Van Morrison has jazz in his blood, only a fool would think otherwise, and Born to Sing is the latest proof although none is needed. His second for Blue Note, the first What's Wrong With This Picture? was notable for the poignant ‘Little Village’, a song his fans immediately took to their hearts. Chances are the title track ‘Born to Sing’ will be joining the pantheon of his best songs of the last 25 years, up there with the wondrous ‘Fast Train’, ‘Only a Dream’, and ‘Celtic New Year’. On this, his first studio album since Keep it Simple, this time recorded unusually in his home town of Belfast, Morrison has come up with the goods once again after the commercial and critical success of Keep It Simple and the huge interest shown when he followed it by releasing a live album based on his great 1960s masterpiece, Astral Weeks. Why he delivers here is mainly because of the anthemic title track, with its showband feel and rousing lyrics, although other tunes such as the bluesy ‘Pagan Heart’ are among a string of strong songs. ‘Close Enough For Jazz’, which adds words to an older instrumental version of the song, is a grower, with some deep-down low singing from Morrison, who turned 67 at the end of August, and a melody that recalls some of his playful work with Georgie Fame on albums such as How Long Has This Been Going On? ‘Educating Archie’ is the joker in the pack, recalling in its title, but not in its lyrics, an old radio show, later on TV, featuring a self willed ventriloquist's dummy eventually ruling the roost. The album, which also tackles issues facing society including the relentless pursuit of money whatever the cost on the song ‘If In Money We Trust’, has a stripped down small band backing with fine trombone, good horn unisons and a stand-out electric guitar intro cutting the air like a razor on ‘Pagan Heart’.

Jazzwise talks to Van Morrison about the album On ‘Goin’ Down To Monte Carlo’, you sing about “that phony pseudo jazz”, while hearing it sitting in a restaurant getting away from people. What's the real thing in terms of jazz for you?

A wide range of stuff from Slim & Slam to Louis Armstrong, Bechet, Acker Bilk, Chris Barber and the vocalese of Annie Ross and Jon Hendricks. The jazz blues of Jimmy Witherspoon, Chicago blues of Muddy and Wolf, to Leadbelly, Josh White, Mose Allison, Ray Charles and Chet Baker, to name just a few.

Some might think ‘Mystic Of The East’ is a hometown meditation. Is it?

As well as the obvious pun, it's about east Belfast. My former teacher and folk singer David Hammond, once remarked, our River Jordan was the Lagan. It also has a more esoteric meaning, which for obvious reasons I cannot get into here.

You always sounded at home when you were singing with John Lee Hooker. The guitar opening to ‘Pagan Heart’ made me think of John Lee a bit. Can you talk a bit about working with him, what he meant to you growing up, how he inspired you?

John Lee was a big influence and we became close friends. You should check out his comments about me in his authorised biography.

What do you mean by “close enough for jazz”? You sing down to some pretty deep notes on the song.

When I first started to play in bands, it was a catchphrase people used when we were working out songs. Someone would usually come up with the phrase – tongue-in-cheek.

If push were to come to shove for you, who is the most complete jazz singer, the one you return to time and time again for pleasure and fulfilment?

Louis Armstrong.

Who was the first person who said to you that you were born to sing?

I think it was my Scottish grandmother Margaret – from what I'm told.

Van Morrison plays four sold out shows at Ronnie Scott's in London on 2-3 October