Save time: for children, for 8-14 April

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Any poetry that includes the lines “In the kitchen, peeling spuds,/Cinderella heard the thuds/Of bouncing heads upon the floor” might justifiably be called revolting. But severed heads aside, this and other children’s verses by Roald Dahl are revolting in another way. They strike a rebellious blow against the prettified world of simpering princesses, predictable princes and monsters that somehow turn out to be cuddly. Dahl’s Little Red Riding Hood packs a pistol; his Goldilocks belongs in juvenile court (how many nice little girls do you know who break into houses?); and his Crocky-Wock the Crocodile, cute name notwithstanding, “likes to crunch/six juicy children for his lunch.”

So don’t take timid preschoolers to “Revolting Rhymes,” the new Dahl adaptation from Atlantic for Kids and Tisch Drama Stage Works. But get everyone else in the family to go. Using poems from three Dahl books — “Revolting Rhymes,” “Dirty Beasts” and “Rhyme Stew” — the ever-ingenious Elizabeth Swados has created a delightfully irreverent show that may make your children want to incinerate their Disney DVDs. (Goldilocks, notorious property destroyer, certainly would.)

Ms. Swados, who also directs the young cast, has set Dahl’s subversive story-poems to a percussive score that includes jazz and hip-hop. Beat boxing seems to be the right accompaniment for this Little Red (Stephanie Hsu), a girl from the ’hood. She blows away the Wolf (with a spray can rather than the gun in the poem, in an apparent concession to contemporary sensibilities), then turns him into a fur coat. She also appears in “The Three Little Pigs,” called on for her expertise with wolves.

Although “Revolting Rhymes” uses a borrowed set (Eugene Lee’s design for the MCC show “The Other Place”), it has so much of its own visual artistry that it hardly matters. Molly Deale created the costumes and props, and she and Federico Restrepo conceived the puppets, which are to ordinary designs what Dahl’s poems are to conventional fairy tales. They include a gargantuan wolf of odds and ends and a ravenous Crocky-Wock, above, whose body consists of plastic soda bottles. Ms. Deale and Mr. Restrepo have aptly applied the Dahl philosophy: No matter how old and familiar the elements, they can always be reconstituted as something brilliantly new.

(Saturdays and Sundays at 10:30 a.m., through April 30, at the Lucille Lortel Theater, 121 Christopher Street, West Village, 212-279-4200, atlantictheater.org; $20; $10 for 12 and under.) LAUREL GRAEBER

For Children

‘Archaeology Zone: Discovering Treasures From Playgrounds to Palaces’ (Friday, Sunday through Tuesday, and Thursday) Children will step into the shoes of an explorer like Indiana Jones in this permanent exhibition at the Jewish Museum, but the adventures will be purely scholarly. Still, there is plenty of excitement in analyzing artifacts like a jar handle, a clay jug and a bangle and figuring out the purpose behind ancient pieces like a Greek helmet and a bull-shaped vessel. This interactive show also includes a recreated room from the Ottoman period (about 1900), where young archaeologists can dress in costume. Hours: 11 a.m. to 5:45 p.m., except for Thursdays, open until 8 p.m.; 1109 Fifth Avenue, at 92nd Street , (212) 423-3200, thejewishmuseum.org; free with admission: $12; $10 for 65+; $7.50 for students; free for under 12 and members. 20110407

Archikids Family Program (Saturday) Aspiring architects ages 9 to 13 can practice making their own marks on the city skyline in this workshop, sponsored by the Skyscraper Museum and the educational organization Archikids. Working with the architect Yves Roger, each participant will experiment with different materials to create a skyscraper design, using vintage film and the museum’s images and models as inspiration. From 10:15 a.m. to noon, Skyscraper Museum gallery, 39 Battery Place, Lower Manhattan , (212) 945-6324, skyscraper.org; $5; free for members. Registration required via phone or e-mail to education@skyscraper.org by Friday at 5 p.m.20110407

‘Artists’ Eyes: Children’s Art From Studio in a School’ (Friday, and Monday through Thursday) For more than 30 years Studio in a School, an educational organization, has been bringing professional artists into New York schools and community centers to work with children. And once a year it also brings the art resulting from that collaboration to the public. This exhibition comprises more than 200 works by students from preschool through high school, depicting both their everyday universes and the wilder worlds of their imaginations. (Through May 13.) From 8 a.m. to 6 p.m., 1285 Avenue of the Americas Art Gallery, between 51st and 52nd Streets , (212) 765-5900, studioinaschool.org; free.20110407

‘Awesome Allie, First Kid Astronaut’ (Saturday and Sunday) Following in the footsteps of Sally Ride — but with much smaller feet — young Allie becomes a child astronaut in this new musical from Vital Theater Company. But she’s not so unusual when you compare her with her companions: a talking dog and a dancing Martian robot, which are ready to help her save Earth. (Through April 26.) At 11 a.m. and 1 p.m., McGinn/Cazale Theater, 2162 Broadway, at 76th Street (above the Promenade Theater), fourth floor , (212) 579-0528, vitaltheatre.org; $25.20110407

‘Best of NYICFF’ (Saturday and Sunday) If you missed this year’s competition in the New York International Children’s Film Festival, the producers are giving you another chance. Every weekend this month they will show a 70-minute program of highlights and audience favorites from the festival, including its Grand Prize winner, “Marcel the Shell With Shoes On”; “The Lost Thing,” which just won the Oscar for best animated short; and “The Little Boy and the Beast,” winner of the Jury Award. At 11 a.m., IFC Center, 323 Avenue of the Americas, at Third Street, Greenwich Village , (212) 349-0330, gkids.com; $13; $9 for children and 65+; $8 for members.20110407

