After the end of the Second World War, in July 1945, he organised concerts featuring black musicians such as Freddy Grant, and also edited the influential Jazz Music magazine.

He visited New York in 1948 for Decca Records, and while there heard Trinidadian musicians play calypso music.

[8] He also produced recordings by pianist George Shearing and blues musicians Big Bill Broonzy and Josh White.

[4] When Meek left Lansdowne in 1960, he took inspiration from Preston's independent approach and expanded on this by also producing in his own recording studio.

The organisation linked with activist Claudia Jones to arrange several events and clubs in the area on a non-racial and anti-fascist basis.

"[17] Preston's production branched out from traditional jazz into folk, modern jazz and guitar-based genres, working with artists such as Jack Elliot, Roger Whittaker, Wout Steenhuis, Shawn Phillips, Joe Harriott and Stan Tracey, as well as African and Indian-inspired artists Amancio D'Silva and Kofi Ghanaba.

[4][18] Among his jazz production successes were Stan Tracey's "Under Milk Wood" Suite, and the Indo-Jazz Fusions albums by John Mayer and Joe Harriott.