Listening to Dewey Redman. Not Joshua, but his father, Dewey, the better jazz man of the two, playing a set recorded live in London.
Dewey, unfortunately is not as well known in America, even though he is considerably the better artist, as he was forced to spend almost his entire career in Europe and not allowed to play in the US. This was back in the day when jazz players would lose their cabaret license if they played in Europe and not be allowed back into the United States to play. Oh, you could get back in, to see your relatives or something. But not play or record.
Of course, white musicians and singers playing in symphonies and opera companies during this time were allowed to tour anywhere and without any impact [other than extremely positive effects on their status and career] on their right to play in the United States.
Of course it was a level playing field. Sure. All equal before the law. One nation under God with justice and equality for all. Amen. Sure, sure, tell us all about it.
Some never came back, but stayed in Europe even after things got straightened out a bit. Dewey is playing this set in 1996. Not that long ago, jazz-history-wise. Some, like Ornette Coleman, just happened to play some of their best stuff in Europe before wildly appreciative crowds and often better pay.
Dewey sounds great by the way [Dewey Redoman in London, recorded October 1996, distributed on Palmetto Jazz] and, without irony, is playing in his own integrated quartet [Dewey Redman on tenor sax, Cameron Brown on bass, Rita Marcotulli on piano, Matt Wilson on drums]..