Jazz? Well, perhaps not specifically as we know it, but there's a gritty emotional validity and solid pulse about Van Morrison's music that always goes down well at this jazz bastion. And unlike most chart stars, he also plays acceptable harmonica, guitar and alto sax.

Two dynamic shows by the Ulster-born singer-songwriter, whose maverick blend of countryblues was recently redefined as "Celtic soul", kept the customers highly satisfied last night.

Smart in his dark suit and snappy Panama straw hat, his features no longer obscured by beard and dark glasses, the former alcoholic and stage-fright victim sang powerfully and worked hard.

Between numbers he hardly said a word and never cracked a single smile (in Belfast you can get beaten up for less) but he did chuckle at his own lyrics occasionally and looked very nearly laid-back.

Flanked by six men in black and Sarah Jory on pedal-steel guitar, Morrison revelled in their warm, Texas-country sound. Fiddler Tom Fitzgibbon, Hammond-organist Geraint Watkins and Jory were the pick of the soloists and St James Infirmary also featured rhythm-guitarist Crawford Bell on trumpet.

Opening with a 1999 hit, Back on Top, the compact Morrison led them through Mixed Up in Fame, Stranded on the Edge of World, Choppin' Wood, Tear Your Playhouse Down, Gotta Stop Drinkin' that Wine, Precious Time is Slippin' Away and other bluesy vehicles for his clipped, punchy delivery.

Though not the most inventive of singers, the 62-year-old Van still sounds like a man and knows how to swing his band. With maturity has also come the confidence of enjoying a reputation that passing fashions cannot diminish. By the time he had got around to Brown-eyed Girl, noisy fans, including visiting thesps Vince Vaughn and Kevin Spacey, had been thoroughly converted. And they didn't even hear Moondance.