Editing Dexter Gordon (section)

===Homecoming===
[[File:Dexter Gordon 1980.jpg|thumb|At the 1980 [[Edison Award]], Amsterdam]]
Gordon returned to the United States for good in 1976.<ref>Allan, William (December 11, 1977). "[https://www.newspapers.com/article/the-pittsburgh-press-jazz-is-backbig/146607276/ Jazz is back...big...on Records]". ''The Pittsburgh Press''.</ref> He appeared with [[Woody Shaw]], [[Ronnie Mathews]], [[Stafford James]], and [[Louis Hayes]], for a gig at the [[Village Vanguard]] in New York that was dubbed his "homecoming." It was recorded and released by [[Columbia Records]] under that title. He observed: "There was ''so'' much love and elation; sometimes it was a little ''eerie'' at the Vanguard. After the last set they'd turn on the lights and ''nobody'' would move."<ref>{{cite book|author=Chapman, Dale|url=https://books.google.com/books?id=RTRMDwAAQBAJ&q=%22There+was+so+much+love+and+elation%22&pg=PA78|title=The Jazz Bubble: Neoclassical Jazz in Neoliberal Culture|date = March 23, 2018|page=78| publisher=Univ of California Press |isbn = 9780520968219}}</ref> In addition to the ''Homecoming'' album, a series of live albums was released by Blue Note from his stands at [[Keystone Korner]] in San Francisco during 1978 and 1979. They featured Gordon, [[George Cables]], [[Rufus Reid]], and [[Eddie Gladden]]. He recorded the studio albums ''[[Sophisticated Giant]]'' with an eleven piece big band in 1977 and ''Manhattan Symphonie'' with the ''Live at Keystone Corner'' crew in 1978. The sensation of Gordon's return, and the continued efforts of [[Art Blakey]] through 1970s and early 1980s, have been credited with reviving interest in swinging, melodic, acoustically-based classic jazz sounds after the [[Fusion jazz]] era that saw an emphasis on electronic sounds and contemporary pop influences.