Answer the question at the end by quoting:

Michael John Kells Fleetwood was born in Redruth, second child to John Joseph Kells Fleetwood and Bridget Maureen (nee Brereton) Fleetwood. His elder sister Susan Fleetwood, who died of cancer in 1995, became an actress. In early childhood Fleetwood and his family followed his father, a Royal Air Force fighter pilot, to Egypt. After about six years, they moved to Norway where his father was posted on a NATO deployment.
In November 1977 Fleetwood and Nicks began having an affair. It would continue sporadically for the next two years during the fallout from the end of Fleetwood's relationship with Boyd, until the pair mutually decided to end the affair. "Never in a million years could you have told me that [her affair with Fleetwood] would happen," Nicks later stated. "Everybody was angry, because Mick was married to a wonderful girl and had two wonderful children. I was horrified. I loved these people. I loved his family. So it couldn't possibly work out. And it didn't. I just couldn't." Boyd and Fleetwood had in fact begun living together once more in 1976, and would remarry temporarily to assist their children with emigration to the United States. However they quickly divorced for the second time some months later. In November 1978 Fleetwood moved into a Bel Air home with Sara Recor, mutual friend of Fleetwood and Nicks who was at the time married to another music producer. Meanwhile, Fleetwood began working on a charity project to get Fleetwood Mac to tour the Soviet Union, however the Soviet War in Afghanistan later made the tour untenable. Tusk, Fleetwood Mac's 12th studio album, was released in 1979. The work represented a more experimental direction taken by Buckingham. Fleetwood, recently diagnosed as having diabetes after suffering recurring bouts of hypoglycemia during several live shows, was again instrumental in maintaining the band's cohesion. He placated Buckingham over feelings of creative claustrophobia and discomfort playing alongside Nicks. On the issue of Buckingham taking creative control away from the other members of the group for the creation of Tusk, Fleetwood recounts that his three-day discussion with Buckingham culminated in him telling the latter that "if it's good, then go ahead." Though the nature of the album strained relationships again within the band - particularly John McVie, a long-established blues musician who disliked the experimental nature of the album - Fleetwood himself rates the album as his favourite by Fleetwood Mac, and cites the freedom of creative expression allotted to each band member as integral to the survival of the group. The album sold four million copies worldwide, a return noticeably poorer than Rumours. Though Buckingham was blamed by the record labels, Fleetwood linked the album's relative failure to the RKO radio chain playing the album in its entirety prior to release, thus allowing mass home taping. Later that year, Fleetwood Mac embarked on a lengthy tour that brought them across America, Canada, Australia, New Zealand, Japan, France, Germany, Switzerland, Belgium, the Netherlands, and the UK. The tour lasted from October 1979 to September 1980, consisting of 113 concerts.

Who played on the album Tusk?

a more experimental direction taken by Buckingham. Fleetwood,

Answer the question at the end by quoting:

Charles Edward "Charlie" Haden (August 6, 1937 - July 11, 2014) was an American jazz double bass player, bandleader, composer and educator known for his deep, warm sound, and whose career spanned more than fifty years. In the late 1950s, Haden was an original member of the ground-breaking Ornette Coleman Quartet. Haden revolutionized the harmonic concept of bass playing in jazz. About him, German musicologist Joachim-Ernst Berendt commented, "His ability to create serendipitous harmonies by improvising melodic responses to Coleman's free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing.
In addition to his lyrical playing, Haden was known for his warm tone and subtle vibrato on the double bass. His approach to the bass stemmed from his belief that the bassist should move from an accompanying role to a more direct role in group improvisation. This is particularly clear in his work with the Ornette Coleman Quartet where he frequently improvised melodic responses to Coleman's free-form solos instead of playing previously written lines. He frequently closed his eyes while performing, and assumed a posture in which he bent himself around the bass until his head was almost at the bottom of the bridge of the bass. In an interview with Haden, pianist Ethan Iverson noted that Haden's "combination of folk song, avant-garde sensibility, and Bach-like classical harmony is a stream in this music just as distinctive as Thelonious Monk or Elvin Jones." Haden owned one three-quarter-sized bass, and one seven-eighth-sized bass. The larger bass is one of a small number of basses made by Jean-Baptiste Vuillaume, a French luthier, in the mid-nineteenth century. He greatly valued this bass, playing it only at recording sessions and jobs in close proximity to his home so as not to risk damaging it in transit. He attributed the bass's special and valuable nature to the varnish used by Vuillaume, which is similar to Italian varnish. Haden suffered from tinnitus, a ringing in both ears that he believed he acquired from constant exposure to playing in proximity to drums, and possibly from an extremely loud concert in which he played during the late 1960s. He also suffered from hyperacousis, or sensitivity to loud noises. As a result, when he played with a drummer, he had to play behind a Plexiglass divider. "American Quartet" pianist, Keith Jarrett, said of Charlie's way of playing, "He wanted to relate to the material in a very personal style all the time. He wasn't somebody to get into a groove and just enjoy it simply because it was a groove".

What genre did Haden play?
"combination of folk song, avant-garde sensibility, and Bach-like classical harmony