Van & Solomon Burke To Collaborate Later This Year

Japan Times
Burke continues to embrace new projects and challenges. Next up is a collaboration with Celtic soul legend Van Morrison.

"Van has been one of my angels," Burke enthuses. "We've done several things with him. We're getting ready to do 'The Lord's Will,' a live album later this year. I'm keeping my fingers crossed on that. A lot of good things we're doing. We're also doing something with Joss Stone. It's gonna be an exciting year and we're starting it off in Japan. That's what makes it more exciting."

07-May-10 Verizon Wireless Amphitheatre, Atlanta, USA Concert Review

Here's Mary's review:
It was the first concert of the year at the Verizon Amphitheatre and the locals were ready to party. Since Van wouldn't have the bars open during his show a lot of people were loading up beforehand some were even carrying whole cases of beer into the show! I feared the worse.

As soon as we took our seats well before start time we knew we were in for trouble. There were groups of people all around us who were talking loudly, most already drunk, some on their cells, and others already standing up dancing! Just my luck the guy with a case of beer was in front of me.

People were still dragging in well into the 4th song and most were going to the bathroom all during the concert. I kept looking at the lines and it never slowed from start till finish. An usher got onto a guy sitting behind me in the middle of the show for taking pictures and another had to get onto the people on Donnie's left for using their cell phones for pix.

A couple on our right who were around our age had come from AL and it was their first Van show. They were so excited to finally see Van but left in the middle of the show disgusted because of the bad crowd around us. I told her to zone it out and watch the monitor since we couldn't see over the heads of those standing but I guess she thought they paid for better than that. I did too.

I knew from the start that due the crowd and venue we would get a festival type show and we did. Yes, the set list was great and held a lot of promise and after Van got the crowd pleasers over with early I hoped he would get on into some of the gems. But it was not to be. The music was incredible as usual and Tony and Jay really stood out to me. Van was in good voice but didn't put any heart into the songs. I actually think he let everyone in the band take a solo on each song. They certainly carried the show! There was no workshop or stretching out of any song and if there was I missed it due the uproar around us.

I've said before that a bad or average Van show is still better than most anything else and I guess that's still true for me because of the quality of the music. But it's getting pretty old wading thru the mediocre shows hoping for one where he actually shows up.

After the outdoor Festival in Toronto in '05 we swore off those types of shows. Now we're done with seeing Van at large Amphitheatres! I just don't think these types of venue suit him or showcase his style of music. Maybe we're just getting old but I don't think so.

I sure hope the next time Van plays the states, and we can make it, that it will be in a nice theater. I want the shivers up and down my spine...at least once in awhile.
-Mary B.

Setlist
Northern Muse (Solid Ground)
Brown Eyed Girl
Moondance
Fair Play
The Mystery
Talk is Cheap
Keep it Simple
School of Hard Knocks
Have I Told You Lately
In the Garden
Playhouse
Georgia
Help Me
That's Entrainment
Slim Slow
Ballerina
Healing Has Begun

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

05-May-10 Hard Rock, Hollywood, Florida Concert Review

Miami News Times
Preceded by a reputation as one of contemporary music's most distinctive voices - as well as one of its most curmudgeonly characters -- Van Morrison's first visit to South Florida in recent memory promised to be an auspicious event. After all, with a repertoire forever etched in the pop canon, Mr. Morrison had ample reason to indulge the audience -- many of whom knew him only on the basis of songs like "Brown Eyed Girl," "Moondance" and "Wild Night," as well as classic collections like Astral Weeks and Tupelo Honey.

On the other hand, he had the option to delve deeper into the rambling trajectory that's guided him ever since those initial efforts, much of which took him out of the commercial mainstream and splintered his following. Knowing his penchant for the unpredictable -- this is the same guy who opted out of participation in the Rock 'n' Roll Hall of Fame 25th anniversary gala for reasons still unknown -- there was no way to predict what he would provide the audience, or for that matter, if he'd only opt to go through the motions.

What ultimately transpired was a bit of all the above via a highly articulate display of musicianship that drew fairly equally from his vast catalogue. While those hoping to hear the hits got only a hint of his better-known repertoire -- "Brown Eyed Girl" early on and then the one-two punch of a swinging rendition of "Moondance" and a surprisingly vibrant take on "Have I Told You Lately" -- most of the set avoided his chart fare entirely.

