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"content": "\u003cp>Kathryn Philip stood outside the True West Film Center in Healdsburg last Friday, looking up at the brand new \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theater\u003c/a> that, for five years, had only existed in her head. As customers exited the very first film screening, one word came to mind.\u003c/p>\n\u003cp>“It’s all about hope. This, to me, is millions of dollars of hope,” Philip said. “This is the community saying, not only do we want it, we \u003cem>hope\u003c/em> that people are gonna relearn it. We \u003cem>hope\u003c/em> that people are gonna give this to themselves again.”\u003c/p>\n\u003cp>What the public has to relearn, obviously, is the act of going to the movies. Ever since the pandemic changed people’s viewing habits — only 16% of Americans go to the movie theater at least once a month, according to \u003ca href=\"https://apnorc.org/projects/more-people-are-enjoying-movies-from-the-comfort-of-home/\">a recent poll by the Associated Press\u003c/a> — dozens of theaters have closed permanently across the greater Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13982677\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg\" alt=\"\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The breezeway leading to the True West Film Center in Healdsburg, seen during a preview on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The True West Film Center is banking on those people coming back. With its central location in downtown Healdsburg, plus state-of-the-art projection, sound and seating, it just might work. The city is historically supportive of the arts, boasting a cluster of downtown art galleries and an annual jazz festival. As for donations and memberships, the median home value hovers around $1 million, and one-third of the population are retirees, with spare time to go to the movies.\u003c/p>\n\u003cp>When Philip was choosing a town for the theater, all the ingredients seemed to intersect in Healdsburg, known primarily these days for wine tourism. “You have more foot traffic, you have discretionary income, you have a world stage which is drawing people here out of interest and curiosity,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13974460'] Notably, True West is not a commercial enterprise, but a mission-based nonprofit. John Cooper, the former director of the Sundance Film Festival and now True West’s artistic director, said that in the current landscape for moviegoing, the nonprofit model for small theaters is imperative.\u003c/p>\n\u003cp>“Every town wants to have a library and a museum. Why not a cinema? It’s just as important,” Cooper said.\u003c/p>\n\u003cp>The tricky part is getting community buy-in, Cooper added. But with a capital campaign that’s raised $4.5 million of a $5.6 million goal, the people seem to have spoken.\u003c/p>\n\u003cfigure id=\"attachment_13982678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors try the seats at True West Film Center in Healdsburg during a preview event on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another thing going for True West is its size. Two of its auditoriums seat just 21 and 27 people, and a third, larger one seats 54.\u003c/p>\n\u003cp>Realistically, in-person movies are a niche activity in the year 2025; one reason the theater operators didn’t take over the 12,000 square-foot Raven Film Center, the town’s 24-year-old multiplex which closed in 2020, is that the auditoriums were too large. As True West board member and local resident Renn Rhodes explained, “We’d go there and there’d be six people in the whole theater.”\u003c/p>\n\u003cp>At True West’s soft opening Friday, a few kinks were still being worked out. One movie trailer played sound, but no picture. Extra salt still needed to be ordered for the popcorn. But excited customers, including 14 of them who arrived for the very first film, Luca Guadagnino’s \u003cem>After the Hunt\u003c/em>, weren’t quibbling.\u003c/p>\n\u003cp>[aside postID='arts_13968201']Laura Vallejo, who’s lived in Healdsburg for 35 years, said after the film let out that she’s had to drive to Santa Rosa or Sebastopol to see movies, and “it’s a bit of a trek out there for us.”\u003c/p>\n\u003cp>Vallejo praised True West for its community outreach and involvement in schools before opening, as well as its senior ticket prices.\u003c/p>\n\u003cp>“I happen to know a lot of people who are excited about it, and are saying ‘I want to come back,’” she added.\u003c/p>\n\u003cp>Local moviegoers like Vallejo who aren’t fans of Hollywood’s emphasis on action and superhero franchises have already pitched Cooper on the kinds of movies they’d like to see. At a preview event in September, supporters shouted out older films like \u003cem>2001: A Space Odyssey\u003c/em>, \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Sting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13973504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg\" alt=\"A man in glasses and a greyish puffed vest looks into the camera, smiling, against a backdrop of trees\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Cooper, pictured in Sebastopol, was previously the director of the Sundance Film Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, Cooper, who grew up in Sonoma County and now lives in Healdsburg after stepping down from Sundance, won’t be programming a \u003cem>Fast & Furious\u003c/em> marathon anytime soon.\u003c/p>\n\u003cp>On Mondays and Tuesdays, he plans “Icon Screenings” for repertory movies, such as \u003cem>To Kill a Mockingbird\u003c/em>, dedicated to famous actors. Regular “Film 101” series will focus on one director or genre. Sundays will be reserved for what he calls “Film Church,” a series of weekly documentaries (“and not about an issue that’s so bad, you leave really depressed,” Cooper quipped).\u003c/p>\n\u003cp>[aside postID='arts_13917362']Outdoor screenings and Spanish-language events are in the works, along with a film festival, which began life as the Alexander Valley Film Festival. Many of the same organizers of that long-running film festival, including executive director Philip, moved their energies to True West; next year’s festival will take on the theater’s name.\u003c/p>\n\u003cp>As more people arrived for the second-ever round of screenings at the theater, on opening day, Philip said she felt relieved and excited.\u003c/p>\n\u003cp>“Watching the people trickle in has been such a joy, and I feel ready to share it,” she said. “I’m ready to give it back now to the community, and let them make it their own.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The True West Film Center (371 Healdsburg Ave., Healdsburg) hosts a free \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">grand opening block party\u003c/a> on Saturday, Oct. 25, at 2 p.m. \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kathryn Philip stood outside the True West Film Center in Healdsburg last Friday, looking up at the brand new \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theater\u003c/a> that, for five years, had only existed in her head. As customers exited the very first film screening, one word came to mind.\u003c/p>\n\u003cp>“It’s all about hope. This, to me, is millions of dollars of hope,” Philip said. “This is the community saying, not only do we want it, we \u003cem>hope\u003c/em> that people are gonna relearn it. We \u003cem>hope\u003c/em> that people are gonna give this to themselves again.”\u003c/p>\n\u003cp>What the public has to relearn, obviously, is the act of going to the movies. Ever since the pandemic changed people’s viewing habits — only 16% of Americans go to the movie theater at least once a month, according to \u003ca href=\"https://apnorc.org/projects/more-people-are-enjoying-movies-from-the-comfort-of-home/\">a recent poll by the Associated Press\u003c/a> — dozens of theaters have closed permanently across the greater Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13982677\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg\" alt=\"\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The breezeway leading to the True West Film Center in Healdsburg, seen during a preview on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The True West Film Center is banking on those people coming back. With its central location in downtown Healdsburg, plus state-of-the-art projection, sound and seating, it just might work. The city is historically supportive of the arts, boasting a cluster of downtown art galleries and an annual jazz festival. As for donations and memberships, the median home value hovers around $1 million, and one-third of the population are retirees, with spare time to go to the movies.\u003c/p>\n\u003cp>When Philip was choosing a town for the theater, all the ingredients seemed to intersect in Healdsburg, known primarily these days for wine tourism. “You have more foot traffic, you have discretionary income, you have a world stage which is drawing people here out of interest and curiosity,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Notably, True West is not a commercial enterprise, but a mission-based nonprofit. John Cooper, the former director of the Sundance Film Festival and now True West’s artistic director, said that in the current landscape for moviegoing, the nonprofit model for small theaters is imperative.\u003c/p>\n\u003cp>“Every town wants to have a library and a museum. Why not a cinema? It’s just as important,” Cooper said.\u003c/p>\n\u003cp>The tricky part is getting community buy-in, Cooper added. But with a capital campaign that’s raised $4.5 million of a $5.6 million goal, the people seem to have spoken.\u003c/p>\n\u003cfigure id=\"attachment_13982678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors try the seats at True West Film Center in Healdsburg during a preview event on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another thing going for True West is its size. Two of its auditoriums seat just 21 and 27 people, and a third, larger one seats 54.\u003c/p>\n\u003cp>Realistically, in-person movies are a niche activity in the year 2025; one reason the theater operators didn’t take over the 12,000 square-foot Raven Film Center, the town’s 24-year-old multiplex which closed in 2020, is that the auditoriums were too large. As True West board member and local resident Renn Rhodes explained, “We’d go there and there’d be six people in the whole theater.”\u003c/p>\n\u003cp>At True West’s soft opening Friday, a few kinks were still being worked out. One movie trailer played sound, but no picture. Extra salt still needed to be ordered for the popcorn. But excited customers, including 14 of them who arrived for the very first film, Luca Guadagnino’s \u003cem>After the Hunt\u003c/em>, weren’t quibbling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Laura Vallejo, who’s lived in Healdsburg for 35 years, said after the film let out that she’s had to drive to Santa Rosa or Sebastopol to see movies, and “it’s a bit of a trek out there for us.”\u003c/p>\n\u003cp>Vallejo praised True West for its community outreach and involvement in schools before opening, as well as its senior ticket prices.\u003c/p>\n\u003cp>“I happen to know a lot of people who are excited about it, and are saying ‘I want to come back,’” she added.\u003c/p>\n\u003cp>Local moviegoers like Vallejo who aren’t fans of Hollywood’s emphasis on action and superhero franchises have already pitched Cooper on the kinds of movies they’d like to see. At a preview event in September, supporters shouted out older films like \u003cem>2001: A Space Odyssey\u003c/em>, \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Sting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13973504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg\" alt=\"A man in glasses and a greyish puffed vest looks into the camera, smiling, against a backdrop of trees\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Cooper, pictured in Sebastopol, was previously the director of the Sundance Film Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, Cooper, who grew up in Sonoma County and now lives in Healdsburg after stepping down from Sundance, won’t be programming a \u003cem>Fast & Furious\u003c/em> marathon anytime soon.