The mysterious genius, Miles Davis, first noticed Sam during Miles' funk-fusion period. All of the artists that Miles took out off block became famous cats. This also happened with Sam Morrison. But then suddenly in the highest peak of his jazz career and when his sensibility had reached a high level, he stops playing the saxophone to make a career in the sports business and be committed as a family man.
Nonetheless, music haunts all spirits when the inspiration is part of the character. So, during the 1990s the haunting visions showed him that it was not proper of a cat to give up. He took this courage in hand, gets back to a new saxophone, practices day after day, reads a lot, and the gift was quickly awakened, as music is a lover - impossible to forget or to leave.
Miles Away is an good recording. Sam Morrison grooves with his sax, swings and changes all of the stylistic repertoire with facility. Time cannot stop the rhythm, so Morrison and the musicians involved in his adventure make a nice contribution to the jazz art.
Hearing Sam play is listening to the real thing. Miles Davis never mistook his choices. The jazz wizard knew what talent was, from John Coltrane, passing through Chick Corea to Sam Morrison. Sam's last recording is nicely decorated with up tempos, swinging tracks, electronic beats (Jeremy Wall on the electric piano in "The Champ" and "The Way"; Carl Landa on the synthesizer in "Very Sherie") and sincere, overwhelmingly beautiful chant vocal melodies (Laurel Massé and Rick Kurek in "Escape to Paradise"; Angus Richardson and Hamish Richardson "Peace Love and Cashflow" and " Miles Away"; Derek Stewert rap in "Miles Away"). The solo of Steve Gorn on bamboo flute in "Very Sherie" is simply gorgeous.
Sam Morrison's recording is an original project, mixing up interesting vocals and instrumental combinations. If Miles was still around today he certainly would take time to listen to Sam’s fire from his saxophone.