Still, Morrison and his crack six piece band -- Jay Berliner (guitar
), David Hayes (acoustic and electric bass
), Bobby Ruggiero (drums), Tony Fitzgibbon (violin), Richie Buckley (flute, saxophone)
 and Paul Moran (piano, trumpet, organ) -- were exceptional throughout, conveying the sweep of even his most celestial material with a passion and dexterity that was dazzling in its designs. "In the Garden" and "Foreign Window" received rousing receptions, the audience leaping to their feet in response to stirring performances that brought the material to a rousing conclusion by virtue of sheer virtuosity and an innate connection between the instrumentalists themselves.

Even so, there was something missing, that being any attempt by Morrison to engage or, it seemed, to even acknowledge his audience. From the moment he appeared at 8:03, even as the audience was still settling in its seats, until he abruptly exited, leaving the band to finish the final selection and the lights to go up without an encore an hour and 45 minutes later, he only addressed the crowd once... and that was to briefly introduce "Keep It Simple" by simply announcing the song title.

Dressed in a white suit, white fedora and shades (looking part Colonel Sanders, part Pillsbury Doughboy, part Vegas entertainer), he fastidiously immersed himself in his performance, deftly shifting from piano to sax to guitar and harp, literally without missing a beat. His vocals were as pliable as ever, still the molasses-soaked mesh of a bluesy howl, an emotional plea, and on "Have I Told You Lately," a guttural rumble that added a momentary hint of amusement. Yet, while he generously shared the spotlight with the band, giving each musician ample opportunity to solo, he never introduced the individual players, leaving them all but anonymous despite their exceptional contributions.

Ultimately, Morrison proved he's still the master of his craft, a man who fluidly ambles between genres, from rock and pop to jazz and Celtic to basic R&B, all with the skill of a seasoned survivor. Yet, he steadfastly retains his aura of absolute aloofness and deliberate mystique, never revealing himself in anything more than his music. "Going down to Florida, going down to Florida," he rambled on the bluesy "Playhouse," briefly offering the crowd a connection worthy of a cheer. And yet, for all the exceptional effort it took to get there, he never quite made it all the way to their collective embrace.

Personal bias: "In the Garden was an unexpected highlight with its rousing refrain of "no guru, no method, no teacher," and yet, the absence of songs like "Domino," Saint Dominic's Preview," Caravan." "Into the Mystic" left diehard fans feeling less than satiated.

Random detail: Morrison's strict regimen extended far from the stage. Signs littered the foyer alerting the audience to the fact that no camera or smart phones were permitted, by the artist's own request. Odder still, liquor sales were ceased as soon as he hit the stage. And even the light of a cell phone was enough cause to summon the security personnel.

By the way: Bassist David Hayes has been with Morrison practically since the beginning, but clearly each of these players were capable of recreating any of the songs Morrison might have mustered.
-Lee Zimmerman

Setlist (Thanks Mike)
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Talk is Cheap
Keep It Simple
School of Hard Knocks
Moondance
Have I Told You Lately
In The Garden
Foreign Window
Playhouse
Help Me
Healing Has Begun
Slim Slow Slider
Ballerina

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

03-May-10 BJCC Concert Hall Birmingham, Alabama Concert Review
The Birmingham News
He looked short, doughy and fairly impassive on stage.

He wore sunglasses, so you couldn’t see his eyes, and a black fedora clamped down on his round head.

He turned his back to the audience several times, tucked into the snug pocket of his six-member band.

He didn’t chat, introduce songs, tell stories or even try to be ingratiating.

Somehow, though, Van Morrison worked magic, and the spell he cast was mesmerizing Monday night at the BJCC Concert Hall.

The Irish singer-songwriter, 64, is a unique talent, with a voice like no other and a vibrant songbook that spans blues, R&B, rock, soul, jazz, folk and country.

His grumpy and irascible temperament — almost as legendary as his music — might lead casual fans to believe Morrison is aloof and uncaring in performance, but he’s extremely passionate in his own way.

