10000270-1779994800-1780003800@bluellamaclub.com SUMMARY:Brian Charette 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/brian-charette-trio/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/02/Brian-Charette.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260529T190000 DTEND;TZID=America/Detroit:20260529T220000 DTSTAMP:20260414T073441 CREATED:20260302T183605Z LAST-MODIFIED:20260409T140755Z UID:10000245-1780081200-1780092000@bluellamaclub.com SUMMARY:Michael Mayo 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/michael-mayo-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/michael-mayo.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260530T190000 DTEND;TZID=America/Detroit:20260530T213000 DTSTAMP:20260414T073441 CREATED:20260219T155857Z LAST-MODIFIED:20260219T155857Z UID:10000271-1780167600-1780176600@bluellamaclub.com SUMMARY:Michael Dease 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/michael-dease-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/michael-dease.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260531T180000 DTEND;TZID=America/Detroit:20260531T203000 DTSTAMP:20260414T073441 CREATED:20260225T153654Z LAST-MODIFIED:20260225T153654Z UID:10000286-1780250400-1780259400@bluellamaclub.com SUMMARY:The NOW Trio ft. Travis Aukerman DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/the-now-trio-3/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/02/the-now-trio.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260603T190000 DTEND;TZID=America/Detroit:20260603T213000 DTSTAMP:20260414T073441 CREATED:20260310T192226Z LAST-MODIFIED:20260310T192226Z UID:10000280-1780513200-1780522200@bluellamaclub.com SUMMARY:Tristan Cappel 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/tristan-cappel-quintet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/02/tristan-cappel.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260604T190000 DTEND;TZID=America/Detroit:20260604T220000 DTSTAMP:20260414T073441 CREATED:20260406T162029Z LAST-MODIFIED:20260408T165249Z UID:10000298-1780599600-1780610400@bluellamaclub.com SUMMARY:Edmar Castaneda 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/edmar-castaneda/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/edmar-castaneda.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260605T160000 DTEND;TZID=America/Detroit:20260605T183000 DTSTAMP:20260414T073441 CREATED:20260409T142721Z LAST-MODIFIED:20260409T142721Z UID:10000309-1780675200-1780684200@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-6/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/09/kerrytown-stompers.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260605T190000 DTEND;TZID=America/Detroit:20260605T220000 DTSTAMP:20260414T073441 CREATED:20260413T185021Z LAST-MODIFIED:20260413T185021Z UID:10000301-1780686000-1780696800@bluellamaclub.com SUMMARY:Matt Von Roderick 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/matt-von-roderick/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/matt-von-roderick.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260606T190000 DTEND;TZID=America/Detroit:20260606T220000 DTSTAMP:20260414T073441 CREATED:20260129T154259Z LAST-MODIFIED:20260310T192326Z UID:10000253-1780772400-1780783200@bluellamaclub.com SUMMARY:Straight Ahead DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/straight-ahead-7/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/straight-ahead.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260607T180000 DTEND;TZID=America/Detroit:20260607T203000 DTSTAMP:20260414T073441 CREATED:20260310T192432Z LAST-MODIFIED:20260310T192432Z UID:10000291-1780855200-1780864200@bluellamaclub.com SUMMARY:Alain Sullivan's SoulHeart Collective DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n \n \n \n\n \n \n\n\n\n \n\n\n \n \n \n \n About the Artist\n \n \n\n\n\n \n\n\n \n \n\n \n \n \n \n Dave McMurray’s move to Blue Note Records is a reunion of sorts\, given the long history the saxophonist shares with the label’s president\, and fellow Detroit native\, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was)\, first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since. \nWhen Was signed McMurray to Blue Note\, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said\, ‘Do it\,’” McMurray explains. \nMcMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King\, The Rolling Stones\, Bob Dylan\, Iggy Pop\, Patti Smith\, Bonnie Raitt\, Johnny Hallyday\, Gladys Knight\, Albert King\, Nancy Wilson\, KEM\, Bootsy Collins\, Herbie Hancock\, Geri Allen\, and Bob James. McMurray sounds as assured and inspired in a rock\, R&B\, funk\, pop or folk setting as he does playing hard bop. \nMcMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play\, it feels like they are singing. I don’t care if it’s Yusef Lateef\, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it\,” McMurray says. \nFor sure\, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound\, P-Funk\, numerous rock acts such as Stooges and the MC5\, electronica-music pioneers Carl Craig\, Moodymann and Theo Parrish; and hip-hop icons – J Dilla\, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones\, Betty Carter\, Milt Jackson\, Regina Carter and Geri Allen. \nMcMurray’s journey into music began when he started playing clarinet as kid\, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument\, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school\, McMurray attended Cranbook Academy of Arts’ noted summer program\, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University\, where he earned degrees in psychology and urban studies. \nWhile making his way on Detroit’s bustling music scene\, McMurray played with the avant-garde jazz ensemble\, Griot Galaxy\, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it\,” McMurray asserts. “It could be rock\, jazz\, R&B\, whatever.” And that’s a good explanation for his multifaceted career. \n\n \n\n\n\n \n \n \n \n \n \n \n \n \n\n\n \n \n \n RESERVE TABLE\n \n\n \n\n\n\n \n\n\n \n \n \n\n\n \n \n \n\n \n \n \n \n\n\n\n \n \n \n \n\n\n\n \n \n \n\nLEARN MORE URL:https://bluellamaclub.com/event/alain-sullivans-soulheart-collective-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/12/AlainSullivanBNW.