Since opening its doors six months ago, Blue Note Los Angeles has been living up to the company’s expectations — more quickly than envisioned.

“The speed at which it’s developed into a comfortable home for artists is moving more rapidly than I expected,” says Alex Kurland, director of programming/talent buyer for the L.A. venue as well as Blue Note New York and the company’s festivals division. “That usually takes time to develop and evolve. However, it’s becoming a magnet for artists — not just to perform but to hang out and check out other artists; to also be an inspirational resource. That’s a very natural, organic process that gives birth to ideas, collaborations and special experiences.”

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Blue Note LA closed out 2025 with shows featuring Killer Mike, Ben Folds, Charlie Puth, Andra Day and El DeBarge, the latter for a special New Year’s Eve performance. The club has since kicked off 2026 with another diverse lineup of artists ranging from Nick Jonas, Sienna Spiro and Willow to upcoming engagements headlined by Lizzo, Samara Joy, newly minted Grammy winner Durand Bernarr and rising artist JayDon. As an example of ticket prices: for hip-hop trio Digable Planets — appearing in March — the cost for table seating is $77.20 ($65.00 + $12.20 fees); the bar area goes for $54.54 ($45.00 + $9.54 fees). Various shows, like Bernarr’s in April, are already sold out per the club’s website.

Blue Note LA is also part of the hotel and ticket packages being planned for the annual Blue Note Jazz Festival Hollywood Bowl. In addition to the two-day (June 13-14) show starring jazz, R&B and soul artists (lineup to be announced), attendees are being offered the opportunity to book a three-night luxury stay at the iconic Hollywood Roosevelt in a package that also includes additional events at Blue Note LA.

In the following interview, Kurland further outlines how “we hope to work toward Blue Note LA being an epicenter for artistic greatness and high visibility moments in culture.”

What else makes the club such a draw for artists?

Because the room is so intimate, up close and personal, you’re right in the midst of the music as it’s happening. You can really feel it. And as the venue’s artistic ambassador, Robert Glasper brings another vibe. The range of programming is dynamic and consistent, which is extremely important when it comes to developing anything new. So is sustainability with the spontaneous, improvised moments that unfold every single night, seven nights a week.

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Moments like Robert Glasper collaborating with Stevie Wonder, Charlie Puth singing duets with Coco Jones; Raphael Saadiq singing his heart out and Thundercat with Questlove laying down grooves. Strong vibes and special moments that are impactful artistically and within culture. There’s so much range, and the influence of jazz pulses through the veins of it all in terms of the music having the freedom and spontaneity. Moments that are reflective of and dealing with improvisation within the intimate space of the jazz club. 

I say moments because typically, in the music business, we think very transactionally in terms of shows. Shows come and go: they’re booked and programmed. They have a start time and an end time. But the intention at Blue Note is to be a sanctuary for artists where the spirit of jazz is very much alive. An artist may not be as familiar with performing in such an intimate space. But this type of presentation really reveals that next level; the vulnerability and choices that an artist makes onstage. It’s a great resource for artists to hone their musicianship and artistry. Because of the intimacy and the truly live element, it’s a very revealing format. There’s no opportunity to hide behind a track. No opportunity to hide behind clipping, editing and repurposing a 30-second clip that may find its way on TikTok.

From Nick Jonas to Lizzo. From Durand Bernarr to the buzzed-about Sienna Spiro. Talk about your booking strategy.

There are so many artists ranging from pop to R&B to jazz and beyond. I don’t even like to use genres to describe some of these artists because it’s all kind of one thing and there’s so much cross pollination. For me, the process is a bit case-by- case. There isn’t really one angle. Some shows are booked far out in advance. Some are booked just weeks out based on availability. It’s important to leave space in the calendar because some of the best magical moments present themselves at the last minute. It’s just about having open ears; having artists, friends and other resources with great taste. It’s very holistic and open-ended.