‘Bird Brain’ (Saturday and Sunday) The woodsman in Vern Theissen’s play, for ages 4 through 9, really knows how to keep something under his hat: in this case, a cluster of baby birds. But his desire to protect the fledglings he’s rescued conflicts with the stern laws of Hat Street, which require all citizens to remove any head covering when greeting others, particularly the queen. The Drilling Company explores his problem in this production, playing an open-ended run. Saturdays at 2 p.m. and Sundays at noon, 236 West 78th Street, Manhattan , (212) 868-4444, smarttix.com; $15; $12 for children.20110407

‘Boom Town’ (Friday and Saturday) The Wild West comes to Times Square in this new production from the innovative circus troupe Cirque Mechanics. Drawing inspiration from films like “Gold Rush” and “Paint Your Wagon,” the ensemble will gather saloon owners, prospectors and cowboys in the New Victory Theater for feats like swinging on a suspended wagon wheel and balancing on a tower of whiskey jugs. (Through April 24.) Friday at 7 p.m. and Saturday at 2 and 7 p.m.; New Victory Theater, 209 West 42nd Street, Manhattan , (646) 223-3010, newvictory.org; $14 to $38; $9 to $25 for members.20110407

‘Bye Bye Birdie’ (Sunday and Tuesday) Who better to perform a show about youthful enthusiasm than enthusiastic youth? The JCC Teen Theater is presenting this revival of the 1960 musical about Conrad Birdie, a hip-swiveling rock ’n’ roll star who changes lives in a small Ohio town on the eve of his induction into the Army. (Through April 17.) Sunday at noon and 3 p.m. and Tuesday at 5 p.m.; JCC in Manhattan, 334 Amsterdam Avenue, at 76th Street , (646) 505-5708, jccmanhattan.org/arts-culture?page=programs; $12; $9 for students; $10 and $8 for members.20110407

‘Exquisite Little Ballets’ (Saturday and Sunday) These little ballets are for the littlest dancegoers. Presented by New York Theater Ballet, they’re intended to introduce children as young as 2 to the art form. In addition to watching three brief dances — Antony Tudor’s “Little Improvisations,” Agnes de Mille’s “Debut at the Opera” and Lotte Goslar’s “Bounces” — children will learn some simple steps and behind-the-scenes facts. At 11 a.m. and 1 p.m., with an additional show on Sunday at 3:30 p.m., Gould Hall, 55 East 59th Street, Manhattan , (212) 355-6160, nytb.org; $40; $35 for 12 and under.20110407

Family Affair: Artist’s Studio (Saturday) The Bronx Museum of the Arts, which is featuring the exhibition “Stargazers: Elizabeth Catlett in Conversation With 21 Contemporary Artists,” is now inviting children to join the conversation too. The show explores the pioneering role of Ms. Catlett, who is almost 96, as a black female artist in the American art world and her influences on later generations. Young visitors will investigate the many styles of work represented and create their own in various mediums. From 1 to 4 p.m., 1040 Grand Concourse, at 165th Street, Morrisania, (718) 681-6000, bronxmuseum.org; free.20110407

‘Gazillion Bubble Show: The Next Generation’ (Friday through Sunday, and Wednesday) Children love bubbles, and this interactive show promises not just a gazillion but also some of the largest ever blown, along with light effects and lasers. The stars are the members of the Yang family: Fan and Ana Yang and their sons Deni and Jano, who rotate as M.C.’s for the production. Audience members may even find themselves in bubbles of their own. Friday at 7 p.m.; Saturday at 11 a.m. and 2 and 4:30 p.m.; Sunday at noon and 3 p.m.; and Wednesday at 11 a.m. and 2 p.m.; New World Stages, 340 West 50th Street, Clinton , (212) 239-6200, gazillionbubbleshow.com; $44.50 to $89.50; lap seats for ages 2 and under are $20.20110407

‘Goldilocks and the Three Bears’ (Saturday and Sunday) The story may feature three bears and one blonde, but this new production from Manhattan Children’s Theater stars only two actors. They play all the parts and provide their own musical accompaniment in this adaptation, which isn’t your usual walk in the woods. (Through April 17.) At noon and 2 p.m., 52 White Street, near Church Street, TriBeCa , (212) 352-3101, mctny.org; $20; $50 for priority tickets, which include front-row seats and a meeting with the cast.20110407

‘Jazz for Kids’ (Sunday) Every Sunday through May 15 the Jazz Standard presents not just jazz for kids, but also jazz by kids: the featured players at its Sunday brunches are the members of the Jazz Standard Youth Orchestra, a group of talented children. They play new arrangements of big-band classics while listeners enjoy barbecue offerings that include a children’s menu. Doors open at 1 p.m., with shows from 2 to 3 p.m.; 116 East 27th Street, Manhattan , (212) 576-2232, jazzstandard.com; $5 donation, which benefits the Jazz Standard Discovery Program, an initiative that brings musical performances to city schools.20110407

‘Kids ’n Comedy’ (Sunday) The class clown gets applause, not detention, at this series, in which comics 12 to 20 perform stand-up. It’s recommended for children 9 and older, but there’s no need to worry about appropriateness (profanity is banned) or knock-knock jokes (these dudes are sophisticated). As with all these shows, some audience members will have a chance to tell a joke too. Reservations are required. At 1 p.m., Gotham Comedy Club, 208 West 23rd Street, Chelsea , (212) 877-6115, kidsncomedy.com; $15, with a one-item (soda or food) minimum.20110407