\u003c/p>\n\u003cp>On Mondays and Tuesdays, he plans “Icon Screenings” for repertory movies, such as \u003cem>To Kill a Mockingbird\u003c/em>, dedicated to famous actors. Regular “Film 101” series will focus on one director or genre. Sundays will be reserved for what he calls “Film Church,” a series of weekly documentaries (“and not about an issue that’s so bad, you leave really depressed,” Cooper quipped).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Outdoor screenings and Spanish-language events are in the works, along with a film festival, which began life as the Alexander Valley Film Festival. Many of the same organizers of that long-running film festival, including executive director Philip, moved their energies to True West; next year’s festival will take on the theater’s name.\u003c/p>\n\u003cp>As more people arrived for the second-ever round of screenings at the theater, on opening day, Philip said she felt relieved and excited.\u003c/p>\n\u003cp>“Watching the people trickle in has been such a joy, and I feel ready to share it,” she said. “I’m ready to give it back now to the community, and let them make it their own.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The True West Film Center (371 Healdsburg Ave., Healdsburg) hosts a free \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">grand opening block party\u003c/a> on Saturday, Oct. 25, at 2 p.m. \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-jazz-bay-area-summer-concerts-festivals",
"title": "10 of the Best Jazz Shows in the Bay Area This Summer",
"publishDate": 1747335646,
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"headTitle": "10 of the Best Jazz Shows in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s an unpredictable summer, folks. Some find escape in \u003ca href=\"https://www.kqed.org/arts/13975778/summer-concerts-music-festivals-bay-area-san-francisco-napa-oakland\">music festivals\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13976207/bay-area-summer-djing-glass-blowing-ceramics-sewing-gardening\">hands-on diversions\u003c/a>, while I’ve always gotten lost in jazz — especially live jazz, and its beautiful reshaping of the world and one’s self in it. \u003c/p>\n\u003cp>Here are 10 excellent jazz shows in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13976346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg\" alt=\"\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13976346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1536x865.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/howard-wiley/\">Howard Wiley’s ‘California Love Pt. II’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Last year, Oakland tenor saxophonist and SFJAZZ resident artistic director Howard Wiley brought a sold-out crowd to its feet in a concert celebrating the music of the Golden State. (A medley of “Hotel California” and “California Love”? Check.) This year he brings that beat back with its sequel, subtitled “Love, Kale, Pride and Revolution,” with a group including organist Lionel “LJ” Holoman and trombonist Robin Eubanks, plus a handful of Bay Area all-stars. If you’ve been meaning to introduce a date to the thrill and energy of live jazz, you can’t go wrong here.\u003c/p>\n\u003cfigure id=\"attachment_13976347\" class=\"wp-caption aligncenter\" style=\"max-width: 963px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg\" alt=\"\" width=\"963\" height=\"542\" class=\"size-full wp-image-13976347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-768x432.jpg 768w\" sizes=\"auto, (max-width: 963px) 100vw, 963px\">\u003cfigcaption class=\"wp-caption-text\">LMNts Trio. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://centerfornewmusic.com/event/lmnts-trio-aaron-bennett/\">LMNts Trio with Aaron Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Center for New Music, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re feeling adventurous with $15 in your pocket, here’s your opportunity for radical exploration. The LMNts Trio evokes the form-fluid free jazz of labels like ESP-Disk with Scott R. Looney on prepared piano and electronics, Lisa Mezzacapa on bass and Kjell Nordeson on percussion. Add into the mix saxophonist Aaron Bennett, steeped in jazz standards and Thelonious Monk, and there’s no telling what could happen. That’s the fun of it, isn’t it? \u003c/p>\n\u003cfigure id=\"attachment_13976348\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png\" alt=\"\" width=\"872\" height=\"584\" class=\"size-full wp-image-13976348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-768x514.png 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Takuya Koroda. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/takuya-kuroda/\">Takuya Koroda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 6, 2025\u003c/em>\u003cbr>\n\u003cem>The New Parish, Oakland \u003c/em>\u003c/p>\n\u003cp>Born in Kobe and now living in Brooklyn, Takuya Koroda is Japan’s answer to Roy Hargrove: a little bit of fusion, a little bit of post-bop, a little bit of hip-hop and a lot of invention. Having made a name for himself backing vocalist José James, Koroda has since recorded albums for Blue Note, Concord and Universal; his newest, \u003cem>Everyday\u003c/em>, is alive in all the right ways.\u003c/p>\n\u003cfigure id=\"attachment_13976349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Charles Lloyd Sky Quartet, with Eric Harland, Larry Grenadier and Jason Moran. \u003ccite>(D. Darr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2025-summer/festival/overview/\">San Francisco Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center and surrounding streets, San Francisco\u003c/em>\u003c/p>\n\u003cp>Charles Lloyd alone makes this first-year festival at SFJAZZ worth attending, but the rest of this completely bananas lineup is so exciting, it had no choice but to spill out onto the streets for a three-day block party — complete with food trucks, local DJs and wine and beer. With bona fide jazz legends (Patrice Rushen, Stanley Clarke, Gonzalo Rubalcaba, Dave Holland), hot, new up-and-comers (Lakecia Benjamin, Kassa Overall) and local stars (Ambrose Akinmusire, Salami Rose Joe Louis, Idris Ackamoor), it’s the must-see jazz event of the summer in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13976350\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13976350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1920x1353.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Reeves. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/\">Healdsburg Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–22, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Healdsburg\u003c/em>\u003c/p>\n\u003cp>The best of the Bay Area’s small-town jazz festivals hosts big names in intimate environs. This year it’s vocalist Diane Reeves, pianist Kenny Barron, drummer Terri Lynne Carrington, trumpeter Nicholas Payton and more. Under the direction of Marcus Shelby, regional artists get plenty of time in the wine country sunshine as well. Pro tip: The free Juneteenth concert in the town plaza couldn’t embody the festival spirit more, and Jason Moran’s tribute to Ellington — with Shelby and his orchestra — is essential.\u003c/p>\n\u003cfigure id=\"attachment_13976351\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jovino Santos Neto. \u003ccite>(Daniel Sheehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://tickets.blackcatsf.com/r/jovino-santos-neto\">Jovino Santos Neto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 26–29, 2025\u003c/em>\u003cbr>\n\u003cem>The Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Now 70 years old, Jovino Santos Neto is playing as well as ever, and the basement confines of San Francisco’s classic, straight-out-of-the-movies jazz club should caress something special out of the Brazilian musician for this four-night residency. The multi-instrumentalist began performing at age 16 before a long run with Hermeto Pascal’s band; his talent and experience both emanate from his rarified music. \u003c/p>\n\u003cfigure id=\"attachment_13976352\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13976352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gyedu-Blay Ambolley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.jazzisdead.com/uploadevents/gyedu-blay-ambolley\">Gyedu-Blay Ambolley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 18, 2025\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Ghana, Gyedu-Bley Ambolly has released nearly 30 albums — but none so revered as his 1975 debut \u003cem>Simigiwa\u003c/em>. Mixing West African highlife with James Brown, Ambolley offered a Fela Kuti-esque vision of the world and, in the process, inadvertently created a roadmap for hip-hop. For its 50th anniversary, Ambolley plays the album in its entirety in Berkeley with an eight-piece band.\u003c/p>\n\u003cfigure id=\"attachment_13976353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg\" alt=\"\" width=\"2000\" height=\"1553\" class=\"size-full wp-image-13976353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1536x1193.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1920x1491.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo. \u003ccite>(Courtesy Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/pete-escovedo-orchestra-birthday-celebration-5/detail\">Pete Escovedo 90th Birthday Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 25–27, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>Between his own music, his time in the groups Santana and Azteca, and his running of the 1990s jazz club Mr. E’s, there’s no underestimating the contributions of Pete Escovedo to Latin jazz. There’s also no underestimating the stature of the percussionist’s family, either, who’ll be on hand to give their patriarch a much-deserved musical celebration in their hometown. Though no lineup for the six-show residency has been formally announced, daughter Sheila E. and sons Juan and Peter III would be natural special guests for this family affair. \u003c/p>\n\u003cfigure id=\"attachment_13976355\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg\" alt=\"\" width=\"1374\" height=\"1028\" class=\"size-full wp-image-13976355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-768x575.jpg 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Richie Rich and Mac Mall. \u003ccite>(Jason Hayes (\u003ca href=\"https://www.instagram.com/j.castae/\">J.Castae\u003c/a> / Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/richie-rich-2/detail\">Richie Rich\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 1 and 2, 2025\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/mac-mall/detail\">Mac Mall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>Among the more welcome developments in jazz clubs is the gradual migration of jazz’s natural lineage onto the stage: rap artists, performing with a live band. Yoshi’s in Oakland has been at the forefront of this trend, hosting thrilling shows with national artists like Scarface, Rakim and DJ Quik. This summer, local rap icons Richie Rich and Mac Mall both hit the club with a live band for a week of shows to remind you just how skilled and charismatic these two Bay legends are.\u003c/p>\n\u003cfigure id=\"attachment_13903773\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13903773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples in 2019. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug 8–10, 2025\u003c/em>\u003cbr>\n\u003cem>Downtown San Jose \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not summer in San Jose without this fantastic weekend festival, an annual tradition which takes over downtown San Jose and its scenic César Chávez Plaza. With headliners Mavis Staples, Common, Femi Kuti, Butcher Brown and Bilal — and over 100 artists total — the festival sprawls across nine stages to fill the downtown air with top-notch music and vibes that, sare we say, are immaculate. \u003c/p>\n\n",
