NPR's JazzSet with Dee Dee Bridgewater

Ninety years ago near the village of Katonah, N.Y., art lovers Walter and Lucie Rosen bought Caramoor, a wooded estate, and built a home for their collection of painting and sculpture. Every room was a gallery, including their favorite, the Music Room; after they lost their only son in World War II, they presented a small concert series there to honor him. So began the transformation of Caramoor from a private home to an arts center and treasure for Westchester County, north of New York City.

It's New Year's Eve at The Blue Whale, a "live jazz + art space" in the Little Tokyo section of downtown Los Angeles. Founded in 2009 by singer Joon Lee, this is a listening room. There's food at the bar, poetry (Rumi!) on the ceiling, and wall-to-wall people. The Blue Whale has been sold out for days, and the phone keeps ringing off the hook because everybody wants to be on the air, cheering for Billy Childs live on NPR's Toast of the Nation.

Dee Dee Bridgewater's smile says it all: JazzSet is happily celebrating 20 years of performances every week on NPR. In September, we featured original host Branford Marsalis with his 2012 quartet for our anniversary. Now, today's host Dee Dee Bridgewater weaves her spell and leads a crack quintet through a new set from the Caramoor Jazz Festival.

There are three stages at the Newport Jazz Festival. At least two are always running simultaneously. Given the surfeit of options, it's rare to hear a complete set. The question begins to nag: Should be we somewhere else? And away you go, leaving a work in progress to make sure you don't miss one getting underway.

But sometimes if you choose a spot on the lawn and stay put, the juxtaposition of two bands delivers a fine festival experience. Sunday morning, August 5, on the Quad Stage is such a time.

Brooklyn, N.Y., is the current home of John Ellis — raised in North Carolina and once a student in New Orleans — and Darcy James Argue, from Canada and once a student in Boston. They're both on the main stage at the 2012 Newport Jazz Festival.

From the Family Theater at the John F. Kennedy Center for the Performing Arts in Washington, D.C., it's Renee Rosnes on the left, Bill Charlap on the right and — in Charlap's words — "a unique sound that is the sum of both of us."

Catherine Russell is a lady born to music. Her father, Luis Russell (1902-63), was Louis Armstrong's orchestra leader beginning in the mid-1930s. Her mother, Carline Ray, is a bassist, singer, great all-around musician and a member of the International Sweethearts of Rhythm, the 1940s all-woman band that swung as hard as the men. "This Daughter of Jazz Is One Cool Cat," reads the headline of Nat Hentoff's profile for The Wall Street Journal.

From January 1992 to September 2001, Branford Marsalis set the JazzSet pace, hosting 39 new shows a year (now we do 26) from the Carnegie Hall Jazz Band; festivals in Iowa City, Telluride, Pasadena, Mount Hood, Montreal and Brevard, N.C.; the new music festival in Groningen, the Netherlands, and the Havana Jazz Festival in Cuba; clubs from Yoshi's in California to Sculler's and the Regattabar in Boston. WGBH producer Steve Schwartz sent us lots of Boston sets during that first decade, all of them much appreciated.

The Litchfield Jazz Festival leads off with a weeks-long camp for high-school students and New York's finest musicians on the faculty, then climaxes with a two-day festival. This year it's August 11-12 in Goshen, Conn., but here we have two sets from the 2010 festival, featuring two groups with young leaders.

In May, JazzSet host Dee Dee Bridgewater emceed three nights of concerts held at the Kennedy Center's Terrace Theater as part of the Mary Lou Williams Women in Jazz Festival in Washington, D.C. Chihiro Yamanaka and Jane Bunnett opened the first night; they come from Japan and Canada, respectively, and each has a compelling story.

As a child in Azerbaijan, Amina Figarova loved the piano at first sight. She would arrange all her dolls around her and play for them. "Nobody could stop me," she told an interviewer at All About Jazz. "I would sit and play and play." Figarova studied classical music and heard jazz at home, especially Herbie Hancock.

We're in a guitar world, from Pakistan to Brazil and from steel strings to nylon, as the Rez Abbasi Acoustic Quartet and Trio da Paz play in turn at the Newport Jazz Festival.

At the Newport Jazz Festival, we're visiting the Quad and Harbor Stages, where the first rows of audience sit snug up to the performer. With her understated style, love of the lyric and freedom, Gretchen Parlato makes that closeness work. Everyone leans in and listens.

Allison Miller has a jazz portfolio with Dr. Lonnie Smith, Steven Bernstein and a host of others, as well as a pop career with Brandi Carlile, Ani DiFranco and Natalie Merchant. She's a U.S.

It started in 1966 as a three-week agreement among composer and conductor Thad Jones, drummer Mel Lewis and Max Gordon, the proprietor of The Village Vanguard in New York. And it continues, gloriously.