UPDATE: Introduced as simply “Yusuf,” the singer wore a blazer over a Cat Stevens t shirt. He sang his classic hits “The First Cut is the Deepest” and “Wild World.” Jimmy held up a “Tea for the Tillerman” album. Yusuf sounded and looked grand. So nice to hear his voice.

EARLIER Cat Stevens, known as Yusuf Islam now, is in the US. He got his visa, and he appears tonight with Jimmy Fallon. He’ll be at the Rock and Roll Hall of Fame show on Thursday.

Here’s my 2006 story and interview:

Cat Stevens is back. Well, his name now is Yusuf Islam, and we’ll call him that, but old habits are hard to break, and you know, he was our Cat for a long, long time.

Last night he returned to the U.S. and the stage, playing a nice long set at the Allen Room at Jazz at Lincoln Center for invited guests including rocker Patti Smith and a heavy mix of folks from the media like New York Times pop critic Jon Pareles, filmmaker Albert Maysles, rock impresario David Spero and writer Daphne Merkin.

The show, taped for KCRW-FM, was interspersed with a conversation with that radio station’s Nic Harcourt.

But you know, it wasn’t until after the mesmerizing, emotional show that I got to ask Yusuf a tough question: Does he regret denouncing author Salman Rushdie and appearing to endorse the fatwa, or death sentence, leveled at him by Ayatollah Khomeini?

“I never said it,” he replied, smiling. He used his two index fingers to show polar opposites. “We were just poles apart,” he said of Rushdie. “We disagreed. But I never said such a thing.”

Nevertheless, Yusuf — who by then had been out of the spotlight for many years and had become a dark, mysterious distant figure — gained the hatred of American radio stations. There were mass bonfires of his albums staged by extremists. It was a bad time.

But Yusuf is far from being a dark, mysterious figure at all. At the Allen Room he was dressed in jeans, suede desert boots, a nice T-shirt and vest. His hair, once jet black and wavy, is straight, short and gray. He sports a scruffy gray beard as well.

He is Muslim by a choice he made in 1978 — ironic since his brother, also raised Greek Orthodox, converted to Judaism around the same time, or so I am told.

Yusuf is also slight, and in good shape considering he will turn 60 next spring. He has a wide smile, which makes him very charming still, and his singing voice, I am happy to report, is intact, as is his guitar playing.

When he opened his mouth to open with an old song, “The Wind,” there was an electric sensation sent through the room. No one’s heard his voice live since 1978. It was like an old friend had returned from the dead.

Still, he’s sorry about the Rushdie business.

“It was 17 years ago,” he said, shaking his head. Rushdie had criticized the Muslim religion in his book, “The Satanic Verses.” Many in Iran considered it blasphemy. Yusuf said to me, “All we want is peace.” Well, it was a heady time.

So how did Cat Stevens (born Steven Georgiou to a Greek father and Swedish mother) leave his career as a rock star and become a Muslim? The short answer is that he was swimming in Malibu and started to drown.

“I was drowning in Malibu,” he said, and he promised God that if he lived he would change his life. It was a big life, too, full of rock amenities like gorgeous girlfriends. Carly Simon was one before her marriage to James Taylor, and Stevens wrote “Lady D’Arbanville” about actress Patti D’Arbanville.

“I had to deflate myself,” Yusuf said to Harcourt last night in during an interlude in the concert. “I had to come back to life.”

One surprise: He said his mother actually chose his wife for him. “I had a choice of two women. She decided.”

On stage last night, with the New York skyline shining behind him, Yusuf mixed songs from his new album, “An Other Cup,” with old hits like “The Wind,” “Oh Very Young,” “Father and Son,” and “Peace Train” — which he dedicated to the memory of Ahmet Ertegun.

The new songs, especially “Indian Ocean,” which is about the 2004 tsunami, are melodically beautiful and lush. But the old songs really packed an unexpected punch. Yusuf’s long absence from the scene works well for him. Hearing his old music is like receiving a bottle of Fiji water in the desert.

But didn’t he miss us all those years, I asked?

“I had a family and a life, and I did a lot of charity work,” he said. Two years ago he picked up a guitar for the first time since his retirement thanks to his son, Muhammad (he’s inherited the hair, by the way).

“I said, ‘Hello, I know you,’” the singer recalled.

One reason he returned: “The Muslim world now is artless,” he said. “I wanted to show that there is creativity. It’s not grim.”

If we’re lucky, Yusuf will tour with his band, maybe to small venues. For now, though, he’s returning to London after doing a little publicity and testing the waters. My guess is he’ll be back soon, and he is very, very welcome.

Who knows? This may be a renaissance in the making. He says he recently spoke to Simon for the first time in years. “She called to say she’d named her new album ‘Into the White,’ after my song,” he said, proudly.

Lady Gaga’s seventh and last show at the Roseland Ballroom was also the venue’s farewell after 80 years. She gave it all she had too, with a 90 minute set that favored substance over style. She played for the audience of several thousand who were jammed onto the Roseland floor and on the mezzanine like happy kippers. The show was a greatest hits package, devoid of Jeff Koons and other ARTPOP artifice. If this is the show she’s bringing to your neighborhood, it’s 100% entertainment, a very accessible bit of public theater that you can sing along to.

The Roseland stage was covered in roses and vines, extending out to a New York City subway car built for the show and jutting out into the excited audience. I haven’t heard that much shrieking at Roseland since Madonna did a promo show there a few years ago. The difference, though,is marked: while Madonna is the better dancer/choreographer, Gaga is the musician. She sings live, full force, no fooling around. She plays that piano very much in the style of Elton John, serious but so organic that she can move around freely at the same time.

The Elton John analogy is important because Gaga synthesizes Sir Elton and Madonna and comes up with her own recipe. She lets the hits turn the crowd into a frenzy, like “Just Dance,” “Poker Face,” and “Bad Romance.” Then she adds the ARTPOP songs juiced up, friendlier than on the CD– “Applause,” “Dope,” and “You and I” never sounded better. She should do an ARTPOP Live album to replace the studio CD. She ended the 11 song set with her single, “G.U.Y.”, as an encore. That’s a real top 40 hit!

A few celebs dotted the VIP Area: Gayle King, Rita Wilson. Andy Cohen, plus Gaga’s parents, friends and family. But mainly it was a show for the people. “Will I still be here next year? ” Gaga called out from the piano. “”Enjoy me while you can!”

Don’t worry, she’ll be back. You can already tell she’s learned from the mistakes of her excessive winter. She’s getting back to basics. Best idea she ever  took and used properly. Go Gaga!

PS I’m not sure Gaga’s dad, Joe, was so happy to see me on the mezzanine. I did write a piece a few weeks ago about the money being spent from their Born this Way Foundation. That charity must get someone in there who knows what they’re doing. Otherwise their expenses are going to consultants and professionals, not to the projects they envisioned.

But none of that affects Lady Gaga the artist. It’s just accounting and can be rectified. This is why it’s always best for celebs not to start foundations. Gaga the performer is a superstar. And a rare one at a time when pop music doesn’t connect on a personal level with the audience.  That’s the great act of kindness she can give them.