“I walked in,” Wilson adds, “heard what they were doing, and decided to sing.” Soon she'd penned lyrics, about an impassioned night under a silver moon. Te final touch was adding a searing saxophone part by Coltrane. As heard on the new album, “A Night in Seville,” the live take that inspired all this, flows seamlessly into “Silver Moon,” the new studio creation.
“It's something that doesn't happen often,” says Fischbach, “where you get these two things working so perfectly together, fading in and out of one another like that. A magical track.”
Wilson has long mined the possibilities of Delta blues and the inf luence of her Mississippi roots. Perhaps incessant DVD viewing of “Cadillac Records” on the European tour bus helped focus her band on that musical milieu. (“It seemed like every time we rolled off,” says Sewell, “someone cued that up.”) “Saddle Up My Pony” is a riveting version of a Charlie Patton tune with Sewell displaying his mastery of the form; “Forty Days and Forty Nights” updates Muddy Waters' legacy with force.
The lilting live version of the bossa-nova classic “A Day in the Life of Fool” gives further testimony to the bands's prowess that night in Seville. And Wilson herself was surprised by what else happened in the studio: a funky, laid-back version of the Lennon-McCartney
standard,
“Blackbird”; a tender rendition of Stevie Wonder's “If It's Magic.”
Silver Pony's finale doesn't find Wilson riding off into the sunset. Instead, she sings “Watch the Sunrise,” a new song sent
to
her by singer John Legend for a long-sought collaboration, a shining and unexpected piece that sounds more like a glorious beginning than an ending.
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