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"excerpt": "A new street festival, international touring acts and local favorites round out a syncopated summer.",
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"title": "10 of the Best Jazz Shows in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s an unpredictable summer, folks. Some find escape in \u003ca href=\"https://www.kqed.org/arts/13975778/summer-concerts-music-festivals-bay-area-san-francisco-napa-oakland\">music festivals\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13976207/bay-area-summer-djing-glass-blowing-ceramics-sewing-gardening\">hands-on diversions\u003c/a>, while I’ve always gotten lost in jazz — especially live jazz, and its beautiful reshaping of the world and one’s self in it. \u003c/p>\n\u003cp>Here are 10 excellent jazz shows in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13976346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg\" alt=\"\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13976346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1536x865.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/howard-wiley/\">Howard Wiley’s ‘California Love Pt. II’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Last year, Oakland tenor saxophonist and SFJAZZ resident artistic director Howard Wiley brought a sold-out crowd to its feet in a concert celebrating the music of the Golden State. (A medley of “Hotel California” and “California Love”? Check.) This year he brings that beat back with its sequel, subtitled “Love, Kale, Pride and Revolution,” with a group including organist Lionel “LJ” Holoman and trombonist Robin Eubanks, plus a handful of Bay Area all-stars. If you’ve been meaning to introduce a date to the thrill and energy of live jazz, you can’t go wrong here.\u003c/p>\n\u003cfigure id=\"attachment_13976347\" class=\"wp-caption aligncenter\" style=\"max-width: 963px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg\" alt=\"\" width=\"963\" height=\"542\" class=\"size-full wp-image-13976347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-768x432.jpg 768w\" sizes=\"auto, (max-width: 963px) 100vw, 963px\">\u003cfigcaption class=\"wp-caption-text\">LMNts Trio. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://centerfornewmusic.com/event/lmnts-trio-aaron-bennett/\">LMNts Trio with Aaron Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Center for New Music, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re feeling adventurous with $15 in your pocket, here’s your opportunity for radical exploration. The LMNts Trio evokes the form-fluid free jazz of labels like ESP-Disk with Scott R. Looney on prepared piano and electronics, Lisa Mezzacapa on bass and Kjell Nordeson on percussion. Add into the mix saxophonist Aaron Bennett, steeped in jazz standards and Thelonious Monk, and there’s no telling what could happen. That’s the fun of it, isn’t it? \u003c/p>\n\u003cfigure id=\"attachment_13976348\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png\" alt=\"\" width=\"872\" height=\"584\" class=\"size-full wp-image-13976348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-768x514.png 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Takuya Koroda. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/takuya-kuroda/\">Takuya Koroda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 6, 2025\u003c/em>\u003cbr>\n\u003cem>The New Parish, Oakland \u003c/em>\u003c/p>\n\u003cp>Born in Kobe and now living in Brooklyn, Takuya Koroda is Japan’s answer to Roy Hargrove: a little bit of fusion, a little bit of post-bop, a little bit of hip-hop and a lot of invention. Having made a name for himself backing vocalist José James, Koroda has since recorded albums for Blue Note, Concord and Universal; his newest, \u003cem>Everyday\u003c/em>, is alive in all the right ways.\u003c/p>\n\u003cfigure id=\"attachment_13976349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Charles Lloyd Sky Quartet, with Eric Harland, Larry Grenadier and Jason Moran. \u003ccite>(D. Darr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2025-summer/festival/overview/\">San Francisco Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center and surrounding streets, San Francisco\u003c/em>\u003c/p>\n\u003cp>Charles Lloyd alone makes this first-year festival at SFJAZZ worth attending, but the rest of this completely bananas lineup is so exciting, it had no choice but to spill out onto the streets for a three-day block party — complete with food trucks, local DJs and wine and beer. With bona fide jazz legends (Patrice Rushen, Stanley Clarke, Gonzalo Rubalcaba, Dave Holland), hot, new up-and-comers (Lakecia Benjamin, Kassa Overall) and local stars (Ambrose Akinmusire, Salami Rose Joe Louis, Idris Ackamoor), it’s the must-see jazz event of the summer in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13976350\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13976350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1920x1353.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Reeves. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/\">Healdsburg Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–22, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Healdsburg\u003c/em>\u003c/p>\n\u003cp>The best of the Bay Area’s small-town jazz festivals hosts big names in intimate environs. This year it’s vocalist Diane Reeves, pianist Kenny Barron, drummer Terri Lynne Carrington, trumpeter Nicholas Payton and more. Under the direction of Marcus Shelby, regional artists get plenty of time in the wine country sunshine as well. Pro tip: The free Juneteenth concert in the town plaza couldn’t embody the festival spirit more, and Jason Moran’s tribute to Ellington — with Shelby and his orchestra — is essential.\u003c/p>\n\u003cfigure id=\"attachment_13976351\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jovino Santos Neto. \u003ccite>(Daniel Sheehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://tickets.blackcatsf.com/r/jovino-santos-neto\">Jovino Santos Neto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 26–29, 2025\u003c/em>\u003cbr>\n\u003cem>The Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Now 70 years old, Jovino Santos Neto is playing as well as ever, and the basement confines of San Francisco’s classic, straight-out-of-the-movies jazz club should caress something special out of the Brazilian musician for this four-night residency. The multi-instrumentalist began performing at age 16 before a long run with Hermeto Pascal’s band; his talent and experience both emanate from his rarified music. \u003c/p>\n\u003cfigure id=\"attachment_13976352\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13976352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gyedu-Blay Ambolley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.jazzisdead.com/uploadevents/gyedu-blay-ambolley\">Gyedu-Blay Ambolley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 18, 2025\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Ghana, Gyedu-Bley Ambolly has released nearly 30 albums — but none so revered as his 1975 debut \u003cem>Simigiwa\u003c/em>. Mixing West African highlife with James Brown, Ambolley offered a Fela Kuti-esque vision of the world and, in the process, inadvertently created a roadmap for hip-hop. For its 50th anniversary, Ambolley plays the album in its entirety in Berkeley with an eight-piece band.\u003c/p>\n\u003cfigure id=\"attachment_13976353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg\" alt=\"\" width=\"2000\" height=\"1553\" class=\"size-full wp-image-13976353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1536x1193.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1920x1491.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo. \u003ccite>(Courtesy Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/pete-escovedo-orchestra-birthday-celebration-5/detail\">Pete Escovedo 90th Birthday Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 25–27, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>Between his own music, his time in the groups Santana and Azteca, and his running of the 1990s jazz club Mr. E’s, there’s no underestimating the contributions of Pete Escovedo to Latin jazz. There’s also no underestimating the stature of the percussionist’s family, either, who’ll be on hand to give their patriarch a much-deserved musical celebration in their hometown. Though no lineup for the six-show residency has been formally announced, daughter Sheila E. and sons Juan and Peter III would be natural special guests for this family affair. \u003c/p>\n\u003cfigure id=\"attachment_13976355\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg\" alt=\"\" width=\"1374\" height=\"1028\" class=\"size-full wp-image-13976355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-768x575.jpg 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Richie Rich and Mac Mall. \u003ccite>(Jason Hayes (\u003ca href=\"https://www.instagram.com/j.castae/\">J.Castae\u003c/a> / Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/richie-rich-2/detail\">Richie Rich\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 1 and 2, 2025\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/mac-mall/detail\">Mac Mall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>Among the more welcome developments in jazz clubs is the gradual migration of jazz’s natural lineage onto the stage: rap artists, performing with a live band. Yoshi’s in Oakland has been at the forefront of this trend, hosting thrilling shows with national artists like Scarface, Rakim and DJ Quik. This summer, local rap icons Richie Rich and Mac Mall both hit the club with a live band for a week of shows to remind you just how skilled and charismatic these two Bay legends are.\u003c/p>\n\u003cfigure id=\"attachment_13903773\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13903773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples in 2019. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug 8–10, 2025\u003c/em>\u003cbr>\n\u003cem>Downtown San Jose \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not summer in San Jose without this fantastic weekend festival, an annual tradition which takes over downtown San Jose and its scenic César Chávez Plaza. With headliners Mavis Staples, Common, Femi Kuti, Butcher Brown and Bilal — and over 100 artists total — the festival sprawls across nine stages to fill the downtown air with top-notch music and vibes that, sare we say, are immaculate. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "john-cooper-sebastopol-film-festival-healdsburg-sundance",
"title": "What Does Sundance’s Former Director Have Planned for This Small Bay Area Town?",
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"headTitle": "What Does Sundance’s Former Director Have Planned for This Small Bay Area Town? | KQED",
