18-January-2016
Fox Theater
 Oakland, USA

via DANIEL GLUSKOTER

Martinez Tribune

BY DANIEL GLUSKOTER

A rare tour by singer-songwriter Van Morrison made a stop at Oakland’s Fox Theater on Monday night with the knighted 70-year-old Belfast native delivering a stellar set that delved deep into his half century old resume of hits while bridging rock, jazz and soul to provide a performance for the ages.

The 90 minute concert, the first of three sold-out shows at the ornate venue, began promptly just moments after it’s scheduled 8:00 pm start with Morrison following his five piece backing band onto the stage with an alto sax for the instrumental “Celtic Swing” before launching into “Close Enough For Jazz.” Sharply dressed and looking dapper in his customary suit wearing shades and a cool black fedora, it was a treat for those in attendance to get to experience the extraordinary voice of one of music’s most soulful jazz singers in such fine form.

Morrison, a 1993 inductee into the Rock and Roll Hall of Fame, has a mercurial reputation. While his repertoire is extensive, like his fellow living legend Bob Dylan the Irishman has often been known to play shows that while still enjoyable leave the audience somewhat scratching their head at the end of the evening because of the dearth of his most recognizable hits. That was certainly not the case on this evening as the Irishman dug far into his vast catalog while still delivering a number of classic cuts.

The 20 song setlist that included additional medleys included tunes from at least 13 different albums, plus covers. As polished as the first half of the show was with its crisp sound and jazzy horns, the mid-way point of the production elevated the evening to another level. “Days Like This” was followed by a lively reinterpretation of 1967’s timeless “Brown Eyed Girl” before an even more upbeat “Wild Night” from 1971’s Tupelo Honey.”

“Sometimes We Cry” and “That Old Black Magic”, a pair of duets with daughter Shana Morrison followed. Next came a powerful rendition of “Baby, Please Don’t Go”. Originally recorded with Them in 1964, his first band to receive international recognition, the Muddy Waters blues standard was presented with the improvised lyrics “God put me on a farm for the rest of my life, all I done was shoot my wife” as Van The Man energetically reworked the classic with synthesized vocals and harmonica while conducted his band at key points for added emphasis. Such was the productivity of Morrison & Them that at the time of it’s release the single’s B-Side was “Gloria”, since covered by talents ranging from Jim Morrison and The Doors, to Jimi Hendrix, Patti Smith and Tom Petty. Not bad for an afterthought.

Continuing the bevy of hits, the fantabulous “Moondance” followed, setting the stage for a stellar 12 minute finale of the aforementioned “Gloria” which segued back and forth with “Who Do You Love”, further propelled by the soulful backing vocals of Dana Masters. Having just seen Patti Smith perform “Gloria” on New Years Eve it was difficult for this reporter to imagine a better presentation, but it’s very hard to even remotely dismiss such a fine rearrangement of the original.

Coming just hours after the announcement of the death of Eagles co-founder Glenn Frey, and just over a week after the even more shocking passing of David Bowie, preceded by losses in just over a month of Scott Weiland, Natalie Cole and Lenny Kilmister it was not only a pleasure but highly cathartic to experience this international icon, a true master of his craft in such fine form.

Mercury News

Review: Van Morrison delivers inspired jazz-rock show in Oakland

Van Morrison seemed intent on proving a point.

It began when he first took the stage on Monday night at the Fox Theater, promptly -- as is his wont -- at his scheduled set time of 8 p.m. His first notes of the evening weren't sung, but rather blown thrown the alto saxophone.

He'd follow that brief instrumental with a vibrant take on "Close Enough for Jazz," from his 22nd studio album, 1993's "Too Long in Exile." Morrison was in full-on jazz singer mode, running his lines in ways that both complemented and contrasted with the virtuoso music being made by his four accompanying instrumentalists.

The point -- which Morrison has been making for decades now -- is that this is one Rock legend who isn't content with simply rehashing the glory years and then counting the cash. He's not banking on nostalgia, although that's certainly a big reason why people go see Van the Man in concert, but rather continuing to grow and develop as an artist.

Monday's 90-minute show -- the first of three sold-out nights at the downtown Oakland venue -- was an entirely satisfying evening of jazz and rock. And it was heavier on the former than the latter, to an even greater degree than I've seen from him in the past.

Yes, those looking for faithful renditions of Morrison's classic hits may have gone home disappointed. Those open to adventurous, jazz-directed reinterpretations -- which made the compositions sound fresher and more urgent than they have in decades -- probably were in pure bliss.

There was so much to like about the show, from a set list that nicely balanced the hits with deep cuts to the jazzy rearrangements to the stellar side musicians and backing vocalist.

Even the Belfast Cowboy himself, who's not the most reliable of entertainers and certainly has his off nights, delivered an absolutely inspired performance. Morrison's vocals were big, bold and versatile as they bounced through the thick blues of Ray Charles' "I Believe to My Soul," then rose triumphantly on the title track to 1999's "Back on Top" and the glorious gospel of "By His Grace," which Morrison performed in honor of Martin Luther King, Jr. Day.

Half way through the 20-song set, the 70-year-old singer began sprinkling in some of his best-known cuts. But he'd do it in his own uncompromising way, starting with a jazzy version of the 1967 hit "Brown Eyed Girl" that barred little resemblance to what we've been hearing on the radio all these decades. He'd follow the same path with "Wild Night," before calling daughter Shana Morrison -- who opened the show -- back out to the stage to duet on a pair of songs, including a sensational "Sometimes We Cry."

It just kept getting better from that point, as Morrison delivered a muscular version of "Baby, Please Don't Go," the blues standard that the singer recorded with the band Them in 1964, and then soared on "Northern Muse (Solid Ground)."

Morrison closed the main set with his own classic "Moondance" and a cover of Sonny Boy Williamson II's "Help Me," then returned to rock the house one more time with an encore of — what else? — "Gloria."
-Jim Harrington

Setlist
Celtic Swing
Close Enough For Jazz
I Believe to My Soul
Back on Top
Magic Time
By His Grace
Motherless Child
Northern Muse (Solid Ground)
Satisfied 
Days Like This
Brown Eyed Girl
Wild Night
Sometimes We Cry w/Shana Morrison
Old Black Magic w/Shana Morrison
Carrying A Torch
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now
Whenever God Shines His Light
Moondance
Help Me
Gloria

Big Hand for The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)
Shana Morrison (Guest Vocals)
John Allair (Guest Organ on Satisfied & Northern Muse)