The recipient of an Americana Music Association Lifetime Achievement Award, Larry Campbell’s resume is remarkable. His guitar, mandolin, pedal steel, and occasionally violin have accompanied Judy Collins, Lucy Kaplansky, Richard Shindell, Linda Thompson, Sheryl Crow, Paul Simon, BB King, Willie Nelson, Cyndi Lauper, k.d. lang, Jorma Kaukonen,  Hot Tuna, Jackson Browne, and many more.

He recorded five albums with folk music supergroup, The Woodstock Mountain Revue, in the 1970s.

A member of Bob Dylan’s band from 1997 to 2004, Campbell worked with Levon Helm for the next decade. In addition to producing The Band’s former drummer, mandolin player, and vocalist’s Grammy-winning albums, “Dirt Farmer,” “Electric Dirt” and “Live at the Ryman,” he served as musical director of the Midnight Rambles at Helm’s barn studio and was a reassuring presence during Helm’s final days.

Helm’s Midnight Ramble Band provided Campbell with an opportunity to work with his wife, Teresa Campbell, a gifted singer born in Tennessee.

“It was a real family affair,” said Campbell by phone. “Levon’s daughter, Amy, and her husband were in the band, too. Until then, [Teresa and I] had diverse musical paths. She was doing musical theater. (She originated the role of ‘Sara Carter’ in the touring musical ‘Keep On the Sunny Side’). I was on the road with Dylan and other people. We spent time together but mostly we were apart.”

Campbell and Williams have continued to work together, singing in ex-Grateful Dead bassist Phil Lesh’s band, and touring and recording on their own. Their eponymous-titled debut duo album was released on Red House Records in 2015. They’ll be performing at Northampton’s Parlor Room on Nov. 5.

“We met in 1985,” said Campbell. “She was doing a show at the Lone Star Café [in New York] and she needed a band. A friend of mine recommended me. I reluctantly went down to the rehearsal. I met Teresa and heard her sing. I was smitten. Three years later, we were married.”

The term “Americana” had yet to be coined when Campbell first surfaced in the 1970s. “We just called it ‘‘good music’,” he recalled. “It was diverse. I was attracted to rock and roll, blues, country, gospel, and jazz – anything that moved me.”

Born in New York in 1955, Campbell had seeped in a variety of music. His parents’ record collection included discs by country artists like Hank Williams, George Jones, and Jimmie Rodgers and he loved The Beatles and rock and roll. Playing guitar from the age of nine, his influences continued to expand. “[FM radio’s] playlist was unlimited, he remembered. “You heard all kinds of stuff. It’s only in retrospect that I think of it as folk music. It comes from a need to express it, not from a need to make money.”

Hearing The Grateful Dead’s Jerry Garcia playing steel pedal guitar, in Central Park, in 1969, proved to be an epiphany. “[I loved] the sound of the instrument,” recalled Campbell, “how expressive it was. I had heard that sound on records but I could never identify what it was. That summer, I listened to The Flying Burrito Brothers first record, with Sneaky Pete [on pedal steel].The way he played knocked me out; I needed to get inside that instrument and figure out how it was done. “

The late-70s were a good time to play country music. “There had been some great country music clubs in the city,” said Campbell, “but the ‘Urban Cowboy’ scene really exploded and didn’t settle until the mid-80s. I spent many nights at the Lone Star Café playing music. It was a great time. “

Campbell met Helm at the Lone Star Café. During the time that he played with Dylan, they had a few chances to play together. A month after Campbell left Dylan, at the end of 2004, Helm called. “[He said,] ‘Hey man, come up to Woodstock, let’s make some music,” recalled Campbell. “For Teresa and I that was the beginning of the greatest eight years of our musical careers. We were making great music with great people for the joy of doing it. It was so creative and such fertile ground ... all we wanted to do was have a good time making music.”

Campbell and Williams continue to stretch out musically. “Phil gives us a lot of space to explore different ways of making music,” said Campbell. “Normally, when you go to a studio to make a record, or play a show with somebody, the idea is to be concise, play in a way that gets the song across in its most economical form. With Phil and jam band situations, like Little Feat, it’s an opportunity to stretch out and play in a way that you might have never thought about, explore something inside of you that hadn’t gotten out before.”