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"content": "\u003cp>When John Cooper finally returned to \u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">film festivals\u003c/a>, he decided to start small.\u003c/p>\n\u003cp>Having retired to the small town of Sebastopol, where barely anyone knew his background, the former director of the Sundance Film Festival offered to volunteer at a local documentary festival. They assigned him to work the sandwich table.\u003c/p>\n\u003cp>“Not telling them who I was or anything,” Cooper says on a recent afternoon in Sebastopol, recalling his amused relief at being bossed around, for a change. “And I saw some movies, and it was fun, and sweet.”\u003c/p>\n\u003cp>Cooper’s anonymity didn’t last long. Once people realized who he was, he was quickly promoted from sandwich server to help plan the entire 2025 Sebastopol Documentary Film Festival. After a year-long hiatus so Cooper could reshape it, the festival returns this weekend, March 27–30.\u003c/p>\n\u003cfigure id=\"attachment_13973507\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins.jpg\" alt=\"\" width=\"2000\" height=\"1397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-1920x1341.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Dane, at right, is the subject of Maureen Gosling’s documentary ‘The 9 Lives of Barbara Dane.’ The singer, activist and record label owner who died in 2024 at age 97 is seen here with blues musician Lightning Hopkins. \u003ccite>(Protesta Productions/Arhoolie Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also marks a return for Cooper, now in his late 60s, who grew up partly in Sebastopol. (“Back when the train went down Main Street,” he reminisces.) He attended Santa Rosa Junior College, doing Summer Repertory Theatre there as an actor and dancer, before moving away in the 1970s. After leaving Sundance in 2020, retirement beckoned; so did Sonoma County.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With its population of 17,000, it’s tempting to think of Sebastopol as a coastal analogue to Sundance’s tiny host city, Park City. But beyond size comparisons, Sundance is hugely influential, and comes with pressure and expectation for its director. Cooper says one of his hardest tasks used to be announcing the films that Sundance had accepted — because he’d also have to send letters of rejection to thousands more.\u003c/p>\n\u003cp>[aside postID='arts_13971133']At the same time, going from one of the world’s biggest film institutions to a relatively under-the-radar festival in Sonoma County has its challenges. For starters, Cooper wants to make the Sebastopol festival \u003cem>over\u003c/em> the radar.\u003c/p>\n\u003cp>“I just said, ‘We’ve got to own this town.’ Everybody knows about the Apple Blossom Parade. How does everybody know that, but they don’t know anything about this festival?” Cooper says.\u003c/p>\n\u003cp>Many of the festival’s changes over the past year occurred behind the scenes, involving infrastructure and sponsors. But this year’s attendees will notice one of Cooper’s primary suggestions: show fewer films. As an audience member, Cooper reasons, it’s easy to get overwhelmed looking at a packed schedule, and “you have to do so much research just to see what you need to see.”\u003c/p>\n\u003cp>As a result, this year’s schedule is more streamlined, with 57 films in five different auditoriums. Moreover, it’s among the festival’s most promising in years.\u003c/p>\n\u003cfigure id=\"attachment_13973506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter.jpg\" alt=\"A person with a septum piercing and white gloves holds a bird belly-up.\" width=\"2000\" height=\"1123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Derek Knowles’ short documentary ‘The Bird Rescue Center’ explores the volunteer efforts to nurse birds back to health in Santa Rosa. \u003ccite>(Derek Knowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festival opener \u003cem>The White House Effect\u003c/em> follows the fractured response to climate change by the George H.W. Bush administration. The perils of dictatorship are explored in \u003cem>Democracy Noir\u003c/em>, about the tactics of Hungary’s authoritarian leader Viktor Orbán. (“It’s a cautionary tale of literally everything that we’re doing right now,” says Cooper.)\u003c/p>\n\u003cp>Of local interest are \u003cem>The Bird Rescue Center\u003c/em>, about volunteers in Santa Rosa who nurse native birds back to health, and \u003cem>Bad Hostage\u003c/em>, which examines Stockholm syndrome through the lens of three women: Patty Hearst, Kristin Enmark and the filmmakers’ own grandmother, who was \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/238748\">held hostage in Sebastopol\u003c/a> in 1973. [aside postid='arts_13966880']\u003c/p>\n\u003cp>Music is well-represented, too, with \u003cem>The 9 Lives of Barbara Dane\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13966880/barbara-dane-musician-revolutionary-causes-dies-at-97\">the folk singer and activist\u003c/a> who once rallied against a proposed PG&E nuclear power plant on the Sonoma coast. \u003cem>The Opener\u003c/em> is accompanied by a live performance by Philip Labes, the film’s subject who goes from street performer to the big stage, and \u003cem>Big Mama Thornton: I Can’t Be Anyone But Me\u003c/em>, about the famous blues singer, closes the weekend.\u003c/p>\n\u003cp>Several panel discussions dot the weekend, too, including a conversation about the state of documentary filmmaking led by Cooper himself.\u003c/p>\n\u003cp>“It’s so bad right now — funding, distribution, it’s all crashed and burned,” Cooper says about the documentary landscape, “after a very hot moment when documentaries were \u003cem>it\u003c/em> for a while. Hulu started picking them up, HBO was doing them already, Netflix was throwing big money at making documentaries. And now they’ve all pulled back and stopped.”\u003c/p>\n\u003cfigure id=\"attachment_13973508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Connie Field’s documentary ‘Democracy Noir,’ about three women’s relentless fight against Hungarian Prime Minister Viktor Orbán. \u003ccite>(RealLava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper’s experience and acumen have been just what the festival needed, according to Serafina Palandech, the executive director at the \u003ca href=\"https://www.kqed.org/arts/13960198/sebastopol-center-for-the-arts-reverberations-review\">Sebastopol Center for the Arts\u003c/a>, which produces the festival. \u003c/p>\n\u003cp>“Cooper is so generous with his time and his knowledge, and he very much flies under the radar. You would never know that he has this illustrious career and background,” Palandech says.\u003c/p>\n\u003cp>Along with Sebastopol, Cooper has \u003ca href=\"https://www.pressdemocrat.com/article/industrynews/sundance-true-west-director/\">gotten involved\u003c/a> in nearby Healdsburg, and an effort there to build a three-screen film center from the ground up. The True West Film Center, just off the Healdsburg Plaza, is set to open in the fall with Cooper as its artistic director.\u003c/p>\n\u003cp>And despite his anonymity being blown in Sonoma County, he still does grunt work in this small town, where everyone pitches in. Last month, he found himself driving around the outskirts of town, putting up roadside signs advertising the festival, next to hand-painted wooden announcements for folk concerts and the local spaghetti feed.\u003c/p>\n\u003cp>“I didn’t even know how to put a stake in the ground!” Cooper laughs, remarking that the posts he hammered into the dirt are mostly crooked.\u003c/p>\n\u003cp>“But the signs,” he adds, “are perfectly tied on.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sebastopol Documentary Film Festival runs March 27–30 at the Sebastopol Center for the Arts and Rialto Cinemas in Sebastopol. \u003ca href=\"https://sebastopolfilmfestival.org/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When John Cooper finally returned to \u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">film festivals\u003c/a>, he decided to start small.\u003c/p>\n\u003cp>Having retired to the small town of Sebastopol, where barely anyone knew his background, the former director of the Sundance Film Festival offered to volunteer at a local documentary festival. They assigned him to work the sandwich table.\u003c/p>\n\u003cp>“Not telling them who I was or anything,” Cooper says on a recent afternoon in Sebastopol, recalling his amused relief at being bossed around, for a change. “And I saw some movies, and it was fun, and sweet.”\u003c/p>\n\u003cp>Cooper’s anonymity didn’t last long. Once people realized who he was, he was quickly promoted from sandwich server to help plan the entire 2025 Sebastopol Documentary Film Festival. After a year-long hiatus so Cooper could reshape it, the festival returns this weekend, March 27–30.\u003c/p>\n\u003cfigure id=\"attachment_13973507\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins.jpg\" alt=\"\" width=\"2000\" height=\"1397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DaneHopkins-1920x1341.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Dane, at right, is the subject of Maureen Gosling’s documentary ‘The 9 Lives of Barbara Dane.’ The singer, activist and record label owner who died in 2024 at age 97 is seen here with blues musician Lightning Hopkins. \u003ccite>(Protesta Productions/Arhoolie Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also marks a return for Cooper, now in his late 60s, who grew up partly in Sebastopol. (“Back when the train went down Main Street,” he reminisces.) He attended Santa Rosa Junior College, doing Summer Repertory Theatre there as an actor and dancer, before moving away in the 1970s. After leaving Sundance in 2020, retirement beckoned; so did Sonoma County.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With its population of 17,000, it’s tempting to think of Sebastopol as a coastal analogue to Sundance’s tiny host city, Park City. But beyond size comparisons, Sundance is hugely influential, and comes with pressure and expectation for its director. Cooper says one of his hardest tasks used to be announcing the films that Sundance had accepted — because he’d also have to send letters of rejection to thousands more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, going from one of the world’s biggest film institutions to a relatively under-the-radar festival in Sonoma County has its challenges. For starters, Cooper wants to make the Sebastopol festival \u003cem>over\u003c/em> the radar.\u003c/p>\n\u003cp>“I just said, ‘We’ve got to own this town.’ Everybody knows about the Apple Blossom Parade. How does everybody know that, but they don’t know anything about this festival?” Cooper says.\u003c/p>\n\u003cp>Many of the festival’s changes over the past year occurred behind the scenes, involving infrastructure and sponsors. But this year’s attendees will notice one of Cooper’s primary suggestions: show fewer films. As an audience member, Cooper reasons, it’s easy to get overwhelmed looking at a packed schedule, and “you have to do so much research just to see what you need to see.”\u003c/p>\n\u003cp>As a result, this year’s schedule is more streamlined, with 57 films in five different auditoriums. Moreover, it’s among the festival’s most promising in years.\u003c/p>\n\u003cfigure id=\"attachment_13973506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter.jpg\" alt=\"A person with a septum piercing and white gloves holds a bird belly-up.\" width=\"2000\" height=\"1123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TheBirdRescueCenter-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Derek Knowles’ short documentary ‘The Bird Rescue Center’ explores the volunteer efforts to nurse birds back to health in Santa Rosa. \u003ccite>(Derek Knowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festival opener \u003cem>The White House Effect\u003c/em> follows the fractured response to climate change by the George H.W. Bush administration. The perils of dictatorship are explored in \u003cem>Democracy Noir\u003c/em>, about the tactics of Hungary’s authoritarian leader Viktor Orbán. (“It’s a cautionary tale of literally everything that we’re doing right now,” says Cooper.)