‘The Lion, the Witch and the Wardrobe’ (Sunday) Brooklyn Center for the Performing Arts invites children on an hourlong visit to the magical kingdom of Narnia and the adventures of a lion king who has nothing to do with Disney. Recommended for ages 6 and older, this musical adaptation of C. S. Lewis’s novel from Theatreworks USA follows the book’s four English children as they seek to overcome the evil White Witch and restore the lion, Aslan, to his throne. At 2 p.m., Brooklyn College, Flatbush and Nostrand Avenues, Flatbush , (718) 951-4500, brooklyncenteronline.org; $6 in advance; $7 at the door.20110407

‘The Little Mermaid’ (Saturday and Sunday) This musical adaptation, from Literally Alive Children’s Theater, draws on Hans Christian Andersen’s distinctly bittersweet tale. But it’s not exactly “The Little Mermaid” the theater company has presented in the past: Brenda Bell has rewritten the book and lyrics, and Michael Sgouros has composed a new score. Like all the troupe’s productions, this one features a preshow crafts workshop. (Through May 22.) Workshop at 10 a.m., with show at 11; Players Theater, 115 Macdougal Street, near Bleecker Street, Greenwich Village , (212) 352-3101, mermaidsinthevillage.com; $25 to $40 (including workshop).20110407

Material Lab at the Museum of Modern Art (Saturday through Monday, and Wednesday through Friday) No matter how much talent artists have, they need the right materials to create their work. This new interactive space at MoMA invites families to explore a wide range of mediums that are reflected in the museum’s collection. The stations in the Material Lab include a drawing table; a collage table; Discovery Boxes, with surprise materials within; Cornell Boxes, filled with found objects, in the spirit of the work of Joseph Cornell; and a digital painting experience using new technology from Microsoft. Material Lab is open from 10:30 a.m. to 5 p.m., or until 6:30 p.m. on Friday (through Aug. 29); Lewis B. and Dorothy Cullman Education and Research Building, 4 West 54th Street, Manhattan , (212) 708-9400, moma.org; free with museum admission: $20; $16 for 65+; $12 for students; free for ages 16 and under; free on Friday from 4 to 8 p.m.20110407

‘Point of View’ (Friday, and Monday through Thursday) See the world of New York through a young artist’s lens. This exhibition features more than 30 photographs, as well as documentary videos and animations, by students from elementary through high school. Working with the nonprofit Magic Box Productions, which brings arts programs to schools, the young creators have dealt with both portraiture and the urban landscape. (Through June.) From 8:30 a.m. to 5 p.m.; group tours available; the Gallery at 180 Maiden Lane, between Front and South Streets, Lower Manhattan , (914) 630-0256, magicboxproductions.org; free.20110407

‘Potato Needs a Bath’ (Friday through Sunday) Shona Reppe and Andy Manley, Scottish artists who specialize in theater for the young, have created this 30-minute show for ages 2 to 5, presented under the auspices of the New Victory Theater. In Ms. Reppe’s careful hands, the stars include Eggplant; the flirtatious Pears; Plum, who needs a potty break; and Potato, who could use that bath. (Through April 24.) At 10:30 a.m. and 12:30 p.m., with an additional show on Saturday at 2:30 p.m. (some performances are sold out); New 42nd Street Studios, 229 West 42nd Street, Manhattan , (646) 223-3010, newvictory.org; $20; $14 for members.20110407

Rubin Museum of Art (Saturday) This museum is devoted to the art of the Himalayas, and its family workshop this month focuses on a Himalayan art anyone can easily pursue: felting. This Saturday, in a series called Felting Fun!, children will make magnets and collaborative quilts, drawing inspiration from the show “Grain of Emptiness,” which closes on Monday. From 2 to 3 p.m., 150 West 17th Street, Chelsea , (212) 620-5000, Ext. 344, rmanyc.org/family; $10 for each child and accompanying adult pair ($5 for each additional child); $5 for each child of members; free for adult members, children 12 months and under and Cool Culture members. Prices include museum admission; reservations are advised.20110407

‘The Secret History of the Swedish Cottage’ (Friday through Thursday) Gnomes, sea creatures and various magical beings help to tell this tale, but the history it explores is real: how the Swedish Cottage was built in Sweden and came to be transported to its current location — Central Park — in 1877. Created and directed by the puppeteers Tom Lee and Matthew Acheson, this commissioned new piece unfolds, of course, at the Swedish Cottage Marionette Theater, the heart of the site it celebrates. (Through June 30.) Monday through Friday at 10:30 a.m. and noon, with an additional performance on Wednesday at 2:30 p.m., and Saturday and Sunday at 1 p.m.; 79th Street and the West Drive, Central Park , (212) 988-9093, cityparksfoundation.org/swedish_cottage.html; $8; $5 for under 12. Reservations required.20110407

‘Shlemiel Crooks’ (Sunday) This new Passover musical might have what you’d consider an unreliable narrator — it’s Jerry, the family dog — but it promises plenty of holiday cheer as it combines elements of Jewish history with a contemporary setting. In the plot within the plot, the ghost of the ancient Egyptian pharaoh schemes to sabotage Passover by engineering the theft of all the wine from Reb Elias’s kosher wine store. Receiving its premiere from the Poppy Seed Players at the Kaufman Center, the show, for ages 4 to 11, was inspired by two picture books by Anna Olswanger, who will take part in a book signing after the performance. At 11 a.m., Merkin Concert Hall, 129 West 67th Street, Manhattan , (212) 501-3330, kaufman-center.org; $20.20110407

Thalia Kids’ Book Club: Lincoln Peirce’s Big Nate Series (Sunday) Big Nate isn’t that large physically — he’s only in the sixth grade — but he’s certainly made it big in popularity. Nate’s adventures, immortalized in the words and images of Lincoln Peirce, are published as a comic strip in more than 250 newspapers, as well as in a book series that reads like a diary. In this program for ages 8 to 12 at Symphony Space, Mr. Peirce will discuss his hero and his inspirations. At 1 p.m. Leonard Nimoy Thalia Theater, Symphony Space, 2537 Broadway, at 95th Street , (212) 864-5400, symphonyspace.org; $15; $12 for members.20110407