Morrison’s 90-minute show here, which started precisely at 8 p.m., proved that fact in abundance.

Each song the frontman and his band presented was rendered with strong emotion and impressive skill, from "In the Garden" to "Help Me" to "Keep It Simple" to "Playhouse" to "School of Hard Knocks" to "And the Healing Has Begun."

One tune flowed into another, just about seamlessly, and the highly connected ensemble played a plethora of instruments: saxophone, violin, mandolin, harmonica, flute, piano, clarinet, bass, drums and guitar.

Yes, Morrison offered a sampling of his most popular hits — "Moondance," "Brown Eyed Girl," "Gloria," "Have I Told You Lately" — and his slurred honey vocals were placed front and center in the sound mix, just as they should have been.

He’s never performed in Alabama before, so this Birmingham concert was an occasion with a capitol O, freighted with high expectations and ticket prices to match. (Premium spots in the 3,000-seat venue cost $373 each.)

Was Morrison worth it? That depends on your perspective, and of course, your pocketbook.

One thing is certain, however: This was an evening of jaw-dropping musicianship, and it eclipsed Aretha Franklin’s Sunday performance in the same venue, absolutely and completely.

-Mary Colruso

Kristy sent in this review:

On Monday night in Birmingham, Alabama, sixth row dead center in front of the gold VM on his microphone stand, I saw an artist who cared so deeply about the performance as to [attempt to] make it perfect, accompanied by six of the most talented musicians I've ever had the privilege to hear. Van, in his own right, is an incredible musician. I cried, I laughed, I was moved...it was the most magical musical experience I have ever had. I don't know what Van sounded like live thirty or forty years ago, but I can't imagine him any better than he was in Birmingham. Monday night his voice was clear, his mood was good, and he delivered like only he can. He even smiled once! And to the accusations that he NEVER does an encore, well, Van came back with GLORIA for an encore!!! The entire crowd was on their feet, singing and shouting along and the joy of it was overwhelming. He had us all in the palm of his hand, his spell cast over us. I truly thought seeing him once would satiate my desire to see and hear him live. Little did I realize that Monday night's show would create a bigger desire to see him live again...and again. It far exceeded any expectations and touched me deep down in my soul. Thank you, Van Morrison and thank you to the band. Fantabulous, beginning to end!!

-Kristy H.

Setlist (Thanks Jeff)
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Talk Is Cheap
Moondance
Keep It Simple
School of Hard Knocks
Have I Told You Lately
In the Garden
Foreign Window
Playhouse
Help Me
And the Healing Has Begun
Ballerina
Gloria

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass
Bobby Ruggiero-drums
Tony Fitzgibbon-violin, viola
Richie Buckley-flute, saxophone
Paul Moran-grand piano, trumpet & organ

02-May-10 New Orleans Jazz Fest Concert Review
NOLA.com
Van Morrison holds New Orleans Jazz Fest in the palm of his hand
Van Morrison obviously believed what he was saying when he jumped into "Talk is Cheap" on Sunday afternoon at the New Orleans Jazz Fest presented by Shell..

Dressed in a black suit, black hat and dark sunglasses, Morrison rarely acknowledged the audience, evening turning his back while playing and singing, but he and his tight seven-piece band -- also all in solid black -- were completely invested in giving the Jazz Fest crowd a beautifully paced set of Morrison songs -- a mixture of 60s favorites and work from his later albums.

The famously moody musician opened his one-hour set a few minutes early to a large crowd standing in a light, but persistent rain, with a lilting "Northern Muse" from his 1980s "Beautiful Vision." But, he grabbed longtime fans by making his next tune the cover-band staple 1960s' hit "Brown Eyed Girl."

Morrison's voice sounds remarkably unchanged and he reminded the crowd of his skill as a musician: Seven minutes in he had already moved from piano, to guitar and to alto sax.

With no new material to promote, it was difficult to know what to expect from the Belfast, Ireland-born Morrison, who grabbed the spotlight in pop music when he fronted his Irish band Them, producing the 1964's hit "Gloria" -- covered by everyone from The Doors to Bruce Springteen to AC/DC.

