In It for the Long Run: A Musical Odyssey by Jim Rooney
By Jim Rooney
Inspired via the Hank Williams and Leadbelly recordings he heard as transforming into up outdoors of Boston, Jim Rooney started a musical trip that intersected with a number of the greatest names in American song together with Bob Dylan, James Taylor, invoice Monroe, Muddy Waters, and Alison Krauss. In It for the longer term: A Musical Odyssey is Rooney's kaleidoscopic first-hand account of greater than 5 a long time of luck as a performer, live performance promoter, songwriter, track writer, engineer, and checklist producer.
As witness to and player in over a part century of tune background, Rooney presents a worldly window into American vernacular track. Following his stint as a "Hayloft Jamboree" hillbilly singer within the mid-1950s, Rooney controlled Cambridge's membership forty seven, a catalyst of the ‘60’s people tune increase. He quickly moved to the Newport folks competition as expertise coordinator and director the place he had a entrance row seat to Dylan "going electric."
In the Nineteen Seventies Rooney's odyssey persevered in Nashville the place he started engineering and generating documents. His paintings helped substitute kingdom song achieve a foothold in track urban and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his profession he was once a key hyperlink connecting Nashville to Ireland's people track scene.
Writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the longer term: A Musical Odyssey is his singular chronicle from the center of Americana.
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Extra info for In It for the Long Run: A Musical Odyssey
Explaining all this in class made me realize that I had joined a very long, deep, and legitimate tradition as a singer and adapter of songs. 19 GOING MY OWN WAY INTO THE FOLK AND BLUEGRASS POOL Toward the end of my senior year, a folk music promoter named Manny Greenhill came up from Boston. He wanted to put Odetta on in concert at the University of Massachusetts across town. He needed a campus organization to sponsor the concert, so he helped organize The Pioneer Valley Folklore Society. Among the founding members were Bill and me, fellow Amherst students Rick Lee and Jesse Auerbach (later named Josh Dunson), and UMass students Taj Mahal and Buffy Ste.
We found it on the map about sixty miles west of Washington and just turned the car around and headed there. When we drove in, a small crowd of a few hundred people was gathering. For the most part they were country people who loved this kind of music. However, there was another group clustered near the front of the stage who had tape recorders with them. We recognized Mike Seeger from meeting him at Newport. The others were young college students like ourselves who were excited by this music. We joined them up front as close as we could get.
Izzy was one of those larger-than-life people—full of energy, absolutely committed to folk music as a force for social change. The front of the store had records, songbooks, and instruction books. Izzy had a cramped, crowded office at the back where he would hold court with anyone who happened to come in. Bill and I quickly figured out that if we hung around Izzy’s long enough someone we knew—or wanted to know—would come in, and one thing would lead to another. One day there was this kid in the back 26 Into the Folk and Bluegrass Pool hunched over Izzy’s typewriter, typing furiously.