‘Three by the Sea’ (Saturday and Sunday) Closing on Sunday, this triple bill of short plays by Donna Latham, presented by the Looking Glass Theater, concerns life in and around the water. “Paddy and the Mermaid,” inspired by an Irish folk tale, focuses on an unusual marriage; “Coyote’s Moon” adapts American Indian mythology; and “Foghorn Franny” celebrates a woman with a very big voice. Saturday at noon and 2 p.m. and Sunday at 2 and 4 p.m.; Looking Glass Theater, 422 West 57th Street, Clinton , (212) 352-3101, lookingglasstheatrenyc.com; $15; $12 for ages 12 and under.20110407

Touch-a-Truck Brooklyn (Saturday) Adults usually like their contact with police cars, ambulances and fire engines to be as limited as possible, but children — particularly those under 10 — tend to feel just the opposite. This event, which will raise money for P.S. 295: the Studio School for Arts and Culture, offers close encounters with all manner of emergency vehicles, as well as unusual exhibits like a vintage ice cream truck and the Truck Farm, which is a garden on wheels. From 11 a.m. to 2 p.m.., rain or shine, 18th Street between Sixth and Seventh Avenues, Park Slope , ps295.org/touch-a-truck; $5; free for under 2.20110407

‘Where the Wild Things Are’ (Saturday) This time they’re going to be at the David H. Koch Theater, where New York City Opera will present a concert production of this work, based on Maurice Sendak’s classic picture book of the same title. Composed by Oliver Knussen, with a libretto by Mr. Sendak himself, the opera will unfold against a backdrop of art created by children in City Opera’s Opera Is Elementary program, and by Rush Kids/Teens, young people who are participating in the programs of the Rush Philanthropic Arts Foundation. At 1:30 p.m., Lincoln Center , (212) 721-6500, nycopera.com; $5 to $50.20110407

‘The Wizard of Oz’ (Friday through Sunday, and Tuesday through Thursday) The latest tornado to hit New York poses no danger, as the Children’s Museum of Manhattan celebrates “The Wizard of Oz” with this interactive exhibition. In addition to recreating scenes from the 1939 movie, the show teaches about science (including how a tornado forms and experiments with light) and offers challenges like capturing the witch’s broom from the winged monkeys. (Through May 8.) From 10 a.m. to 5 p.m.; open until 7 p.m. on Saturday; Tisch Building, 212 West 83rd Street, Manhattan , (212) 721-1223, cmom.org; free with museum admission: $10; $7 for 65+; free for under 1 and members.20110407

LAUREL GRAEBER

Wynton Marsalis at the Rose Theater - review

Wynton Marsalis performs albums for the past 30 years, since the release of his namesake of Columbia. By the bias of all but the first six of those years, he was not only famous trumpeter and the composer but also the public face of Jazz at Lincoln Center, an organization built around his vision and in many ways still propelled by it.

Wynton Marsalis with pianist Dan Nimmer at the Rose Theater. The latest on the arts, coverage of the events live, critical reviews, extravagance multimedia and much more. Join the discussion.

This overlap says long on the reception of Mr. Marsalis music tends to be received in some quarters however, effectively ignored in others. And this helps to explain the difficulty of disentangling the fruits of Mr. Marsalis as an artist of his function as artistic director. ("Suite of Vitoria," released last fall on Emarcy, documents one of his most recent works for Jazz at Lincoln Center Orchestra;) "Here go us again,"(just on Blue Note, features him with Willie Nelson and Norah Jones, in a program of the season 2009)""

On Thursday, the first night of a residence of three nights at the Rose Theater, Mr. Marsalis showed his own music, search for food until 1985. Much of his recent writing has been large sets, but here he himself limited to two smaller: his current quintet (in the first half) and a version of his septet of the 1990s (in the second). A retrospective study, it was slanted and incomplete. as a concert, he was informed, robust and engaging, with Mr. Marsalis himself as a superlative.

It is among the precious few instrumentalists jazz - let alone trumpeters - can convey emotion spreading through the harsh lens of virtuosity. Again and again, he focused the energies in the room with a single sentence or, Taborn, an unpredictable stream. On "The Majesty of the Blues," which opened the second half, he used a plunger mute to shaping a manifesto of the guttural grunts and trills high. "Sparks," a lively blues featured on a commercial iPod, had him breezing through a slalom croche, as young Clark Terry.

What has changed over the years, much more than his command as a soloist, is the dynamic in its groups.

"Most of these gentlemen here I taught when they were in high school,"he said of his quintet with saxophonist Walter Blanding Jr., pianist Dan Nimmer, bassist Carlos Henriquez and drummer Ali Jackson."" They have opened with "Black Codes," the anthem at a time when the Working Group of Mr. Marsalis was a combative peer group. In a way that refine felt wan and conscientious, and it was one that followed, one in two rickety steps called "You me and.." They were not out of a good start.

Corrective arrived quickly, with "First time", a melody involving breed rhythms and complex sound melody engraved by Mr. Marsalis and Mr. Blanding. Once this bar had been authorized, the band relaxed: "Doin' (Y) our thing," another fairly recent piece, sparkles with Copland-esque harmony, sound fresh and insured.

But there is so much more than soul and slang in the Septet - featuring musicians such as drummer Herlin Riley, Wessell Anderson alto saxophonist and bassist Reginald veal, all contemporaries of Mr. Marsalis - it has generated a visible imbalance. This framework was experience; part of it has been the urgency of the writing of Mr. Marsalis for a group of average size, with its front line of four men. It is not composed always not something more powerfully soulful as "Sunflower", which ended the night in a jubilant State.

