Now that tenor saxist Joe Henderson has attained household-name status--at least in jazz households--one wonders if his contemporary Dewey Redman can lag all that far behind. Henderson's late-breaking popularity, well-deserved as it may be, stems in large part from his affiliation with a major record label; but Redman has gained no little attention for fathering a spectacular young tenor star (Joshua Redman), and if that serves to turn some heads to dad's unique sound and sinuous style, who'll complain? Like Henderson, Redman pere has developed a style at once urgent and languid, which treads outside the expected boundaries even on conventional material. You can consider Redman, a native of Fort Worth, the last in the great lineage of Texas tenors. He belongs to that tradition by dint of his large, forceful, malleable tone, and a swing feel alloyed with strains of country blues; but his ability to explore unstructured improvisation (he played the second horn in Ornette Coleman's early-70s band) places him more than a few country miles from his Lone Star predecessors. Redman will get plenty of exposure this weekend: in addition to two appearances at the Jazz Festival, his Chicago trio (bassist Harrison Bankhead, drum marvel Hamid Drake) headlines Saturday's after-fest session at HotHouse, which also includes a late-night jam. Sunday night features the Avant Trio of bassist Tatsu Aoki--starting at 9, for those who want to skip the Jazz Festival finale--followed by a trio drawn from Ernest Dawkins's New Horizons Ensemble, and a jam session 'round midnight to cap off the weekend. Saturday, 10 PM, and Sunday, 9 PM, HotHouse, 1565 N. Milwaukee; 235-2334.