On Sunday, he treated the crowd to a few of his '60s tunes, including the always-sexy "Moondance," giving it a jazz treatment that had the crowd moving and grooving in the mud.

The singer-songwriter's poetic slow tunes feel as though they were written to be heard while standing in the rain. When he and the band picked up the pace, the crowd responded by switching from swaying to jumping and bopping along.

Mid-set, he said leaned into his shiny gold microphone on a gold stand emblazoned with a gold VM and said his one comment to the crowd and it was something like: "We'd like to do an old New Orleans tune... We're here, why not." The band moved into a slow, sad "St. James Infirmary," with Morrison playing sax and mournfully singing the famous tune.
.
He drew heavily from his latest albums including the bluesy "School of Hard Knocks" and "Keep it Simple" from the 2008 album of the same name. If any fans were disappointed by missing hits such as ''Into the Mystic," ''Domino" or "And It Stoned Me"... it didn't show.

He wrapped the one-hour show with "Ballerina" from his iconic album "Astral Weeks," picking up the microphone and singing the lyrics as he strolled off stage as the crowd clapped and hooted for more.

No last bow. No last words -- just his music.
-Ann Maloney

[Thanks to Art for the photos!]

Setlist:
Nothern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
The Mystery
Talk is Cheap
St James Infirmary
Moondance
Have I Told You Lately
Keep it Simple
School of Hard Knocks
Help Me
Healing Has Begun
Ballerina

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass

Bobby Ruggiero-drums

Tony Fitzgibbon-violin, viola

Richie Buckley-flute, saxophone

Paul Moran-grand piano

01-May-10 Woodlands Pavilion, Houston Concert Review
Culture Map
Brief but beautiful: Inscrutable Van Morrison lets his music do the talking

Houston fans of the musical icon Van Morrison have waited decades for his return to the Bayou City. On Saturday night, Morrison rewarded their patience with a performance showcasing popular favorites, deep album cuts, and even a nod to The Houston Kid, Rodney Crowell. Some may grumble because Morrison sang only 16 songs and hardly acknowledged the audience, but for singer's diehard fans, it was worth every minute he was onstage.Anticipation was high for Morrison’s show at the Cynthia Woods Mitchell Pavilion. Motivated by advance warning from promoters that there would be no opening act and that no alcohol would be sold after the performance had begun, fans began filing in to the outdoor arena early on the balmy Houston evening.The first arrivers appeared mainly of a vintage that might have embraced Morrison’s early albums when they were initially released in the Sixties. But by the time the show began, the crowd had taken on much more of an all-ages feel – testament to the lasting appeal of Morrison’s work. The Belfast Cowboy took the stage promptly at 8:02 p.m., attired nattily in a bespoke black suit with pocket square, fedora, and aviator sunglasses. Perhaps surprised by such punctuality, many fans were still streaming into their seats throughout the opening song, “Northern Muse (Solid Ground).” The seats were all filled and the hill was packed when Morrison followed with a crowd-pleasing “Brown-Eyed Girl.”During a show in which stage patter was virtually nonexistent and the only visible décor appeared to be a prominent intertwined “VM” on his mic stand, the inscrutable Morrison let his music do the talking. Songs from his early works included “Fair Play” (from the critically acclaimed 1974 album Veedon Fleece), “Help Me” (from the 1974 live album It’s Too Late To Stop Now) and the 1970 classic “Moondance.” He also drew from more recent albums, including two songs from the 2008 release Keep It Simple (the title track and “School of Hard Knocks”).Morrison was in fine voice, especially on highlights such as “The Philosopher’s Stone” and “All Work and No Play.” The latter was followed by a pleasant but inexplicably aborted version of “Choppin’ Wood.” The lone song from Morrison’s masterpiece Astral Weeks (reprised on a 2009 live concert recording from the Hollywood Bowl) was “Ballerina,” performed with gusto toward the end of the set.Minutes later, after a quick check with his band— “Does everybody know this song?” he asked — Morrison uttered essentially his only comment to the audience all evening. “This is a country song by Rodney Crowell,” he said, launching into a beautiful version of “Till I Gain Control Again,” which he covered on his 2006 album Pay the Devil. Adding this popular favorite from a native son was a nice touch for the Houston audience.Backed by a crack six-piece ensemble, Morrison switched from piano to saxophone to guitar to harmonica with ease Saturday. But as always, his rich, expressive voice created the magic. In his new book, When That Rough God Goes Riding: Listening to Van Morrison, cultural critic Greil Marcus describes how Morrison uses words within his songs as opportunities for performance.
“The only time I pay attention to words is when I’m writing a song, and after that, I let the words loose,” Marcus quotes Morrison as saying in 1978. “I’m not singing words, I’m singing syllables.” Marcus notes, “He’s trying to find the moment in a song when words and rhythm and melody and orchestration come together and you can set yourself free from the words.”For 96 minutes, it all came together for Van the Man on Saturday night. Sure, it would have been nice to hear more songs. When Morrison and the band left the stage, the audience, clearly eager for the show to continue, stood and applauded long after house lights came up and the technical crew began to break down the set. Even the shuttle drivers seemed surprised things had wrapped up so quickly. “I’ve never seen a show here end so early! And no encore?” one driver was heard to remark as the crowds filed out.Nope, no encore. But after all this time, it was a welcome return by one of the most significant figures in the history of popular music.
-Susan Darrow