\u003c/p>\n\u003cp>Of local interest are \u003cem>The Bird Rescue Center\u003c/em>, about volunteers in Santa Rosa who nurse native birds back to health, and \u003cem>Bad Hostage\u003c/em>, which examines Stockholm syndrome through the lens of three women: Patty Hearst, Kristin Enmark and the filmmakers’ own grandmother, who was \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/238748\">held hostage in Sebastopol\u003c/a> in 1973. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music is well-represented, too, with \u003cem>The 9 Lives of Barbara Dane\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13966880/barbara-dane-musician-revolutionary-causes-dies-at-97\">the folk singer and activist\u003c/a> who once rallied against a proposed PG&E nuclear power plant on the Sonoma coast. \u003cem>The Opener\u003c/em> is accompanied by a live performance by Philip Labes, the film’s subject who goes from street performer to the big stage, and \u003cem>Big Mama Thornton: I Can’t Be Anyone But Me\u003c/em>, about the famous blues singer, closes the weekend.\u003c/p>\n\u003cp>Several panel discussions dot the weekend, too, including a conversation about the state of documentary filmmaking led by Cooper himself.\u003c/p>\n\u003cp>“It’s so bad right now — funding, distribution, it’s all crashed and burned,” Cooper says about the documentary landscape, “after a very hot moment when documentaries were \u003cem>it\u003c/em> for a while. Hulu started picking them up, HBO was doing them already, Netflix was throwing big money at making documentaries. And now they’ve all pulled back and stopped.”\u003c/p>\n\u003cfigure id=\"attachment_13973508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DemocracyNoir_1.56.1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Connie Field’s documentary ‘Democracy Noir,’ about three women’s relentless fight against Hungarian Prime Minister Viktor Orbán. \u003ccite>(RealLava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper’s experience and acumen have been just what the festival needed, according to Serafina Palandech, the executive director at the \u003ca href=\"https://www.kqed.org/arts/13960198/sebastopol-center-for-the-arts-reverberations-review\">Sebastopol Center for the Arts\u003c/a>, which produces the festival. \u003c/p>\n\u003cp>“Cooper is so generous with his time and his knowledge, and he very much flies under the radar. You would never know that he has this illustrious career and background,” Palandech says.\u003c/p>\n\u003cp>Along with Sebastopol, Cooper has \u003ca href=\"https://www.pressdemocrat.com/article/industrynews/sundance-true-west-director/\">gotten involved\u003c/a> in nearby Healdsburg, and an effort there to build a three-screen film center from the ground up. The True West Film Center, just off the Healdsburg Plaza, is set to open in the fall with Cooper as its artistic director.\u003c/p>\n\u003cp>And despite his anonymity being blown in Sonoma County, he still does grunt work in this small town, where everyone pitches in. Last month, he found himself driving around the outskirts of town, putting up roadside signs advertising the festival, next to hand-painted wooden announcements for folk concerts and the local spaghetti feed.\u003c/p>\n\u003cp>“I didn’t even know how to put a stake in the ground!” Cooper laughs, remarking that the posts he hammered into the dirt are mostly crooked.\u003c/p>\n\u003cp>“But the signs,” he adds, “are perfectly tied on.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sebastopol Documentary Film Festival runs March 27–30 at the Sebastopol Center for the Arts and Rialto Cinemas in Sebastopol. \u003ca href=\"https://sebastopolfilmfestival.org/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Best Bets for the 2024 Healdsburg Jazz Festival",
"headTitle": "Best Bets for the 2024 Healdsburg Jazz Festival | KQED",
"content": "\u003cfigure id=\"attachment_13955692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg\" alt=\"A black woman in a red dress sings into a microphone while tilting her head upward, eyes closed\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Samara Joy will headline an opening weekend concert for the Healdsburg Jazz Festival on June 16 at Kendall-Jackson winery. \u003ccite>(Gabriele Bifolchi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Sonoma County resident and jazz fan, I’ve gone to the Healdsburg Jazz Festival nearly every year for the past 20 years. When the lineup drops, \u003ca href=\"https://healdsburgjazz.org/schedule/\">like it recently did for the 2024 festival\u003c/a> running June 15–23, I make notated lists of what to see. What follows are my picks for the best shows to see among the formidable lineup.\u003c/p>\n\u003cp>But first: If you’ve heard about the festival but never attended, let me try to tell you what makes it special.\u003c/p>\n\u003cp>Take last year’s free show in the town plaza with Charles McPherson. Where else could farmworkers and wine tourists alike sit in the shade on the grass, listening to an 83-year-old jazz saxophone legend? Or last year’s tribute to Pharoah Sanders, with Gary Bartz and Sanders’ son Tomoki reverently playing “The Creator Has a Master Plan” under the stars and among the vineyards?\u003c/p>\n\u003cp>[aside postID='arts_13953845']Over its history, Healdsburg has hosted up-and-coming talent, like Esperanza Spalding, who played in a restaurant’s backyard at the festival when she was brand-new on the scene. For several years, Santa Rosa-raised guitarist Julian Lage was a local opener at the festival, before he became a \u003ca href=\"https://www.google.com/search?sca_esv=ad9616c29454c2b8&q=julian+lage+magazine+cover&uds=AMwkrPtc7PyXK2WRiJ0T8Fn6QQyoDLDS_R5vB2RasiRzgL7GfSHmnjqxyC_SllFIMWH8gk1rwQ6Ib2VsM5YLrqpNvPIu3UrHbCJssIdIk6CmIbWTReA3P1dLz0uviMFuoVegwY-7e9YqQrTxuDro_w8j5l7wRRsnQg1UAgmdLJZ5nUkMkCSLWpHKBhVHAr5_szKq4HsVi-Lj5Ciosc2qR_oz2wJBBTX5bsmpCAGuadalMXNUOnAxs8gKikCL5iKE_rxuwuifj-__Jzvi7_R0T1HfFOSbBWa9QgNvrAob49MFZgRHehqhrQPcgu6Z0bHrOqGzfZ43IptS&udm=2&prmd=isvnmbtz&sa=X&ved=2ahUKEwjW2ICSpraFAxVSOTQIHQDCDeQQtKgLegQICxAB&biw=1053&bih=537&dpr=2.5\">Blue Note recording artist who graces magazine covers\u003c/a>.\u003c/p>\n\u003cp>And then, naturally, there are the legends. Past years have included Jackie McLean, Ron Carter, Kenny Burrell, Charles Lloyd, Geri Allen, Charlie Haden — the list goes on. In Healdsburg, these artists get the treatment and crowds they deserve, and in an unusually scenic, intimate setting. (I’ll never forget the year I literally bumped into \u003ca href=\"https://en.wikipedia.org/wiki/Andrew_Cyrille\">drummer Andrew Cyrille\u003c/a> in the cramped back kitchen of a coffee shop just off the downtown plaza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, if you want to start easy, there’s the return of the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120753&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Juneteenth in the Plaza concert\u003c/a> on June 15, this year featuring trombonist Steve Turre with his sextet and soul-jazz saxophone veteran Houston Person. The plaza concerts (hosted by KCSM’s \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>) are among my favorites at the festival — they’re completely free, the grass fills up with all types of people, and the music blankets the entire downtown.\u003c/p>\n\u003cfigure id=\"attachment_11662335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg\" alt=\"Billy Hart at the Healdsburg Jazz Festival, June 4, 2016.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart at the Healdsburg Jazz Festival, June 4, 2016. \u003ccite>(George B. Wells)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Want to go big? After a sold-out performance at last year’s festival, hot-streak vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Samara Joy\u003c/a> will headline the festival’s opening weekend with a June 16 show at Kendall-Jackson winery. The cheapest seats are $125, but lawn seating is $35–$55 — and feels more befitting of a winery show, in my opinion.\u003c/p>\n\u003cp>Bacchus Landing’s outdoor courtyard, situated among the vineyards, is a relatively new venue for the festival; though the sun can heat the folding-chair seating, it’s hard to beat the cool open air after sundown. I have my eyes on rising vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Jazzmeia Horn\u003c/a>, and her performance with festival director Marcus Shelby and his orchestra on June 20.\u003c/p>\n\u003cp>[aside postID='arts_13885595']Also at Bacchus Landing is the remarkable \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Chief Adjuah\u003c/a> (née Christian Scott) in a double bill with \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">The Cookers\u003c/a> (Cecil McBee, George Cables, Billy Hart, Craig Handy, Eddie Henderson, Donald Harrison Jr. and David Weiss) on June 21; the \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Joshua Redman Quartet featuring Gabrielle Cavassa\u003c/a> on June 23; and \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Ambrose Akinmusire, Bill Frisell and Herlin Riley\u003c/a> with opener the \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">Brandee Younger\u003c/a> Trio on June 22. Redman \u003ca href=\"https://www.kqed.org/arts/11661739/live-review-creative-risks-pay-off-at-healdsburgs-billy-hart-tribute\">tends to shine in Healdsburg\u003c/a>, and Younger \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">blew my mind last month\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Cuban pianist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Omar Sosa and his Quarteto Americanos\u003c/a> will perform on June 17 at Healdsburg’s venerable Raven Theater, a charming former movie theater built in 1949. And then there’s the small shows scattered all over town. My picks would be \u003ca href=\"https://www.kqed.org/arts/13951290/howard-wiley-gospel-jazz\">Howard Wiley\u003c/a>’s quartet at The Elephant in the Room on June 15, the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120759&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Jazz Mafia\u003c/a>’s “New Directions in Brass” at Spoonbar on June 19, and a \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=119630&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">tribute to Duke Ellington with Tiffany Austin\u003c/a> at St. Paul’s Church on June 22.\u003c/p>\n\u003cp>As for food? Other people will be happy to gush about Healdsburg’s world-class dining and wine. I’m more likely to recommend the no-frills \u003ca href=\"https://elsombrerohbg.com/\">El Sombrero\u003c/a> or \u003ca href=\"https://www.flakeycream.com/menu\">Flakey Cream\u003c/a> for lunch, and either Healdsburg’s Goodwill or a Russian River swimming hole for cheap thrills.\u003c/p>\n\u003cp>But for a week in June, at least, we can all agree on the music.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 26th Annual Healdsburg Jazz Festival runs June 15–23, 2024, at various venues in and around Healdsburg. \u003ca href=\"https://healdsburgjazz.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg\" alt=\"A black woman in a red dress sings into a microphone while tilting her head upward, eyes closed\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Samara Joy will headline an opening weekend concert for the Healdsburg Jazz Festival on June 16 at Kendall-Jackson winery. \u003ccite>(Gabriele Bifolchi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Sonoma County resident and jazz fan, I’ve gone to the Healdsburg Jazz Festival nearly every year for the past 20 years. When the lineup drops, \u003ca href=\"https://healdsburgjazz.org/schedule/\">like it recently did for the 2024 festival\u003c/a> running June 15–23, I make notated lists of what to see. What follows are my picks for the best shows to see among the formidable lineup.