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Trombonist and bandleader Chris Barber spearheaded the Anglo-European trad jazz movement during the late '50s and early '60s and devoted 60 years to the endless celebration of old-fashioned music. Barber initially broke through in the '50s releasing albums like 1954's New Orleans Joys, which spawned the Lonnie Donegan skiffle classic "Rock Island Line. He also scored a Top 20 U.K. hit in 1959 with "Petite Fleur," a cover of the Sydney Bechet song featuring clarinetist Monty Sunshine. But that's only part of his story. Even as he presided over that transatlantic response to the Dixieland revival, Barber went out of his way to make music with U.S. blues legends Big Bill Broonzy, Brother John Sellers, Sonny Terry, Brownie McGhee, Otis Spann, Muddy Waters, James Cotton, and Sonny Boy Williamson II. This cross-pollination dramatically affected the lives and careers of budding British rockers such as the Rolling Stones, the Yardbirds, Eric Burdon, Jimmy Page, and John Mayall.

Donald Christopher "Chris" Barber was born on April 17, 1930, in Welwyn Garden City, Hertfordshire, just north of London, England. After studying double bass and trombone at London's Guildhall School of Music, he assembled the King Oliver-inspired Barber New Orleans Band in 1949. In 1953 he co-founded a group called the Jazzmen with Ken Colyer, a cornetist who had just returned from New Orleans where he had worked with clarinetist George Lewis. In 1954 the group was rechristened Chris Barber's Jazz Band. Trumpeter Pat Halcox had begun what would amount to a 59-year commitment, banjoist/guitarist Lonnie Donegan now sang songs from the jazz, blues, and folk traditions, and Barber sometimes performed on the string bass while Beryl Bryden stroked a washboard.

Donegan and Barber are credited with having ignited the mid-'50s U.K. skiffle movement with a 1955 cover of Leadbelly's "Rock Island Line" that went gold on both sides of the Atlantic. Another of the band's chart-topping hits was its interpretation of Sidney Bechet's "Petite Fleur," a feature for clarinetist Monty Sunshine that led to the eventual rise of pop instrumentalist Acker Bilk. The year 1955 also saw the arrival of Barber's future wife, vocalist Ottilie Patterson, a blues-based performer who sang duets with Sister Rosetta Tharpe when the gospel/swing star sat in with the band in 1957. Barber's often surprisingly diverse lineup also included Jamaican saxophonists Joe Harriott and Bertie King.

In 1959 Barber went cinematic by generating music for Look Back in Anger, a film noir exercise in kitchen sink realism directed by Tony Richardson and starring Richard Burton as a violently misogynistic, emotionally disturbed confection peddler and part-time Dixieland trumpeter (dubbed by Pat Halcox). Barber made the first of many U.S. tours in 1959, bringing out of the woodwork Black jazz veterans like pianist Hank Duncan, clarinetist Edmond Hall, trumpeter Sidney DeParis, and rhythm & blues pioneer singer/saxophonist Louis Jordan. Barber's '60s discography includes air shots from the BBC radio archives and live recordings made in Budapest and East Berlin, with gospel and folk material enriching the already fertile ground of the band's repertoire.

As the years passed, a gradually renamed Chris Barber's Jazz & Blues Band regularly employed blues and rock musicians, blurring the artificially imposed delineations between genres while offering music that was accessible to a wide range of listeners. In 1964, he brought on board blues guitarist John Slaughter as a full-time member. He also recorded a 1972 album with guitarist Rory Gallagher, Drat That Fratle Rat. Barber spent a lot of time performing in Europe during the ,70s, and after the passing of Duke Ellington deliberately sought out some of Duke's key soloists in organist Wild Bill Davis, saxophonist Russell Procope, and singer/trumpeter/violinist Ray Nance.

Throughout the '80s, Barber stayed faithful to his traditional and progressive instincts by teaming up with Louisiana singer, philosopher, and keyboardist Dr. John. Originally from backgrounds as different as could be, the two made several records together, including 1990's On a Mardi Gras Day, and toured a show called Take Me Back to New Orleans. The '90s and the first decade of the 21st century found Barber carrying the torch of trad jazz into his sixth decade of creative professional activity, often expanding his group to include 11 players while consistently delivering music of unpretentious warmth and historic depth.

Barber suffered from dementia in his later years and retired from performing in 2019. He died on March 2, 2021, at the age of 90. Three months after his passing, the ironically named Last Record Company issued A Trailblazer's Legacy. In production long before his passing, the deluxe four-disc set carefully curated and compiled his over-seven decades-music career, including his collaborations with American blues legends, with copious biographical and historical notes (18,000 words of annotation) by Alyn Shipton. The following year, the Lake label released Just Once More for All Time, a six-disc 109-track set -- 105 of them were previously unreleased. It focused almost exclusively on his career development, and offered recordings by many of his various bands. ~ arwulf arwulf

Kenny Ball will always be associated with his huge 1961 hit "Midnight in Moscow," cut in the days when it was possible for a Dixieland song to make it onto the charts. He started playing trumpet at age 15 and gained experience playing in the bands of Charlie Galbraith, Eric Delaney, and Sid Phillips. In 1958, he formed his own group and quickly became a leader in Britain's trad jazz movement. "I Love You Samantha" was his first hit, and after "Midnight in Moscow" and "So Do I," Ball was set. He has remained active into the mid-'90s (touring the Soviet Union in 1985) and remained a household name in England. ~ Scott Yanow

Acker Bilk -- or Mr. Acker Bilk, as he was billed -- has won immortality on rock oldies radio for his surprise 1962 hit "Stranger on the Shore," an evocative ballad featuring his heavily quavering low-register clarinet over a bank of strings. To the jazz world, though, he has a longer-running track record as one of the biggest stars of Britain's trad jazz boom, playing in a distinctive early New Orleans manner. After learning his instrument in the British Army, Bilk joined Ken Colyer's trad band in 1954 before stepping out on his own in 1956. By 1960, a record of his, "Summer Set" -- a pun on the name of his home county -- landed on the British pop charts, and Bilk was on his way, clad in the Edwardian clothing and bowler hats that his publicist told his Paramount Jazz Band to wear. Several other British hits followed, but none bigger than "Stranger," which Bilk wrote for his daughter Jenny. The single stayed 55 weeks on the British charts and crossed the sea to America, where it hit number one in an era when radio was open to oddball records of all idioms (Bilk gratefully called "Stranger" "my old-age pension"). Released on English Columbia in Britain, several Bilk albums came out in America on the Atco label, and he continued to have hits until the British rock invasion of 1964 made trad seem quaint. With that, Bilk moved into cabaret and continued to have some success in Europe, leading jazz bands, recording with lush string ensembles, and even scoring another hit, "Aria" (number five in Britain), in 1976. Continuing to perform through the 2000s, Bilk slackened his pace so that he could pursue, like Miles Davis, a hobby of painting. ~ Richard S. Ginell