The Newport Jazz Festival, that most venerable of American musical institutions, is turning 71 this year, The 2025 edition also marks the 10th year that the festival is under the artistic direction of a contemporary jazz superstar, Christian McBride, the bassist/bandleader. At 71, the great gray lady of jazz may be showing her age, but she’s like a fine wine.

As every jazz fan is well aware, Newport was founded in 1954 by George Wein. Within a remarkably short time, Newport became an international phenomenon and the cornerstone of Wein’s enviable career as perhaps the most successful producer-promoter in the history of jazz. Wein handed over the reins to Mr. McBride in 2016, but even while the founder was still in charge it was difficult to say that the music’s premiere festival event could ever be accused of having a conservative bias.

In fact, many traditional jazz fans may feel precisely the opposite: that there’s too much of a contemporary music imperative, a lot of which is borderline jazz and even non-jazz — too many pop-oriented acts and world/international music bands with barely any jazz content.

Yet when you experience Newport in person, a different picture emerges. Last year was the first time in a while that I attended the entire festival, and one can’t help but notice that Mr. McBride has extended Wein’s original mandate: not just to have something for everyone, but rather that every taste is there to be indulged at all times.

For instance, for those of us who prefer old school-type jazz — by which I mean  pretty much everything from New Orleans to Swing to Bebop to Cool Jazz and hard bop and even a smattering of Free Jazz — it’s easy to make a path through the schedule and find something you want to hear at any given time.

For instance, here’s my game plan for August 1: At 11 a.m., an excellent young bebop-and-ballad singer, Tyreek McDole, a Sarah Vaughan competition winner, makes his Newport debut. At 12:30, I can’t wait to hear veteran bass master Ron Carter’s Foursight Quartet with the brilliant pianist Renee Rosnes; I just hope that this very sartorial ensemble is properly attired for the 90-plus degree heat. At 1:50, I’m looking forward to the Preservation Hall Band Jazz Band, a jazz institution since 1961, not least since this will be my first opportunity to hear their current lineup.

At 2:40, there’s Bobby Sanabria and Sexteto Ibiano, and even though this fine drummer and composer works frequently in New York, the sweltering summer by the sea is a perfect setting for his exciting Afro-Cuban sounds. The excellent post-bop alto saxophonist Kenny Garrett takes the stage at 4 p.m., followed by the adorable songwriting/singing duo Rachael & Valray at 5:25. Then, even though I’m not a rap kind of guy, I may check out The Roots, whom I always found to be one of the more melodic and listenable hip-hop collectives. 

Every day is like that at Newport: No matter what your taste, you can find something you want to hear at any given moment. On August 2 I have Terrence Blanchard and Dianne Reeves on my dance card, among others, and there are a number of other groups I’m not familiar with that I may give a try. 

August 3 is almost too busy: There are so many acts I don’t want to miss, starting with pianist Emmett Cohen, Esperanza Spalding, Cécile McLorin Salvant, Etienne Charles, and Stanley Jordan. 

That night, Mr. McBride’s big band — which is about to release a fairly spectacular new album — will probably be the must-catch event of the whole festival. Like I say, there’s something for everyone, and anyone with even the slightest interest in jazz will find something worth hearing at any point in the schedule.  

The producers have also made it easier to navigate, with a smartphone app that gives you all the info regarding who, where, and when. There’s plenty of food and beverages available on festival grounds, and my advice is to bring a beach chair, plenty of sunscreen, and wide-open ears.