Sometimes we see artists who are special guests on shows with other artists, and it’s, “Wow, you’re unbelievable; we have to do shows with you.” Like with Death Row artist Jane Handcock. She works with the Anderson.Paak camp and was a special guest with Tank and the Bangas. It’s about being very intentional and strategic around timing and how to bring the most value to the artist. Timing is really important for a lot of these acts coming in who may be treating the Blue Note show as a promotional vehicle. Nick Jonas and Willow were recently presented around an album release. I’ve been very intentional about trying to also expand our booking process by being very inclusive of the labels; even working directly with them in support of marketing and promotional outcomes. Sienna Spiro played here during Grammy Week with an incredible band that we curated for her, and it was a total win-win. That experience was very much led by Interscope.

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I’d like to work with all the label systems on a regular basis because, at the end of the day, this is a 200-capacity jazz club. Artists have choices and major artists don’t need to play small rooms. So it has to be in service and support of something that’s special to them and their labels. Something that has a big impact, a big outcome and, ultimately, is enjoyable and reaffirming for them as an artist.

What role do Blue Note’s mini-residencies play in fostering Blue Note vibe?

Multi-night engagements have always been a primary characteristic of Blue Note New York, dating back to when it opened . During the jazz club period in the ‘50s, Charlie Parker would probably be playing on 52nd Street for a week, four sets a night. It’s a format that a lot of artists playing the Blue Note now are completely unfamiliar with: performing two shows a night and sometimes over multiple nights. Upcoming, we have Lizzo who will be performing six sets in a row over three nights . I’m excited because that’s a very deep musical experience for an artist. It can also be physically and emotionally challenging. It means different things to different artists, but it’s all part of the growth process. Wyclef Jean recently did four nights in New York and in L.A. And his last set of his last night was unbelievable featuring special moments that were fresh for the audience — and him.

How did your pairing hip-hop artists with live backing bands come about?

It’s just another type of approach to performing live and reimagining the music. In New York, we brought in Bob James, credited as being one of the most sampled artists. He performed multiple nights with rapper Talib Kweli and his band. We also brought in different MCs who had sampled James and that music was performed live with James actually playing those parts. When performed live like that, you’re listening and finding your space within the spontaneous qualities coming out of the choices an MC is making of what to do and what not to do around the music. It’s just a whole kind of vibe.

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What are the additional benefits of the coast-to-coast synergy you’re establishing between the New York and L.A. venues?

Performing at Blue Note LA. and Blue Note New York in close alignment is designed to mirror and complement one another. Examples include Sasha Keable, Tiana Major9, Charlie Puth, Tank and the Bangas and Aloe Blacc. This approach creates a special opportunity for artists to tap into the distinct qualities of L.A. and New York City. The venues share the same intimate jazz club format and physical capacity. Yet the experience also offers artistically inspiring contrasts: the iconic original Blue Note New York jazz club — rooted in the history, character and culture of that city — paired with the modern, elevated, very “L.A.”  Blue Note Los Angeles experience. This coast-to-coast journey allows artists to create meaningful, enriched experiences that reflect the iconic vibes of each city, while maintaining the intimacy and connection that defines Blue Note. For instance, we had The Soul Rebels in New York City and brought in special guests Rakim, Ja Rule and Ghostface Killah to perform with them. In L.A., we had Too $hort join them.

How challenging are the economics of running a live club today vs. five-10 years ago?

Everything is more expensive. Costs are significantly higher. It’s a burden to venues because of the overwhelming expenses. But it’s a real burden to the artist: the cost of travel, hotel accommodations, getting a band together, routing a tour or even a one-off date. It’s all just more challenging. It also requires increasing ticket pricing to be able to cover the increase in expenses and costs. That’s challenging as well for the patrons. We haven’t seen an overwhelming decrease , but the responsibility on our end is that the shows have to be experiences. For ticket buyers to take money out of their wallets that they work very hard to make — considering the current state of the economy — they have to be investing their money in an experience that they’re going to remember. That’s the goal we’re working toward every single night of the week.