John Leventhal (from the album Rumble Strip

John Leventhal (from the album Rumble Strip

John Leventhal (from the album Rumble Strip available on Rumble Strip Records (by Lee Zimmerman)
 
It’s hard to believe that with a career that spans 45 years, six Grammys, plus with work as multi-instrumentalist and producer alongside some of the most influential artists of modern times —- among them, his wife, Rosanne Cash, Sarah Jarosz, Jim Lauderdale, Joan Osborne, Marc Cohn, and The Blind Boys of Alabama, among the many — John Leventhal has never found the time or inclination to put out an album of his own. Consequently, the announcement that he’s finally getting around to a solo sojourn naturally brings with it a great deal of excitement and anticipation. After all, his name is not only a familiar signpost as far as credibility is concerned, but also a mark of quality as well. One can be assured that any album that bears his imprint is going to be one well worth hearing.
 
In a sense, Rumble Strip deliberately downplays any hint of greatness or grandeur. Rather, it’s a set of most mostly instrumental offerings that are rich in melody, tone, and texture, and yet hardly the stuff that makes any sort of grand statement. That’s not to say that his talent isn’t fully infused within these tracks. To the contrary — the softer sheen that tempers the majority of these songs, from the whispered hush and pretty pensive sigh of “JL’s Hymn #2”, “Clarinet Country”, “Soul Up”, Who’s Afraid of Samuel Barber”, and “Inward Hill” to the slow saunter of “The Only Ghost” and the title track — makes the music memorable regardless.
 
Leventhal himself hand a hand in writing all the songs and he naturally handles the bulk of the instrumentation as well.  His solo piano playing on opening track “Floyd Cramer’s Dream” makes for an evocative album opener, but the infusion of brass on both “Meteor” and “Three Chord Monte” adds a bit of variation without disrupting the tender tapestry overall. Likewise, Rosanne’s shared vocals on “That’s All I Know About Arkansas” and “If You Only Knew” provide an emotive yet otherwise unobtrusive touch.
 
While songs without words often blunt the accessibility factor, that’s hardly the case here. The melodies are beautiful and beguiling, a fine reflection of Leventhal’s taste and talents. It may have been a long time in coming, but clearly Rumble Strip is as moving as one out to expect.  (by Lee Zimmerman)
 
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