\u003c/p>\n\u003cp>But first: If you’ve heard about the festival but never attended, let me try to tell you what makes it special.\u003c/p>\n\u003cp>Take last year’s free show in the town plaza with Charles McPherson. Where else could farmworkers and wine tourists alike sit in the shade on the grass, listening to an 83-year-old jazz saxophone legend? Or last year’s tribute to Pharoah Sanders, with Gary Bartz and Sanders’ son Tomoki reverently playing “The Creator Has a Master Plan” under the stars and among the vineyards?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over its history, Healdsburg has hosted up-and-coming talent, like Esperanza Spalding, who played in a restaurant’s backyard at the festival when she was brand-new on the scene. For several years, Santa Rosa-raised guitarist Julian Lage was a local opener at the festival, before he became a \u003ca href=\"https://www.google.com/search?sca_esv=ad9616c29454c2b8&q=julian+lage+magazine+cover&uds=AMwkrPtc7PyXK2WRiJ0T8Fn6QQyoDLDS_R5vB2RasiRzgL7GfSHmnjqxyC_SllFIMWH8gk1rwQ6Ib2VsM5YLrqpNvPIu3UrHbCJssIdIk6CmIbWTReA3P1dLz0uviMFuoVegwY-7e9YqQrTxuDro_w8j5l7wRRsnQg1UAgmdLJZ5nUkMkCSLWpHKBhVHAr5_szKq4HsVi-Lj5Ciosc2qR_oz2wJBBTX5bsmpCAGuadalMXNUOnAxs8gKikCL5iKE_rxuwuifj-__Jzvi7_R0T1HfFOSbBWa9QgNvrAob49MFZgRHehqhrQPcgu6Z0bHrOqGzfZ43IptS&udm=2&prmd=isvnmbtz&sa=X&ved=2ahUKEwjW2ICSpraFAxVSOTQIHQDCDeQQtKgLegQICxAB&biw=1053&bih=537&dpr=2.5\">Blue Note recording artist who graces magazine covers\u003c/a>.\u003c/p>\n\u003cp>And then, naturally, there are the legends. Past years have included Jackie McLean, Ron Carter, Kenny Burrell, Charles Lloyd, Geri Allen, Charlie Haden — the list goes on. In Healdsburg, these artists get the treatment and crowds they deserve, and in an unusually scenic, intimate setting. (I’ll never forget the year I literally bumped into \u003ca href=\"https://en.wikipedia.org/wiki/Andrew_Cyrille\">drummer Andrew Cyrille\u003c/a> in the cramped back kitchen of a coffee shop just off the downtown plaza.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, if you want to start easy, there’s the return of the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120753&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Juneteenth in the Plaza concert\u003c/a> on June 15, this year featuring trombonist Steve Turre with his sextet and soul-jazz saxophone veteran Houston Person. The plaza concerts (hosted by KCSM’s \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>) are among my favorites at the festival — they’re completely free, the grass fills up with all types of people, and the music blankets the entire downtown.\u003c/p>\n\u003cfigure id=\"attachment_11662335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg\" alt=\"Billy Hart at the Healdsburg Jazz Festival, June 4, 2016.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart at the Healdsburg Jazz Festival, June 4, 2016. \u003ccite>(George B. Wells)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Want to go big? After a sold-out performance at last year’s festival, hot-streak vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Samara Joy\u003c/a> will headline the festival’s opening weekend with a June 16 show at Kendall-Jackson winery. The cheapest seats are $125, but lawn seating is $35–$55 — and feels more befitting of a winery show, in my opinion.\u003c/p>\n\u003cp>Bacchus Landing’s outdoor courtyard, situated among the vineyards, is a relatively new venue for the festival; though the sun can heat the folding-chair seating, it’s hard to beat the cool open air after sundown. I have my eyes on rising vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Jazzmeia Horn\u003c/a>, and her performance with festival director Marcus Shelby and his orchestra on June 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also at Bacchus Landing is the remarkable \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Chief Adjuah\u003c/a> (née Christian Scott) in a double bill with \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">The Cookers\u003c/a> (Cecil McBee, George Cables, Billy Hart, Craig Handy, Eddie Henderson, Donald Harrison Jr. and David Weiss) on June 21; the \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Joshua Redman Quartet featuring Gabrielle Cavassa\u003c/a> on June 23; and \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Ambrose Akinmusire, Bill Frisell and Herlin Riley\u003c/a> with opener the \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">Brandee Younger\u003c/a> Trio on June 22. Redman \u003ca href=\"https://www.kqed.org/arts/11661739/live-review-creative-risks-pay-off-at-healdsburgs-billy-hart-tribute\">tends to shine in Healdsburg\u003c/a>, and Younger \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">blew my mind last month\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Cuban pianist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Omar Sosa and his Quarteto Americanos\u003c/a> will perform on June 17 at Healdsburg’s venerable Raven Theater, a charming former movie theater built in 1949. And then there’s the small shows scattered all over town. My picks would be \u003ca href=\"https://www.kqed.org/arts/13951290/howard-wiley-gospel-jazz\">Howard Wiley\u003c/a>’s quartet at The Elephant in the Room on June 15, the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120759&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Jazz Mafia\u003c/a>’s “New Directions in Brass” at Spoonbar on June 19, and a \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=119630&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">tribute to Duke Ellington with Tiffany Austin\u003c/a> at St. Paul’s Church on June 22.\u003c/p>\n\u003cp>As for food? Other people will be happy to gush about Healdsburg’s world-class dining and wine. I’m more likely to recommend the no-frills \u003ca href=\"https://elsombrerohbg.com/\">El Sombrero\u003c/a> or \u003ca href=\"https://www.flakeycream.com/menu\">Flakey Cream\u003c/a> for lunch, and either Healdsburg’s Goodwill or a Russian River swimming hole for cheap thrills.\u003c/p>\n\u003cp>But for a week in June, at least, we can all agree on the music.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 26th Annual Healdsburg Jazz Festival runs June 15–23, 2024, at various venues in and around Healdsburg. \u003ca href=\"https://healdsburgjazz.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food",
"headTitle": "Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">For as long as Preeti Mistry has been a professional cook, restaurant people have talked about the same handful of cuisines in the context of wine pairing: French. Italian. Maybe some take on California cuisine that’s also rooted in European fine dining traditions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wouldn’t it be something, Mistry thought, if you could go out to a fancy wine dinner and the restaurant served you something more interesting—and less stereotypically Eurocentric—than a plate of braised short ribs over polenta?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the idea behind the former \u003c/span>\u003ca href=\"https://www.juhubeachclub.com/\">\u003cspan style=\"font-weight: 400\">Juhu Beach Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> chef’s new collaboration with Healdsburg-based \u003c/span>\u003ca href=\"https://www.jwine.com/\">\u003cspan style=\"font-weight: 400\">J Vineyards & Winery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">: “\u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003cspan style=\"font-weight: 400\">Shifting the Lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a chef’s residency program that aims to recenter the conversation around food and wine pairing, and fine dining in general, while giving the spotlight to chefs of color. The summer-long series features a different BIPOC woman as a guest chef each month, who will create a five- to seven-course tasting menu with wine pairings to serve at J Winery’s elegant “Bubble Room” dining room. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jenny Dorsey, a Chinese American fine dining chef who runs a \u003c/span>\u003ca href=\"https://www.studioatao.org/about-us\">\u003cspan style=\"font-weight: 400\">nonprofit\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dedicated to inspiring social change in the food industry, \u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens-chef-jenny-dorsey.html\">\u003cspan style=\"font-weight: 400\">kicked the series off in July\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, Mistry themself is taking over for the month of August. Their residency will run Thursday through Sunday from Aug. 18–28, with seatings between 11am and 4pm each day, plus a special \u003c/span>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.206849232.214939539.1659568774-764472049.1658153707\">\u003cspan style=\"font-weight: 400\">VIP dinner and Q&A session\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, Aug. 20.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917180\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg\" alt=\"Three chefs huddle around a plate a food, adding sauces and garnishes.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">Mistry (right) and Jenny Dorsey (center) are two of the chefs featured in the Shifting the Lens residency series. Here, they finish plating a dish along with J Winery chef Forest Kellogg. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Mistry says, is to counter the narrative that food and wine pairing is an art that only applies to white, European cuisines—and not to, say, Chinese food or Mexican food or soul food. For instance, for the longest time the conventional wisdom around Indian food has been that you shouldn’t even bother with wine. “Just drink beer or cocktails” is the advice you’ll typically get, Mistry explains. The other typical approach would be to pair Indian food with a very sweet, fruit-forward wine like a Syrah or a Gewurztraminer—“to throw sweetness at the spice,” as Mistry puts it. “‘Meh,’ I say. So basic.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Mistry prefers to serve acidic, structured red wines and floral white wines with Indian food—Pinot Noirs and Chardonnays, for instance. “I don’t want the wine to envelop the food and mask the flavors,” Mistry says. “I want the wine to stand up to the food.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tasting menu format also gives Mistry the opportunity to present dishes that are more prettily plated and nuanced than what they used to serve at their more casual restaurants—food that’s a little bit “fancier.” Dishes might include khichdi, deep-fried Jimmy Nardello peppers with chickpea batter and a tomato rasam soup poured tableside. It’ll be a mostly vegetarian menu with one meat course, Mistry says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917181\" class=\"wp-caption alignnone\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg\" alt=\"Liquid is poured into a pani puri.\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-768x384.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An elegant take on pani puri. \u003ccite>(Courtesy of J Vineyard & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">J Winery’s head winemaker, Nicole Hitchcock, has also created a special “Shifted Lens” brut rosé that’s available for purchase as part of the personalized gift boxes that each resident chef put together.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry is known for being an outspoken critic of the ways the American restaurant industry has long been dominated—to its detriment—by white, male fine dining chefs. In fact, one of Mistry’s long-term goals is to create a \u003c/span>\u003ca href=\"https://sf.eater.com/2020/7/24/21337715/preeti-mistry-farmer-radical-family-farms-juhu-beach-club-blue-hill-stone-barns\">\u003cspan style=\"font-weight: 400\">farm-based restaurant with an extensive BIPOC-focused chef’s residency program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> similar to the one they’ve created in Healdsburg.