Houst Chronicle
Does a legend owe his fans an encore? Or even a hello?
Van the Mumblin' Man Morrison apparently doesn't think so. Nor was he compelled to let his audience -- which might have been the world's largest 40th high school reunion -- wallow in nostalgia Saturday night at the Cynthia Woods Mitchell Pavilion in the Woodlands.
With a tight six-man band behind him and often featured in solos, Morrison conceded just a few chestnuts in a concert that was heavy on blues and jazz compositions. It all sounded very Van Morrison-y (a good thing), but they became repetitious, with few tunes you could lock onto.
Or lyrics, for that matter. Morrison's singing is pretty much consonant-free these days. If you didn't know his songs already, you weren't going to learn the words here. Age has put some gravel in his voice, although he hasn't lost anything in the soul department. And when he scats, well, you don't mind so much that you paid $50 to sit on the hill, or that you couldn't buy a beer ($11!) after 7:50 p.m., or that he didn't take off his Ray Bans.
Among the nods to memory lane: Brown Eyed Girl got the audience giddy early, then not too long afterward came a jazzy rendition of Moodance. Later came Ballerina, wafting between moodiness and hard-driving rhythms. Then there was the long, bluesy-jazzy The Healing Has Begun -- which turned out to the be finale. A great song, but ironically it didn't leave the audience feeling very healed, since Morrison decided he'd had a night and left the band to finish things off.
The Philosopher's Stone had great energy, and the cover of Rodney Crowell's Til I Gain Control Again was one of the night's most soulful songs. "This is country song by Rodney Crowell I recorded a couple of years ago," he said beforehand.
Which was the only full sentence he uttered all night. He may have said "thank you" after one or two songs -- and he mumbled something at one point that sounded like "are we having a good time." Otherwise, he let his music do the talking -- with just a few minutes on the piano to start, then turns on sax, harmonica and guitar. The harmonica said plenty.
Oh, yeah. He said, "Give a hand to the band" as he left the stage. But he didn't introduce them, so we'll do that here: Jay Berliner, electric guitar; David Hayes, double bass; Bobby Ruggiero, drums; Tony Fitzgibbon (the youngster of the bunch), violin, viola; Richie Buckley, flute, saxophone; and Paul Moran, grand piano.
You've gotta respect Morrison's drive to keep moving forward rather than looking back. But would it kill him to be grateful?
-Molly Glentzer

A reader sent in this review:
I attended the show in Houston last night--section 106 row D. This was a tough show to assess by the end, and I'm still debating it a bit this morning.

The first two-thirds was enjoyable enough. The show had a solid start with Muse. Van was active and sounded good while supplying some nice "Van" moments along the way. If I was to complain, the flow of the songs was a bit monotonous (slow, fast, slow, fast, etc.). Also, the band was not always as tight as it could have been and some bugs still need to be smoothed out.

Then we came to Chopping Wood, according to the published set list anyways--I was not familiar with this song. I really liked the song but Van seemed fidgety throughout. It appeared to end normally, but then the band started up again (strange) only to end suddenly (and not too cleanly) after less than a minute of the reprise. Not sure what was going on.

