Van Morrison and His Band
Hammersmith Odeon, London

Over the nine years that have passed since I first heard Van Morrison's solo work, I've remained a devoted admirer. It wasn't until very recently, however, that I actually managed to see Morrison in concert — although his double live album It's Too Late To Stop Now, recorded in 1974 at gigs in Los Angeles and London, has given me access to something at least of the excitement he can generate in live performance.

So it was with great anticipation that I turned up at the Hammersmith Odeon in late February for the last of his concert dates in England, before beginning a short tour of Europe. Morrison had brought over a smaller band with him for this latest tour, and one with a slightly different lineup — bass, drums, electric guitar, acoustic rhythm guitar, keyboards, two saxophones, violin and two female vocalists — to the Caledonia Soul Orchestra that he used on It's Too Late.

Dressed all in black, and making his entrance without any fuss Van Morrison kicked off with the perennial Moondance, which, although my tired old ears may have been deceiving me, seemed to have been slowed down just a shade from the original. Either way it loped along at a lovely pace, and featured a beautiful violin solo from Toni Marcus. She was to shine out several times during the 90-minute set with her lilting and finely-controlled playing. (I'm a sucker for solo violin anyway, and skill haven't quite recovered from the knockout high-speed playing of L Shankar during a John McLaughlin concert at the Rainbow last autumn.)

The whole band, in fact, formed a very tight and cohesive whole, and were obviously having a great time on stage. Sound quality through the PA couldn't have been much better with vocals, in particular, both from Van and the two lady backup singers, being very clear and precise. Particularly good was Wavelength from his new album of the same name (and which, to my mind anyway, is the best thing he has done on vinyl, barring the live album, and the softer Veedori Fleece, since St Dominic's Preview). Van's voice is enough to send shivers up your spine at the best of times, but on Wavelength, with its chewed off and spat out lyrics, really is particularly chilling. And the way in which he delivered it (and, for that matter, most of his performance): standing stock still with one hand tightly gripping the microphone on its stand, while the other hand conducts the band or punches the air for emphasis, undoubtedly adds to the stark emphasis of his songs.

There were standout performances from other members of the band. On the old John Lee Hooker number Don't Look Back, John Altman's alto sax solo was nothing short of breathtaking, while guitarist Bobby Tench took some biting solos on several numbers, including Wavelength and Brown-eyed Girl.

Surprise of the evening came when backing vocalist Katie Kissoon strolled to Van's mike for an exquisite solo rendition of the lilting Crazy Love from Moondance. She has slowed the song down quite a lot and given it new life. Van also breathed fresh fire into Tupelo Honey, with Toni Marcus once again coming up with a staggering solo; I've seldom heard a Hammersmith audience quite as subdued as they were during her contributions throughout the evening.

All too quickly it was encore time, and we were treated to no less than three, starting with a somewhat restrained version of Caravan. More in keeping with the mood of the evening was a no-holds-barred rendition of Gloria, complete with the audience joining in on the chorus and (yet another) blistering guitar solo from Bobby Tench.

What could Morrison finally end with but the song that has almost become his anthem: Cypress Avenue. This featured very tasteful slide guitar, piano and violin in a very interesting combination, gradually building to a stunning climax; what a fitting way to end an exceedingly fine concert. It could only have been improved by his playing Into The Mystic. But I can wait; I'll see him do it one day.