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The part that stuck with me was who gets these opportunities,” Mistry says. “The Bubble Room is a very beautiful room, very elegant. It might make some people nervous if they’re not used to these types of spaces.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917182\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg\" alt=\"An elegant dining room with chandeliers and white tablecloths.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">The wine pairing meals will take place in J Winery’s elegant Bubble Room. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But why shouldn’t chefs of color who aren’t cooking Eurocentric cuisines also have access to those kinds of spaces? For the residency program, Mistry actively sought out BIPOC women chefs who are doing meaningful social justice work beyond what they put on the plate. In addition to Dorsey, New York City-based chef \u003c/span>\u003ca href=\"https://www.instagram.com/shenarrigreens/?hl=en\">\u003cspan style=\"font-weight: 400\">Shenarri Freeman\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who cooks vegan soul food, will close out this year’s inaugural series in September.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13916965,arts_13895601,arts_13906189']“In my early twenties, coming to Sonoma, I was enamored with both wine and fine dining. But there was a significant part of that world that didn’t love me back,” Mistry says. “This is an opportunity to actually do something about it and bring people in.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry believes the residency program is a chance to do things differently—and better—than much of the industry at large. The chefs who participate in the program are fairly compensated, Mistry says. And while the Bubble Room’s own kitchen is helmed by a white man, the whole kitchen team spends two weeks working shoulder to shoulder with each guest chef, learning not just how to execute the menu but also the cultural history of the dishes, and how to correctly pronounce “zongzi,” for instance. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spend so much time complaining about cultural appropriation,” Mistry says. “But there is a way to appreciate other cultures and do it right.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Preeti Mistry’s “Shifting the Lens” residency at J Winery (\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">11447 Old Redwood Hwy, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Healdsburg) will run from Aug. 18–28, with seatings for the $200 tasting menu Thursday through Sunday between 11am and 4pm. The \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.48522790.1624968386.1659479532-764472049.1658153707\">\u003ci>\u003cspan style=\"font-weight: 400\">VIP dinner\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> ($250) is on Saturday, Aug. 20, 6–9pm. Make reservations in advance via \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/\">\u003ci>\u003cspan style=\"font-weight: 400\">Tock\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> or the \u003c/span>\u003c/i>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003ci>\u003cspan style=\"font-weight: 400\">J Winery website\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">For as long as Preeti Mistry has been a professional cook, restaurant people have talked about the same handful of cuisines in the context of wine pairing: French. Italian. Maybe some take on California cuisine that’s also rooted in European fine dining traditions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wouldn’t it be something, Mistry thought, if you could go out to a fancy wine dinner and the restaurant served you something more interesting—and less stereotypically Eurocentric—than a plate of braised short ribs over polenta?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the idea behind the former \u003c/span>\u003ca href=\"https://www.juhubeachclub.com/\">\u003cspan style=\"font-weight: 400\">Juhu Beach Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> chef’s new collaboration with Healdsburg-based \u003c/span>\u003ca href=\"https://www.jwine.com/\">\u003cspan style=\"font-weight: 400\">J Vineyards & Winery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">: “\u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003cspan style=\"font-weight: 400\">Shifting the Lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a chef’s residency program that aims to recenter the conversation around food and wine pairing, and fine dining in general, while giving the spotlight to chefs of color. The summer-long series features a different BIPOC woman as a guest chef each month, who will create a five- to seven-course tasting menu with wine pairings to serve at J Winery’s elegant “Bubble Room” dining room. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jenny Dorsey, a Chinese American fine dining chef who runs a \u003c/span>\u003ca href=\"https://www.studioatao.org/about-us\">\u003cspan style=\"font-weight: 400\">nonprofit\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dedicated to inspiring social change in the food industry, \u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens-chef-jenny-dorsey.html\">\u003cspan style=\"font-weight: 400\">kicked the series off in July\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, Mistry themself is taking over for the month of August. Their residency will run Thursday through Sunday from Aug. 18–28, with seatings between 11am and 4pm each day, plus a special \u003c/span>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.206849232.214939539.1659568774-764472049.1658153707\">\u003cspan style=\"font-weight: 400\">VIP dinner and Q&A session\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, Aug. 20.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917180\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg\" alt=\"Three chefs huddle around a plate a food, adding sauces and garnishes.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">Mistry (right) and Jenny Dorsey (center) are two of the chefs featured in the Shifting the Lens residency series. Here, they finish plating a dish along with J Winery chef Forest Kellogg. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Mistry says, is to counter the narrative that food and wine pairing is an art that only applies to white, European cuisines—and not to, say, Chinese food or Mexican food or soul food. For instance, for the longest time the conventional wisdom around Indian food has been that you shouldn’t even bother with wine. “Just drink beer or cocktails” is the advice you’ll typically get, Mistry explains. The other typical approach would be to pair Indian food with a very sweet, fruit-forward wine like a Syrah or a Gewurztraminer—“to throw sweetness at the spice,” as Mistry puts it. “‘Meh,’ I say. So basic.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Mistry prefers to serve acidic, structured red wines and floral white wines with Indian food—Pinot Noirs and Chardonnays, for instance. “I don’t want the wine to envelop the food and mask the flavors,” Mistry says. “I want the wine to stand up to the food.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tasting menu format also gives Mistry the opportunity to present dishes that are more prettily plated and nuanced than what they used to serve at their more casual restaurants—food that’s a little bit “fancier.” Dishes might include khichdi, deep-fried Jimmy Nardello peppers with chickpea batter and a tomato rasam soup poured tableside. It’ll be a mostly vegetarian menu with one meat course, Mistry says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917181\" class=\"wp-caption alignnone\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg\" alt=\"Liquid is poured into a pani puri.\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-768x384.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An elegant take on pani puri. \u003ccite>(Courtesy of J Vineyard & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">J Winery’s head winemaker, Nicole Hitchcock, has also created a special “Shifted Lens” brut rosé that’s available for purchase as part of the personalized gift boxes that each resident chef put together.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry is known for being an outspoken critic of the ways the American restaurant industry has long been dominated—to its detriment—by white, male fine dining chefs. In fact, one of Mistry’s long-term goals is to create a \u003c/span>\u003ca href=\"https://sf.eater.com/2020/7/24/21337715/preeti-mistry-farmer-radical-family-farms-juhu-beach-club-blue-hill-stone-barns\">\u003cspan style=\"font-weight: 400\">farm-based restaurant with an extensive BIPOC-focused chef’s residency program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> similar to the one they’ve created in Healdsburg.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The part that stuck with me was who gets these opportunities,” Mistry says. “The Bubble Room is a very beautiful room, very elegant. It might make some people nervous if they’re not used to these types of spaces.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917182\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg\" alt=\"An elegant dining room with chandeliers and white tablecloths.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">The wine pairing meals will take place in J Winery’s elegant Bubble Room. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But why shouldn’t chefs of color who aren’t cooking Eurocentric cuisines also have access to those kinds of spaces? For the residency program, Mistry actively sought out BIPOC women chefs who are doing meaningful social justice work beyond what they put on the plate. In addition to Dorsey, New York City-based chef \u003c/span>\u003ca href=\"https://www.instagram.com/shenarrigreens/?hl=en\">\u003cspan style=\"font-weight: 400\">Shenarri Freeman\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who cooks vegan soul food, will close out this year’s inaugural series in September.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In my early twenties, coming to Sonoma, I was enamored with both wine and fine dining. But there was a significant part of that world that didn’t love me back,” Mistry says. “This is an opportunity to actually do something about it and bring people in.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry believes the residency program is a chance to do things differently—and better—than much of the industry at large. The chefs who participate in the program are fairly compensated, Mistry says. And while the Bubble Room’s own kitchen is helmed by a white man, the whole kitchen team spends two weeks working shoulder to shoulder with each guest chef, learning not just how to execute the menu but also the cultural history of the dishes, and how to correctly pronounce “zongzi,” for instance. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spend so much time complaining about cultural appropriation,” Mistry says. “But there is a way to appreciate other cultures and do it right.