But, what followed was Philosopher's Stone and you could feel Van kick into a higher gear right away. The band and audience fed off the energy boost. A great Ballerina was next. In fact, the back-to-back Stone and Ballerina earned Mr. Morrison his pay last night. Then came Help Me, the best blues cover of the night, as it should have been after all these years, with an almost overly-heavy Green Onions-like beat. I thought his nod to Houston native Rodney Crowell, with Till I Gain Control Again, was a poignant moment. A wonderful And The Healing Has Begun followed and turned out to be a fitting end to the show.

The most disappointing part of the show was how it ended. Healing was going great. He wandered over near the piano while a technician fiddled with a monitor or something (none of this disrupted the song from my perspective) and then suddenly he waves to the crowd, says something like "how about the band" and shuffles off the stage still singing. The band closes strong and the show abruptly ends.

Are you kidding me? We needed one more great performance. Following Healing with Cypress Avenue to close would have made this a great show rather than an okay show with a fantastic five-song stretch.

I rate the show C+ or B-, but it would have been a solid "A" with just one more great performance. Could we please go back and get Cypress Avenue?!?!?

Also, while there were enough in the crowd who enjoyed the show, many, like with Dylan, were expecting a greatest hits show that sounded like their CDs. Oh well.

Thanks for the web site and to the set list contributors.
-EDC

Setlist:
Northern Muse (Solid Ground)
Brown Eyed Girl
Fair Play
Talk is Cheap
Waiting Game
Moondance
Keep it Simple
School of Hard Knocks
Little Village
All Work. No Play
Choppin' Wood (abort)
Philosopher's Stone
Ballerina
Help Me
Till I Gain Control Again
And The Healing Has Begun

Big Hand For The Band!
Jay Berliner-electric guitar
David Hayes-double bass

Bobby Ruggiero-drums

Tony Fitzgibbon-violin, viola

Richie Buckley-flute, saxophone

Paul Moran-grand piano

30-Apr-10 Bass Concert Hall, Austin Concert Review

Austin360:
Van the Jazzman Band Director showed up at Bass Concert Hall, apparently in a good mood and rested from six months off the road. His planned January restart in Texas was delayed until Friday night, with exhaustion cited, but the wait paid musical dividends.

In strong, mostly clear voice, the always unpredictable Van Morrison pleased the crowd right away with his “Brown Eyed Girl” hit at the piano, followed by “Moondance” on a saxophone. Then he stepped into his conductor role for the rest of the evening, pointing to each band member for repeated solos and often turning his back to the audience.

The jazzy renditions of not-so-well-known songs sounded well rehearsed. Improvisation must have been banned on this tour, but Morrison’s scatting provided just enough free flow to the songs that honored reflective quietude.

With a lesser band, that might have been disappointing. But these crackerjack players, particularly on weeping violin and soulful horns, worked wonders with the many slow songs. Van the Man would not be shouting G-L-O-R-I-A this night.

Nor did he name the musicians. Nor did he say a word to the audience, not a thank you for the standing applause after his harmonica-driven “The Philosopher’s Stone” or even just for buying $85-$350 tickets. He makes Dylan look chatty on stage by comparison.

Some of the players Morrison held over from his 2008 experiment at the Hollywood Bowl when he performed all of 1968’s “Astral Weeks” in front of a larger band with strings and chorus. That album produced no hits but set the meditative, chanting jazz style that Morrison employed so well at Bass without playing a single “Astral Weeks” song. He saved his bluesy, R&B self for another time.

Austin fans have proved their loyalty to Morrison over and over, from 1974’s appearance at the Armadillo World Headquarters to 2006’s Austin City Limits Music Festival. But after his Austin Music Hall show in 2008 some fans muttered about high tickets prices, few classic songs and no encore. They wondered what his next stop here might be like.

Near the end of Friday’s 16th song — the who-knows-this-one “On Hyndford Street” — Morrison exited the stage blowing his harmonica. The hall lights came on. No complaints heard. Van, still The Man after more than four decades of performing, and a band of serious pros had delivered satisfying goods.

