The recording of Astral Weeks (1968) proved a tough assignment for Van Morrison's key players - Richard Davis (double bass), Jay Berliner (guitar) and Connie Kay (drums). And they weren't impressed.
With no charts to work from and after little more than a cursory acoustic run-through by a sullen and uncommunicative Morrison, the band was asked to create the glue that would bind his second solo album. That these jazzmen concocted a riveting and evocative folk-rock masterwork says much about their chops.
At the time of writing, Morrison was to perform Astral Weeks in its entirety at two concerts at the Hollywood Bowl, today and tomorrow, having for decades avoided acknowledging its legendary status. Davis and Berliner were back, better prepared but arguably short of the seat-of-the-pants freedom that made the album so gripping.
The LP confounded those who were hoping for another Brown-Eyed Girl from the stocky Irish bard.
The songs were sprawling, stream-of-consciousness works that were laced throughout with allusions to his early years, mourning in advance his hometown of Belfast, which would soon be shattered by the Troubles.
The desperateness and pain of unrequited love were also palpable, balanced with the joyous rewards of lust and affection.
Morrison's vocal's were extraordinary. Many noted their power to alienate the listener from the singer's experience by being so obviously instinctive and personal. The songs were for him first and for anyone else second.
Like a cornered cat, Morrison emitted strangulated growls and wails that cautioned against coming closer. Then, with subtle shifts, he opened up joyful mantras packed with tenderness and hope. For his fellow musicians, it was a case of having to follow his unpredictable lead.
Davis' bass led the ensemble, tying itself to Morrison's vocals as best it could while guitar, drums, vibes and flute went along for the ride. The jam-like musical experience, eccentric as it was, proved the making of the album.
