JENI and BILLY’S BIG PICNIC BAND: Picnic In The Sky
JENI AND BILLY’S BIG PICNIC BAND
Picnic In The Sky
Waystation 003
In the early days of the recording industry much of what we today call folk, country, and old-time music was called âhillbillyâ music. Thatâs because the hills and hollows of Appalachia were a treasure trove raided by urbanized “song catchers” (academic collectors). Many of them mistakenly thought that all American folk songs and tunes were variants of British Isles imports. They soon learned that Appalachia was far more than music preserved in amberâthe region also contained great original composers. And since those days, there have always been a number of women whose stars shined slightly brighter. In the (recorded) beginning there was Sarah (1898-1979) and Maybelle Carter (1909-1978) from Virginia. Slightly later those with recording machines came calling upon Kentuckians Aunt Molly Jackson (1880-1960) and her half sister Sarah Ogan Gunning (1910-1987). Still later we got Loretta Lynn (1932-) from Butcher Hollow, KY, June Carter (1929-2003) from Maces Spring, VA, and Jean Ritchie (1922-) from Viper, KY. So who are the heiresses to the Mountain Crown?
If you find yourself in a discussion that doesnât include Jeni Hankins of southwestern Virginia, walk away – it’s not worth your time. Hankins’ approach is often compared to that of Hazel Dickens (1925-2011) and aptly so. Though Hankins has a smoother, less nasal voice than Dickens, it has the same born-in-the-bone twang – the kind you donât get by dressing up country and scouring songbooks. Hankins also grew up in the same contiguous coal mine region that spawned Dickens, and with the same sensibilities: an appreciation for the grace of ordinary people, mountain gospel music, support for minersâ unions, and a gift for finding beauty where less attuned people fail to see it. Think Iâm kidding about that last point? In âGood,â a song co-written with her musical partner Billy Kemp, the duo muse on coal mining, Sears Roebuck, Hardshell Baptists, and banjos. The banjo wins: âAnd he played us a tune from the old country/and the hills, they rang with our song/God said it was good/and we knew that it was good.â Even more impressive is âMcHenry Street, a song inspired when the duo spotted kids making banners from trash can castoffs in Kempâs native Baltimore. Picnic in the Sky is filled with small moments that seem more sublime when stripped of glitter and hype. This time the band is bigger – David Jackson (bass, accordion), Denny Weston, Jr. (percussion), Dillon OâBrian (keyboards, vocals), Dave Way (claps, feet), David Keenan (steel guitar), and Craig Eastman (fiddles, fretwork), an old acquaintance of mine whose work Iâve admired for decades. We get a veritable potpourri: âThe Robin & the Banjo,â Jeniâs wedding song reworking of âFroggy Went A-Courtinâ;â âThe Old Hotel,â an illicit love song; the dust-and-tedium-meets-dreams âThe Mill Hurries On;â and gospel refracted through Jane Eyre on âReckoning Day.â Remember Joe Hillâs âThe Preacher and the Slave?â Check out this albumâs title track, a gentler shade of caustic with yellow squash and biscuits substituting for Hillâs pie, but the same hard questions about a future âheavenly reward.â Call it âGood.â Call it authentic. Call me anytime Ms. Hankins is singing and Kemp is picking, flailing, and singing by her side.
— Rob Weir