-Ed Crowell

Tom checks in with his review (Thanks for setlist!):
Van put on a great performance last night at Bass Concert Hall in Austin, TX, his first show in 6 months. The 7 piece band was all dressed in black suits and Van was in an all white suit and hat. He started a few minutes after 8pm and went straight to the piano for the 1st two songs. Not quite knowing what show to expect after such a long break, it turned out to be quite a show for the hard core aficionados. Casual fans got a few hits such as Brown Eyed Girl, Moondance and Have I Told You Lately? However, the bulk of the show was reserved for deep album cuts.

It was hard to hard to make out the words to Fair Play for quite a while as he wasn't enunciating them very well. It turned out to be a lovely version that stretched out with an extended coda. Three more deep cuts followed that threw me for a loop even though I have about 25 of his CDs. I'm not familiar with Higher Than the World or The Mystery and I'm sure they stumped the majority of the crowd. I was surprised to hear Keep it Simple and Playhouse as he's not really promoting those two records anymore. In the Garden was a major highlight with its No Guru No Method No Teacher refrain repeated to great effect. Philosopher's Stone was another major highlight of the show, with a full band sound that elevated the show once more.

Van didn't speak to the crowd all night or introduce the band, which was primarily the same band as on the Astral Weeks Live DVD, the bonus tracks at least. Before one song he barked out "Let's Go!" to the band. During most songs the individual members were given room to shine with solos of their own. Van played sax on several songs and harp on a few as well. He walked off stage without saying goodbye and left the band to finish with the drummer saying "Vaaan Morrrsion" a time or two. The show lasted about 90-95 minutes. All in all, a very strong performance for fans looking for more than a greatest hits show.
-Tom Friedrich
Austin, TX

Jack's review:
Show started late at 8:05,solid ground kicked off the festivities followed by beg,nice version of moondance,then a real highlight fair play( not heard live before)after that my memory is blurred but other songs in the set list were:it's all in the game,higher than the world,in the garden,keep it simple,new song (lonely with a gun(?),healing has begun,philosophers stone,help me,hityl,playhouse,maybe a song or two that i cant remember and ended with hyndford street, show ended at 9.45,lights went on and no encore, sound was real nice,bass concert hall sits about 3000 and was sold out, 7 piece band that was never introduced,drummer,keyboards,bass,violinist,horns,guitarist and van who played piano,guitars,sax and harp on every song,few miscues early on as this was 1st show of year and current tour,all this should be worked out as tour progresses and in my opinion all will be well by new orleans and beyond,van in white slacks,white jacket and white hat with sunglasses, only got mad at guitarist and keyboard player twice during the show,no interaction with the audience as usual, not the best show ever but certainly worthwhile and enjoyable in my humble opinion, tshirts were available in the lobby
-Jack

Here's Wally's take:
I was there. My 3rd Van show ever. Long time fan. Thought it was fantastic. A few slight moments seemed like a rehearsal but overall - amazing. Van was in great form. Started with Solid Ground then BEG. Didn't write a full set list but he played Fair Play, Moondance, Have I Told You Lately, And the Healing Has Begun, Playhouse, In the Garden, Who Was That Masked Man?, and a few others.

Bass is a great place to see a show. $125 seats were great - nice few, great sound. Only marred by the couple that showed up 50 minutes into the show, drunk, loud, making out, and yelling 'wooohooo' during and after every song.

Van played a hair over 90 minutes and promptly left. Great band - would love to know who they all were.....-Wally

Setlist
1. Northern Muse (Solid Ground)
2. Brown Eyed Girl
3. Moondance
4. Fair Play
5. Who Was That Masked Man
6. Higher Than The World
7. The Mystery
8. Keep It Simple
9. In The Garden
10. Have I Told You Lately?
11. Philosopher's Stone
12. It's All In The Game
13. Playhouse
14. Help Me
15. And The Healing Has Begun
16. On Hyndford Street

Big Hand For The Band!
Jay Berliner-electric guitar

David Hayes-double bass

Bobby Ruggiero-drums

Tony Fitzgibbon-violin, viola

Richie Buckley-flute, saxophone

Paul Moran-grand piano