This play was borrowed from "The Marciac Suite" (Columbia), released in 2000. has therefore been "Miss of Gascony," which came in the first half. A hot but melancholic ballad, he understood Mr. Marsalis squarely, and he replied with a masterful, laconic and lovely and poignant test. The eruption of cheers that followed was for him and him alone.

Wynton Marsalis performs once more on Saturday at the Rose Theater, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway. (212) 721-6500, jalc.org.

In the process of loss of blood and Starlicker - review

Willie Davis for The New York TimesStarlicker (left), John Herndon battery, Rob Mazurek on cornet and Jason Adasiewicz on vibraphone, on Wednesday.

By the end of the 1990s, the dominant jazz extended was looking around you and worry. Occupies a flicker of interest from major record labels, anticipating the decline of the audience as the "downtown jazz" scene grew diffuse and indefinable, he left his parents and watched rear and East Research: Ornette Coleman, Lennie TristanoJimmy Giuffre, fusion of early and progressive rock, the Art Ensemble of Chicago and the music of the Balkans and Hazzans. A whole field of bands gravitated towards the intense polyphony, liturgical melodies and the clank: drums playing gross-up rhythmic, rushing in time and prevent your pleasure, you deliberately designs.

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The new jazz has since evolved. It is less jagged and shyly transgressive, more studied and applied. He went deeper into harmony and odd or modification of meters; It is more accurate in every sense. But jazz musicians tend to stay around, their profession, repping the sound of their years of training and two new bands, blood and refining in the process of disappearance and Starlicker, at the end radiate 1990s. Their concerts Wednesday and Thursday evening at Littlefield and issue project room, introduces the specific memory of the first years of the tonic, in the Lower East Side (1998-2007, R.I.P.). And in both cases, memories to is slightly updated.

Blood endangered, New York, two Horn players are on the front: Chris Speed saxophone tenor, clarinet, Oscar Noriega to the saxophone alto and bass clarinet. They play fast lines, loop, even dynamically and entwining, Ponte bebop over clanky grooves. (On Wednesday, they passed a version of Thelonious Monk "epistrophy" and their own "Uri Bird," a play incorporating some Tristano-like melodies, both a new namesake album on Skirl Records).

But the action on the back of the stage. He was drummer Jim Black, whose abrupt rhythms and cymbals dry holler 1998, and the extraordinary bassist Trevor Dunn. Mr. Dunn is anomaly of the group. It is about the same age as the rest of the band - early forties - but arrived in New York, later, after having played in the West Coast experimental rock band Mr. Bungle and Fantomas. The rest of the band felt light and volatile, play hide and seek with harmony and rhythmic, low of Mr. Dunn sound remained wide and deep and strong. He gives meaning and purpose. You were wondering where a rock aesthetic has improved jazz rather that undermine it? In this case.

Starlicker, a trio, comes from Chicago, the city of lack of pretention. Its members are Rob Mazurek, vibraphonist Jason Adasiewicz trumpeter and drummer John Herndon. They have a different aesthetic temperament, less joke and elusive, that blood endangered. Yet, they would have killed it at tonic.

As with the blood in the process of disappearance, rock is tacitly to the heart. Mr. Herndon is a member of tortoise, the instrumental rock group piles of language on the language: in 10 minutes of the game, you can hear jazz, funk, prog. (Elvin Jones, Clyde Stubblefield, Klaus Dinger.) He plays hard and sense loud, heavy-footed all built to the top of its share.

The music comes from "Double demon," album of the group, which will be published week next by Delmark; each room contained written lines, by Mr. Mazurek, who has finally been pushed to three lanes improvise eruptions. The Group built the continuous sound waves; Mr. Adasiewicz played chords presented four vibes, keeping the pedal to sustain down almost continually. He went to his instrument alternatively with aggression and actual softness, and its strings was long, overlapping as they hung in the air, producing beautiful and curious connotations. (He is the youngest member of the group, 33;) (It is the wild card in the deck, the update).

It was heavy work, and after each song, all watched three disaster: grave and silent.

Ambrose Akinmusire, trumpeter, performs

Ambrose Akinmusire perform in 2010 in New York.

AMBROSE AKINMUSIRE, an aged 28 years on jazz stardom trumpeter, a penetrating gaze, compact chassis and the coolness are suspicious of someone at home with his own thoughts. It was bundled one recent afternoon, its location preferred practice to survey: a park on a promontory bench advance of Spuyten Duyvil Creek, at the northern tip of Manhattan. The bench is facing the bridge of Henry Hudson and the River beyond. "I like the way it sounds here", he said. When it is convenient, people usually him let alone.

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There is a place both touted in post-bop for the Virtuosi of the trumpet embarrassed: your Clifford Browns and Lee Morgan, your Freddie Hubbards and Wynton Marsalises. And by a certain Mr. Akinmusire light (pronounced ah-kin-MOO-sir-ee) fits the Bill. His game is demanding, with offset by an attack of cutting your smoky. As an improviser, he strives for the unexpected, rue interval precarious. Impressive debut for Blue Note new-"when the heart emerges shiny," produced by Mr. Akinmusire and pianist Jason Moran and due out - Tuesday is chock full of heroic the trumpet, and radically jabs of "far but little between" to melancholic susurrations of "Regret (not more).".

But Mr. Akinmusire, which tends to reject the concept of heroic trumpet, would prefer that you get to know him for the collective achievement of his band. And the pulse reflects a cardinal conviction among his peer group, one ostensibly in contradiction with the aspects more mercenaries and lourdaud of jazz. Call it a postmillennial doctrine, or perhaps did it nothing yet. Regardless of the term for this ideal band-first informed by sources outside of jazz, Mr. Akinmusire myriad is one of the most fascinating new artists now release mainstream.