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260610T190000 DTEND;TZID=America/Detroit:20260610T220000 DTSTAMP:20260414T073441 CREATED:20260327T163907Z LAST-MODIFIED:20260327T164022Z UID:10000305-1781118000-1781128800@bluellamaclub.com SUMMARY:James Gaiters 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/james-gaiters-quartet/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/james-gaiters.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260611T190000 DTEND;TZID=America/Detroit:20260611T220000 DTSTAMP:20260414T073441 CREATED:20260310T192930Z LAST-MODIFIED:20260310T192930Z UID:10000292-1781204400-1781215200@bluellamaclub.com SUMMARY:Kasan Belgrave 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/kasan-belgrave/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/KasanBelgrave-Newcropped.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260612T190000 DTEND;TZID=America/Detroit:20260612T220000 DTSTAMP:20260414T073441 CREATED:20260310T193050Z LAST-MODIFIED:20260310T193050Z UID:10000281-1781290800-1781301600@bluellamaclub.com SUMMARY:Jordan VanHemert 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-vanhemert/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/02/tristan-cappel-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260613T190000 DTEND;TZID=America/Detroit:20260613T220000 DTSTAMP:20260414T073441 CREATED:20260310T193355Z LAST-MODIFIED:20260409T141701Z UID:10000282-1781377200-1781388000@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-6/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/SeanDobbinsBNW.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260614T180000 DTEND;TZID=America/Detroit:20260614T203000 DTSTAMP:20260414T073441 CREATED:20260310T193516Z LAST-MODIFIED:20260310T193516Z UID:10000279-1781460000-1781469000@bluellamaclub.com SUMMARY:Nick Collins 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/nick-collins-trio-2/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/nick-collins.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260617T190000 DTEND;TZID=America/Detroit:20260617T213000 DTSTAMP:20260414T073441 CREATED:20260316T155142Z LAST-MODIFIED:20260316T155142Z UID:10000300-1781722800-1781731800@bluellamaclub.com SUMMARY:Third Coast Swing DESCRIPTION:Fri | May 22 \n\n \n \n Dave McMurray\n \n \n\n\n \n \n Sets 7pm & 9pm | $25 Cover \n\n \n\n\n \n \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/third-coast-swing-2/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2025/08/third-coast-swing.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260618T190000 DTEND;TZID=America/Detroit:20260618T213000 DTSTAMP:20260414T073441 CREATED:20260310T195017Z LAST-MODIFIED:20260310T204926Z UID:10000293-1781809200-1781818200@bluellamaclub.com SUMMARY:Hannah Marks 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/hannah-marks/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/hannah-marks-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260620T190000 DTEND;TZID=America/Detroit:20260620T213000 DTSTAMP:20260414T073441 CREATED:20260326T195555Z LAST-MODIFIED:20260326T195555Z UID:10000304-1781982000-1781991000@bluellamaclub.com SUMMARY:Keigo Hirakawa 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/keigo-hirakawa-quartet/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/07/hands.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260621T180000 DTEND;TZID=America/Detroit:20260621T203000 DTSTAMP:20260414T073441 CREATED:20260310T195301Z LAST-MODIFIED:20260310T201426Z UID:10000294-1782064800-1782073800@bluellamaclub.com SUMMARY:Rossano Sportiello Trio ft. Paul Keller & Ed Metz 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/rossano-sportiello-trio-ft-paul-keller-ed-metz/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/rossano-sportiello.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260624T190000 DTEND;TZID=America/Detroit:20260624T213000 DTSTAMP:20260414T073441 CREATED:20260310T195532Z LAST-MODIFIED:20260310T195532Z UID:10000295-1782327600-1782336600@bluellamaclub.com SUMMARY:Chuck Redd 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/chuck-redd/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/chuck-redd.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260625T190000 DTEND;TZID=America/Detroit:20260625T213000 DTSTAMP:20260414T073441 CREATED:20260310T195716Z LAST-MODIFIED:20260310T195716Z UID:10000274-1782414000-1782423000@bluellamaclub.com SUMMARY:Michael Malis 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/michael-malis/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/02/michael-malis-.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260626T160000 DTEND;TZID=America/Detroit:20260626T180000 DTSTAMP:20260414T073441 CREATED:20260316T160640Z LAST-MODIFIED:20260316T160640Z UID:10000297-1782489600-1782496800@bluellamaclub.com SUMMARY:Happy Hour: University of Michigan Jazz Ambassadors 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/university-of-michigan-jazz-ambassadors/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/UofMJazzAmbassadorsBNW.png.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260626T190000 DTEND;TZID=America/Detroit:20260626T220000 DTSTAMP:20260414T073441 CREATED:20260310T195823Z LAST-MODIFIED:20260323T202715Z UID:10000296-1782500400-1782511200@bluellamaclub.com SUMMARY:Marion Hayden Legacy 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/marion-hayden-legacy-ensemble/ ATTACH;FMTTYPE=image/jpeg:https://bluellamaclub.com/wp-content/uploads/2025/03/marion-hayden.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260627T190000 DTEND;TZID=America/Detroit:20260627T213000 DTSTAMP:20260414T073441 CREATED:20260310T200032Z LAST-MODIFIED:20260310T200032Z UID:10000284-1782586800-1782595800@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-4/ ATTACH;FMTTYPE=image/webp:https://bluellamaclub.com/wp-content/uploads/2025/06/OliviaVanoorBNW2.jpg-sqLg.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Detroit:20260628T190000 DTEND;TZID=America/Detroit:20260628T220000 DTSTAMP:20260414T073441 CREATED:20260319T162427Z LAST-MODIFIED:20260319T162427Z UID:10000302-1782673200-1782684000@bluellamaclub.com SUMMARY:Erena Terakubo 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/erena-terakubo/ ATTACH;FMTTYPE=image/png:https://bluellamaclub.com/wp-content/uploads/2026/03/erena-terakuba.png END:VEVENT END:VCALENDAR