Saxophonist Dave McMurray departs from his last two *Grateful Deadication* albums with *I LOVE LIFE even when I’m hurting*, his fourth Blue Note release. Well, almost. He does include one Grateful Dead tune on the record, but beyond that, the album takes an eclectic turn. With vocal, jazz, soul, and funk tracks, it offers a rich and varied listening experience.

In many ways, *I LOVE LIFE even when I’m hurting* serves as a companion album to the recently released *Groove in the Face of Adversity* by Don Was and the Pan-Detroit Ensemble. McMurray is a member of that band, and co-producer Don Was—who has known McMurray for more than four decades—plays acoustic bass on five of the nine tracks here. Several other members of the Pan-Detroit Ensemble also contribute to the album.

Both albums share themes of resilience and endurance while celebrating Detroit’s vibrant musical heritage. They were recorded at Rustbelt Studios in Royal Oak, Michigan, further cementing their connection.

McMurray composed six of the nine tracks on *I LOVE LIFE even when I’m hurting*, inspired by a friend who eventually succumbed to illness and died alone. His response was one of resilience, choosing to write songs centered around positivity. The opening track, “This Life,” played unaccompanied on tenor saxophone with words, sets the tone for the album.

McMurray explains, “It’s a smile waiting for me somewhere… It’s a joke flying around for me to laugh at. It’s my duty to live. It’s my pleasure to love. I love life even when I’m hurting.”

He then launches into the Afrobeat groove of “Jungaleers,” supported by musicians who have played on his previous albums and are members of the Pan-Detroit Ensemble. Alongside Don Was on bass, the lineup includes Luis Resto (keyboards), Wayne Gerard (guitar), Jeff Canady (drums), and Mahindi Masai (percussion).

The song title references the mascot of Detroit’s Southeastern High School, which McMurray attended, and evokes the visual image of “four big African dudes marching.” McMurray’s sustained saxophone lines float over the percolating percussion and the driving groove helmed by Was and Canady.

The same sextet backs McMurray on the heartfelt ballad “Just a Thought,” dedicated to his wife and daughter.

Several influences shape McMurray’s saxophone sound throughout the album. At times, you can hear the spiritual passion of Pharaoh Sanders, the melodicism of Detroit native Joe Henderson, the soulfulness of Stanley Turrentine, and the exploratory approach of Detroit’s Yusef Lateef. Many of these influences reveal themselves in “Just a Thought,” while other tracks focus more clearly on one style.

The sonics shift on “7 Wishes 4 G,” an original composition delving deep into modern Detroit soul-jazz, particularly the house and dance scenes associated with artists like Norma Jean Bell and Moodymann. Interestingly, McMurray admits to rendering this tune in an unusual 7/4 meter, adding touches that evoke Pharaoh Sanders’ “Astral Traveling.” Ibrahim Jones plays bass and Maurice O’Neal handles the keys on this track.

This sextet also backs McMurray and neo-soul vocalist Kem in a stirring cover of Al Jarreau’s “We Got By,” as well as, with McMurray on flute, a cover of Yusef Lateef’s upbeat, Latin-tinged “The Plum Blossom.” The collaboration with Kem on “We Got By” was thirty years in the making, as McMurray closely followed Kem’s vocal development, feeling that Kem had finally achieved the perfect blend of jazz and R&B.

Notably, McMurray also plays flute on the Pan-Detroit Ensemble’s album, which includes a cover of a Yusef Lateef tune, underscoring the tight connections between these projects.

Don Was and Luis Resto return for the final three tracks. The title track offers a dreamy, cosmic atmosphere, with McMurray playing soprano saxophone and electric keyboards. His soprano grows in intensity as the tune evolves, creating an immersive sonic experience.

He then returns to soul-jazz on “Find Your Peace (4 Tani),” a tribute to the great drummer Tani Tabbal, who has worked with progressive artists such as Sun Ra, Cassandra Wilson, and Anthony Braxton. McMurray adds synth textures here, though they remain subtle and understated.

To provide continuity with his previous albums, McMurray closes with a cover of “The Wheel,” originally from Jerry Garcia’s first solo album *Garcia* and later adopted into the Grateful Dead’s repertoire. McMurray begins in a Pharaoh Sanders-inspired mode before settling into a folk-rock groove.

This is familiar territory, as members of the Pan-Detroit Ensemble often weave Dead tunes like “Loser,” “Help on the Way,” “Slipknot,” and “Franklin’s Tower” into their live sets. Appropriately, the wheel connecting the two bands continues to turn—spinning the rich musical legacy forward.

*I LOVE LIFE even when I’m hurting* is a powerful statement of positivity, resilience, and musical exploration, grounded in the heart of Detroit’s soulful sound.
https://glidemagazine.com/319689/saxophonist-dave-mcmurray-celebrates-detroit-on-i-love-life-even-when-im-hurting-album-review/