"I could do an album where I am the one who takes all the solos of murder," he said during lunch at the Indian Road Cafe, a short walk from her bench to practice and not too far from his apartment Inwood. "But I think simply that if everyone feels responsible for the music, and then the music will sound better." At the suggestion of his album demonstrates strong leadership in any event, he winced slightly. "Really?" he asked, sounding sinistree. "I knew it sounded like my record." I thought it was the beauty of this. ?

Band Mr. ace Akinmusire presents saxophonist Walter Smith III, Harish Raghavan bassist and drummer Justin Brown - all about the same age, with duplication of history. (Pianist on the album is Gerald Clayton, for the first tour of the group, which begins next week at the Jazz standard, it will be Sam Harris).

An article of faith for these musicians is the idea that jazz is permeable outside influence, and therefore constantly in flux.

"I think that the music of today is a hybrid between a bunch of things," said Mr. Akinmusire. "And when it is not that it seems strange to me." It is not honest. How could be my generation and not be influenced by pop, or hip-hop? It's all you hear. "Like many musicians of his age, it is to write makers Beats (J Dilla, Flying Lotus), noble art rockers (dirty projectors, Radiohead) and a range of classical music ("some Chopin, Satie, Schubert"). Also, it is obsessed by hyper articulate it harpist-singer Joanna Newsom; He said that he hoped to get him as a guest on his album. (It has panoramic step).

Then there is the extra-musical influences, which seemed to Mr. Akinmusire invest less without enthusiasm: writers such as James Baldwin, Maya Angelou and Anton Chekhov. "" He said he had just finished reading of "mastery: The Keys to the success and long-term Fulfillment," by the New Age guru and aikido master George Leonard. ""She speaks to love development plateau, Mr. Akinmusire said, with a reflection of the recognition.

Raised by his mother in the difficult area of North Oakland, California, he has known jazz in a community. "Many of the old school of local musicians was still alive", he said, recalling the figures such as Robert Porter trumpeter and pianist Ed Kelly. "Therefore they raised so me and one of my best friends"-Jonathan Finlayson, an another trumpeter accomplished-"and we as musicians of jazz." "They we seek in our homes and around to the jam sessions, put us on their concerts to sit on."

Berkeley High School Mr. Akinmusire met other musicians sharp, including Justin Brown, who said that they shared a level of intensity even then. (Mr. Akinmusire also met with his girlfriend, the poet Iranian origin Shabnam Piryaei, y.) A semester of his junior year was spent practicing, as an independent study. "Only at Berkeley could do you something like that," said. "If you were a good musician, you were just as popular as a star quarterback.

As a star quarterback he is heavily recruited, commissioning of competitive bids from several major jazz collegiate programs, although he had intended studying mathematics at Stanford. He ends up accepting a scholarship to the Manhattan School of Music, where he sensilla against some of the orthodoxy in the program. But he landed in the same drop-down list box: Mr. Smith, find a quick report. "He and Walter are a great pair,", said Mr. Moran, who has worked both in a master class. "They egg each other in a formidable manner.".

Mr. Akinmusire also fell in with alto saxophonist formidable Steve Coleman, a mentor to many young players free-thinking. (His fellow countryman Mr. Finlayson is now member of the Group of Mr. Coleman). And then came his ticket or for the Thelonious Monk Institute of Jazz Performance, a two-year graduate program then based at the University of Southern California.

Save time: for children, for the period from 1 to 7 April

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John Lithgow wears many hats.

An actor well known for his performances onstage and in film and television — last year he won an Emmy for playing a serial killer on “Dexter” — Mr. Lithgow has also become a picture-book author (he’s published eight), a children’s recording artist (three albums), a playwright, a lyricist and an artist. All those more gentle personas will be on display Saturday at the Metropolitan Museum of Art, where he will present his children’s show “The Sunny Side of the Street.”

So, in all likelihood, will his hats.

“I come out onstage with a hat on and start greeting the kids,” Mr. Lithgow explained. “The music director reminds me that I haven’t taken off my hat.” While asking the audience to jog his memory if he neglects his manners again, “I wear about five hats, and I always forget to take them off.”

But Mr. Lithgow does remember his musical history. “The Sunny Side of the Street,” which draws on his Grammy-nominated album of the same title (Razor & Tie), is inspired by the era of his current listeners’ great-grandparents. “It’s the great golden age of Tin Pan Alley, when they wrote idiotic songs for adults,” he said. He cited “Inka Dinka Doo,” whose refrain could easily have been dreamed up by a toddler, and “I Like Bananas (Because They Have No Bones).”

“I’m rediscovering old musical gems and reimagining them,” said Mr. Lithgow, 65, who now has grandchildren to test his work on. He wrote new lyrics for “On the Sunny Side of the Street,” turning it into a hymn of encouragement for a first grader. And he’s rendered the Betty Boop tune “You Gotta Have Pep” “into a bit of advocacy — it’s about exercising and eating right.”

Mr. Lithgow, accompanied by the jazz group the Sunny Side Strutters, also performs his own songs, like “I’m a Manatee” and “Marsupial Sue.” (The music is by Bill Elliott.) They allow him to use his drawing skills.

“I have a great big easel, and I play Guess the Animal,” he said. “The children have to guess what it is before I finish the drawing.”

He strives for an energy level that’s as high as his audience’s. “If you bore children, they riot,” Mr. Lithgow said. “It’s wonderful to have that kind of challenge.”

