IN: Donald Christopher Barber (born 17 April 1930) is an English jazz musician, best known as a bandleader and trombonist. As well as scoring a UK top twenty trad jazz hit, he helped the careers of many musicians, notably the blues singer Ottilie Patterson, who was at one time his wife, and vocalist/banjoist Lonnie Donegan, whose appearances with Barber triggered the skiffle craze of the mid-1950s and who had his first transatlantic hit, "Rock Island Line", while with Chris Barber's band. His providing an audience for Donegan and, later, Alexis Korner makes Barber a significant figure in the British rhythm and blues and "beat boom" of the 1960s.

The 2017 line up is; Chris Barber and Bob Hunt (trombones); Mike Henry and Pete Rudeforth (trumpets), Bert Brandsma, Nick White and Ian Killoran (clarinets and alto sax, tenor sax, baritone sax). John Watson (drums), John Day (double bass), Joe Farler (banjo & guitar) Pat Halcox, trumpeter with the Chris Barber Band since 31 May 1954, retired after playing his last gig with the Big Chris Barber Band on 16 July 2008. Halcox and Barber were together in the band for 54 years - the longest continuous partnership in the history of jazz, exceeding even that of Duke Ellington and Harry Carney (48 years between 1926 and 1974). Tony Carter (reeds) also left the band at this time. Vic Pitt (double bass) retired in January 2007 after 30 years with the band.  His feature duet with the drummers of the day - "Big Noise From Winnetka" was not only a feature of the Barber concerts, but also his time with the Kenny Ball band immediately before. When Amy Roberts joined the band in 2011, she was still a student at Royal Northern College of Music and thus not always able to be present. On several tours Bert Brandsma (reeds) replaced her. Brandsma joined as a permanent member in 2012.  At St Luke's, London, on 9 June 2007 Barber appeared in the horn section of Nick Lowe's band during a concert. In 2008 Barber, along with Eric Clapton and others, were involved in a new co-operative record company, Blues Legacy. On 23 July 2009, Barber, Bilk and Ball played a one-off concert at Indigo2 at the O2 in Greenwich. The concert was presented by the British Music Experience. He performed at De Doelen in Rotterdam, the Netherlands, on 12 December 2010.

Did he appear during any other concert?

OUT: On 23 July 2009, Barber, Bilk and Ball played a one-off concert at Indigo2 at the O2 in Greenwich.

input: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic.  Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album.  When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

Answer this question "Are there any other interesting aspects about this article?"
output:
Charles sought to experiment with country music.