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Preeti Mistry’s “Shifting the Lens” residency at J Winery (\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">11447 Old Redwood Hwy, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Healdsburg) will run from Aug. 18–28, with seatings for the $200 tasting menu Thursday through Sunday between 11am and 4pm. The \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.48522790.1624968386.1659479532-764472049.1658153707\">\u003ci>\u003cspan style=\"font-weight: 400\">VIP dinner\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> ($250) is on Saturday, Aug. 20, 6–9pm. Make reservations in advance via \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/\">\u003ci>\u003cspan style=\"font-weight: 400\">Tock\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> or the \u003c/span>\u003c/i>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003ci>\u003cspan style=\"font-weight: 400\">J Winery website\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back at the start of the pandemic, when San Francisco commenced its first stay at home order, I compiled a list of “\u003ca href=\"https://www.kqed.org/arts/13876876/6-entertaining-hotlines-to-soothe-your-dystopian-lockdown-nightmares\" target=\"_blank\" rel=\"noopener noreferrer\">hotlines to bling as the lockdown kicks in.\u003c/a>” (This feels like a good time to apologize for that part in the beginning where I very confidently stated that shelter in place was going to last three weeks… Ahem.) Now, as mask and vaccination mandates get lifted in the city—almost exactly two years to the day after the original shutdown—there’s a brand new phoneline to call when you’re trying not to bawl. It’s called Peptoc and it is an unfiltered joy provider.\u003c/p>\n\u003cp>Dreamed up by art teacher \u003ca href=\"https://www.instagram.com/jessicamartinart/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Martin\u003c/a> and artist \u003ca href=\"https://www.instagram.com/asherah.weiss/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Asherah Weiss\u003c/a>, the bilingual line is voiced by the charismatic students (ages 5-12) of \u003ca href=\"https://www.westsideusd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Side Elementary school\u003c/a> in Healdsburg. And they are just as adorable and inspiring as you might imagine.\u003c/p>\n\u003cp>Calling Peptoc on (707) 8-PEPTOC gives you five options:\u003c/p>\n\u003cp>Press one if you’re feeling, “mad, frustrated or nervous.” Here, callers will find excellent advice from students that encourages, among a wide array of options, pillow punching, ice cream consumption and trampolining. (Whether or not you attempt all three of these at once is entirely up to you.)\u003c/p>\n\u003cp>Press two if you, “need words of encouragement and life advice.” Callers here can enjoy messages about gratitude, happiness and self-belief. (Shout out to the kid who says “Bro! You’re looking great!”—it made my whole entire week.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Press three if you’re in need of a “pep talk from kindergartners.” This option, not unlike the kids themselves, is shorter but still sweet.\u003c/p>\n\u003cp>Press four to hear “kids laughing with delight.” Remember that thing I said earlier about unfiltered joy? Yeah. That.\u003c/p>\n\u003cp>Press five for “encouragement in Spanish.” Puedes hacerlo!\u003c/p>\n\u003cp>[aside postid='arts_13876876']Not only is Peptoc’s arrival perfectly timed to ease countless bouts of social anxiety, it’s already enormously popular. Since it launched on Feb. 26 as the offshoot of a project where kids made flyers with reassuring messages, Peptoc has racked up as many as 5,000 calls \u003cem>an hour. \u003c/em>That’s in part because word of its heart-warming properties has quickly spread around the world.\u003c/p>\n\u003cp>“I just heard back from a bunch of people from Argentina,” \u003ca href=\"https://www.goodmorningamerica.com/living/story/pep-talk-kindergartners-share-encouragement-joy-viral-hotline-83315079\" target=\"_blank\" rel=\"noopener noreferrer\">Martin told \u003cem>Good Morning America\u003c/em>\u003c/a>. “And it ranges from a whole cancer ward of patients getting chemotherapy, to a lady who just found out her mom was diagnosed with Alzheimer’s, to a fellow high school teacher just saying how incredible the project was. It’s touched a lot of people, so we’re pretty proud of these kids.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can reach Peptoc by calling (707) 873-7862 anytime. To donate to Weiss and Martin’s running costs, visit the Peptoc \u003ca href=\"https://www.gofundme.com/f/peptoc-hotline\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> page.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Peptoc is voiced by kids who want you to eat donuts and punch pillows. What's not to love?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back at the start of the pandemic, when San Francisco commenced its first stay at home order, I compiled a list of “\u003ca href=\"https://www.kqed.org/arts/13876876/6-entertaining-hotlines-to-soothe-your-dystopian-lockdown-nightmares\" target=\"_blank\" rel=\"noopener noreferrer\">hotlines to bling as the lockdown kicks in.\u003c/a>” (This feels like a good time to apologize for that part in the beginning where I very confidently stated that shelter in place was going to last three weeks… Ahem.) Now, as mask and vaccination mandates get lifted in the city—almost exactly two years to the day after the original shutdown—there’s a brand new phoneline to call when you’re trying not to bawl. It’s called Peptoc and it is an unfiltered joy provider.\u003c/p>\n\u003cp>Dreamed up by art teacher \u003ca href=\"https://www.instagram.com/jessicamartinart/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Martin\u003c/a> and artist \u003ca href=\"https://www.instagram.com/asherah.weiss/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Asherah Weiss\u003c/a>, the bilingual line is voiced by the charismatic students (ages 5-12) of \u003ca href=\"https://www.westsideusd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Side Elementary school\u003c/a> in Healdsburg. And they are just as adorable and inspiring as you might imagine.\u003c/p>\n\u003cp>Calling Peptoc on (707) 8-PEPTOC gives you five options:\u003c/p>\n\u003cp>Press one if you’re feeling, “mad, frustrated or nervous.” Here, callers will find excellent advice from students that encourages, among a wide array of options, pillow punching, ice cream consumption and trampolining. (Whether or not you attempt all three of these at once is entirely up to you.)\u003c/p>\n\u003cp>Press two if you, “need words of encouragement and life advice.” Callers here can enjoy messages about gratitude, happiness and self-belief. (Shout out to the kid who says “Bro! You’re looking great!”—it made my whole entire week.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Press three if you’re in need of a “pep talk from kindergartners.” This option, not unlike the kids themselves, is shorter but still sweet.\u003c/p>\n\u003cp>Press four to hear “kids laughing with delight.” Remember that thing I said earlier about unfiltered joy? Yeah. That.\u003c/p>\n\u003cp>Press five for “encouragement in Spanish.” Puedes hacerlo!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only is Peptoc’s arrival perfectly timed to ease countless bouts of social anxiety, it’s already enormously popular. Since it launched on Feb. 26 as the offshoot of a project where kids made flyers with reassuring messages, Peptoc has racked up as many as 5,000 calls \u003cem>an hour. \u003c/em>That’s in part because word of its heart-warming properties has quickly spread around the world.\u003c/p>\n\u003cp>“I just heard back from a bunch of people from Argentina,” \u003ca href=\"https://www.goodmorningamerica.com/living/story/pep-talk-kindergartners-share-encouragement-joy-viral-hotline-83315079\" target=\"_blank\" rel=\"noopener noreferrer\">Martin told \u003cem>Good Morning America\u003c/em>\u003c/a>. “And it ranges from a whole cancer ward of patients getting chemotherapy, to a lady who just found out her mom was diagnosed with Alzheimer’s, to a fellow high school teacher just saying how incredible the project was. It’s touched a lot of people, so we’re pretty proud of these kids.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can reach Peptoc by calling (707) 873-7862 anytime. To donate to Weiss and Martin’s running costs, visit the Peptoc \u003ca href=\"https://www.gofundme.com/f/peptoc-hotline\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> page.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\u003c/p>\n\u003cp>https://youtu.be/CwOZkMm3uGc\u003c/p>\n\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CwOZkMm3uGc'\n title='//www.youtube.com/embed/CwOZkMm3uGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When you think of Irish fiddlers, creaky old men sawing away in the corner of musty old pubs come most readily to mind.\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://www.eileenivers.com\" target=\"_blank\" rel=\"noopener\">Eileen Ivers\u003c/a>.\u003c/p>\n\u003cp>It’s not for nothing \u003cem>The New York Times\u003c/em> dubbed the Grammy Award-winning, Irish-American, virtuoso fiddler “The Jimi Hendrix of the Violin”: She effortlessly careens between playing roots festivals, schools, theaters and symphony halls with a musical style that is at once intimate and panoramic. And Ivers’ collaborators over the years have been equally diverse, ranging from rock icon Patti Smith to classical violinist Nadja Salerno-Sonnenberg.\u003c/p>\n\u003cp>Ivers makes a pitstop at the Raven Performing Arts Theater in Healdsburg on Saturday, Mar. 16, as part of a national tour with the Celtic instrumental quartet \u003ca href=\"http://www.jigjam.ie/\" target=\"_blank\" rel=\"noopener\">JigJam\u003c/a>, a group in the newish genre of Irish-inflected bluegrass—or, “I-Grass.” Their only other California dates are in Davis (Mar. 17) and Chico (Mar. 18).\u003c/p>\n\u003cp>It’s likely the set will include music from Ivers’ latest album, \u003cem>Beyond the Bog Road\u003c/em>, which explores the considerable impact of Celtic sounds on North American musical styles like bluegrass, Americana and roots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eileen Ivers and JigJam play the Raven Performing Arts Theater in Healdsburg on Saturday, Mar. 16 at 8pm. \u003ca href=\"https://www.raventheater.org/event_calendar.php?p=5\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of Irish fiddlers, creaky old men sawing away in the corner of musty old pubs come most readily to mind.\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://www.eileenivers.com\" target=\"_blank\" rel=\"noopener\">Eileen Ivers\u003c/a>.\u003c/p>\n\u003cp>It’s not for nothing \u003cem>The New York Times\u003c/em> dubbed the Grammy Award-winning, Irish-American, virtuoso fiddler “The Jimi Hendrix of the Violin”: She effortlessly careens between playing roots festivals, schools, theaters and symphony halls with a musical style that is at once intimate and panoramic. And Ivers’ collaborators over the years have been equally diverse, ranging from rock icon Patti Smith to classical violinist Nadja Salerno-Sonnenberg.\u003c/p>\n\u003cp>Ivers makes a pitstop at the Raven Performing Arts Theater in Healdsburg on Saturday, Mar. 16, as part of a national tour with the Celtic instrumental quartet \u003ca href=\"http://www.jigjam.ie/\" target=\"_blank\" rel=\"noopener\">JigJam\u003c/a>, a group in the newish genre of Irish-inflected bluegrass—or, “I-Grass.” Their only other California dates are in Davis (Mar. 17) and Chico (Mar. 18).\u003c/p>\n\u003cp>It’s likely the set will include music from Ivers’ latest album, \u003cem>Beyond the Bog Road\u003c/em>, which explores the considerable impact of Celtic sounds on North American musical styles like bluegrass, Americana and roots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"id": "commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"meta": {
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"source": "WNYC"
},
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},
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"id": "fresh-air",
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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