(Saturday, noon and 3 p.m., 212-570-3949, metmuseum.org/tickets; $15.) LAUREL GRAEBER

For Children

‘Archaeology Zone: Discovering Treasures From Playgrounds to Palaces’ (Friday, Sunday through Tuesday, and Thursday) Children will step into the shoes of an explorer like Indiana Jones in this permanent exhibition at the Jewish Museum, but the adventures will be purely scholarly. Still, there is plenty of excitement in analyzing artifacts like a jar handle, a clay jug and a bangle and figuring out the purpose behind ancient pieces like a Greek helmet and a bull-shaped vessel. This interactive show also includes a recreated room from the Ottoman period (about 1900), where young archaeologists can dress in costume. Hours: 11 a.m. to 5:45 p.m., except for Thursdays, open until 8 p.m.; 1109 Fifth Avenue, at 92nd Street , (212) 423-3200, thejewishmuseum.org; free with admission: $12; $10 for 65+; $7.50 for students; free for under 12 and members. 20110331

‘Artists’ Eyes: Children’s Art From Studio in a School’ (Friday, and Monday through Thursday) For more than 30 years Studio in a School, an educational organization, has been bringing professional artists into New York schools and community centers to work with children. And once a year it also brings the art resulting from that collaboration to the public. This exhibition comprises more than 200 works by students from preschool through high school, depicting both their everyday universes and the wilder worlds of their imaginations. (Through May 13.) From 8 a.m. to 6 p.m., 1285 Avenue of the Americas Art Gallery, between 51st and 52nd Streets , (212) 765-5900, studioinaschool.org; free.20110331

‘Awesome Allie, First Kid Astronaut’ (Saturday and Sunday) Following in the footsteps of Sally Ride — but with much smaller feet — young Allie becomes a child astronaut in this new musical from Vital Theater Company. But she’s not so unusual when you compare her with her companions: a talking dog and a dancing Martian robot, which are ready to help her save Earth. (Through April 26.) At 11 a.m. and 1 p.m., McGinn/Cazale Theater, 2162 Broadway, at 76th Street (above the Promenade Theater), fourth floor , (212) 579-0528, vitaltheatre.org; $25.20110331

Baby Got Bach: Classical Kids at LPR (Sunday) The pianist Orli Shaham, a mother of 3-year-old twins, draws on both her musical and her maternal talents as host and artistic director of this concert series at Le Poisson Rouge, intended to introduce children 3 to 6 to live chamber performances. One big draw: little ones won’t just hear instruments played; they will also play with them during a preshow exploration. This concert features the premiere of Bruce Adolphe’s “City Sounds,” as well as an opportunity for little listeners to compose musical pieces to take home. From 11 a.m. to 12:30 p.m., 158 Bleecker Street, near Thompson Street, Greenwich Village , (212) 505-3474, babygotbach.org; $20; $10 for children; $40 for a family (two adults and up to two children).20110331

‘Best of NYICFF’ (Saturday and Sunday) If you missed this year’s competition in the New York International Children’s Film Festival, the producers are giving you another chance. Every weekend this month they will show a 70-minute program of highlights and audience favorites from the festival, including its Grand Prize winner, “Marcel the Shell With Shoes On”; “The Lost Thing,” which just won the Oscar for best animated short; and “The Little Boy and the Beast,” winner of the Jury Award. At 11:10 a.m., IFC Center, 323 Avenue of the Americas, at Third Street, Greenwich Village , (212) 349-0330, gkids.com; $13; $9 for children and 65+; $8 for members.20110331

‘Bird Brain’ (Saturday and Sunday) The woodsman in Vern Theissen’s play, for ages 4 through 9, really knows how to keep something under his hat: in this case, a cluster of baby birds. But his desire to protect the fledglings he’s rescued conflicts with the stern laws of Hat Street, which require all citizens to remove any head covering when greeting others, particularly the queen. The Drilling Company explores his problem in this production, playing an open-ended run. Saturdays at 2 p.m. and Sundays at noon, 236 West 78th Street, Manhattan , (212) 868-4444, smarttix.com; $15; $12 for children.20110331

B.Y.O.K. (Sunday) Once people become parents, they often leave their B.Y.O.B. days behind. Now 92YTriBeCa, the satellite of the 92nd Street Y, has the perfect substitute: B.Y.O.K., or Bring Your Own Kid. As the title implies, this series is devoted to cross-generational fun, and so on Sunday it will present Princess Katie and Racer Steve, rockers and pop artists known to toss soccer balls or Mylar streamers to fans. Here they’ll be celebrating their latest CD, “Tiny Cool” (RocketNYC). At 11 a.m., 200 Hudson Street, at Canal Street , (212) 601-1000, 92ytribeca.org/BYOK; $15; free for under 2.20110331

‘La Cenerentola’ (Saturday and Sunday) Every culture seems to have its “Cinderella.” In this opera by Rossini, the wicked adult is a stepfather instead of a stepmother; the helping hand comes from a philosopher; and the prince does some masquerading of his own. Part of Dicapo Opera Theater’s Opera for Kids series, this one-hour version, in English, is geared to ages 6 and older. Saturday at 11 a.m. and Sunday at 11 a.m. and 2 p.m.; St. Jean Baptiste Church, 184 East 76th Street, Manhattan , (212) 868-4444, dicapo.com; $25; $12.50 for children.20110331

‘Freckleface Strawberry’ (Friday through Sunday, and Wednesday and Thursday) Based on the actress Julianne Moore’s picture book “Freckleface Strawberry,” about a 7-year-old redhead who earns that nickname from her teasing friends, this show transcends the usual themes about celebrating the differences that make us special. It does so with a winning score, talented actors and inventive comedy, as well as an acknowledgment of the unfunny aspects of its young heroine’s situation. And speaking of teasing, Sanjaya Malakar, of “American Idol” fame, recently joined the cast. Friday at 2 p.m.; Saturday at 11 a.m. and 2 and 4:30 p.m.; this Sunday at 11 a.m. and 2 p.m.; this Wednesday at 11 a.m. and 2 p.m.; and Thursday at 2 p.m., New World Stages, 340 West 50th Street, Clinton , (212) 239-6200, frecklefacethemusical.com; $68.50 to $95.20110331

‘Gazillion Bubble Show: The Next Generation’ (Friday through Sunday, and Wednesday) Children love bubbles, and this interactive show promises not just a gazillion but also some of the largest ever blown, along with light effects and lasers. The stars are the members of the Yang family: Fan and Ana Yang and their sons Deni and Jano, who rotate as M.C.’s for the production. Audience members may even find themselves in bubbles of their own. Friday at 7 p.m.; Saturday at 11 a.m. and 2 and 4:30 p.m.; Sunday at noon and 3 p.m.; Wednesday at 11 a.m.; New World Stages, 340 West 50th Street, Clinton , (212) 239-6200, gazillionbubbleshow.com; $44.50 to $89.50; lap seats for ages 2 and under are $20.20110331

‘Goldilocks and the Three Bears’ (Saturday and Sunday) The story may feature three bears and one blonde, but this new production from Manhattan Children’s Theater stars only two actors. They play all the parts and provide their own musical accompaniment in this adaptation, which isn’t your usual walk in the woods. (Through April 17.) At noon and 2 p.m., 52 White Street, near Church Street, TriBeCa , (212) 352-3101, mctny.org; $20; $50 for priority tickets, which include front-row seats and a meeting with the cast.20110331

‘Gustafer Yellowgold’s Infinity Sock’ (Saturday) The friendliest of space aliens is back in town. Hailing from the Sun and looking like an animated drop of butter, Gustafer Yellowgold is the creation of the illustrator and award-winning composer Morgan Taylor, who has returned for another multimedia show about his hero. This one has a continuing narrative, following Gustafer as he looks for the toe end of the longest sock in the universe. At 11 a.m. and 1 p.m., DR2 Theater, 103 East 15th Street, Manhattan , (212) 239-6200, gustaferyellowgold.com; $25; $20 for under 12.20110331

‘It’s a Pinata Party!’: A Moona Luna Family Concert (Sunday) When Sandra Velasquez, lead singer of the Latin band Pistolera, gave birth to her first baby not long ago, she also had a brainchild: why not apply the group’s talents to children’s music? The result is Moona Luna, an ensemble that offers snappy Latin tunes with bilingual lyrics. At this concert it will celebrate the release of its first album, “Pinata Party” (Luchadora). At noon, Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com; $15; $12 for 12 and under; free for under 2; $12 minimum at tables. Table reservations: (212) 539-8778Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village h to her first baby not long ago, she also had a brainchild: why not apply the group’s talents to children’s music? The result is Moona Luna, an ensemble that offers snappy Latin tunes with bilingual lyrics. At this concert it will celebrate the release of its first album, “Pinata Party” (Luchadora). At noon, Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com; $15; $12 for 12 and under; free for under 2; $12 minimum at tables. Table reservations: (212) 539-8778.20110331

‘Jazz for Kids’ (Sunday) Every Sunday through May 15 the Jazz Standard presents not just jazz for kids, but also jazz by kids: the featured players at its Sunday brunches are the members of the Jazz Standard Youth Orchestra, a group of talented children. They play new arrangements of big-band classics while listeners enjoy barbecue offerings that include a children’s menu. Doors open at 1 p.m.; shows from 2 to 3 p.m.; 116 East 27th Street, Manhattan , (212) 576-2232, jazzstandard.com; $5 donation, which benefits the Jazz Standard Discovery Program, an initiative that brings musical performances to city schools.20110331

‘Learn to Ride’ (Saturday) This workshop, sponsored by Bike New York and the parents and staff of P.S. 261. , promises to reduce both the skinned knees and frayed nerves that frequently accompany first bicycle outings by teaching children how to balance and how to start, stop and steer. Participants are required to be at least 5 and to bring their own helmets and bicycles; each must be accompanied by a parent or guardian. From 10 a.m. to 1 p.m., P.S. 261, Pacific Street, between Hoyt and Smith Streets, Boerum Hill, Brooklyn , (212) 870-2080, bikenewyork.org; free. Registration is advised.20110331

‘The Little Mermaid’ (Saturday) This musical adaptation, from Literally Alive Children’s Theater, draws on Hans Christian Andersen’s distinctly bittersweet tale. But it’s not exactly “The Little Mermaid” the theater company has presented in the past: Brenda Bell has rewritten the book and lyrics, and Michael Sgouros has composed a new score. Like all the troupe’s productions, this one features a preshow crafts workshop. (Through May 22.) Workshop at 10 a.m.; show at 11; Players Theater, 115 Macdougal Street, near Bleecker Street, Greenwich Village , (212) 352-3101, mermaidsinthevillage.com; $25 to $40 (including workshop).20110331

Material Lab at the Museum of Modern Art (Saturday through Monday, and Wednesday through Friday) No matter how much talent artists have, they need the right materials to create their work. This new interactive space at MoMA invites families to explore a wide range of mediums that are reflected in the museum’s collection. The stations in the Material Lab include a drawing table; a collage table; Discovery Boxes, with surprise materials within; Cornell Boxes, filled with found objects, in the spirit of the work of Joseph Cornell; and a digital painting experience using new technology from Microsoft. Material Lab is open from 10:30 a.m. to 5 p.m., or until 6:30 p.m. on Friday (through Aug. 29); Lewis B. and Dorothy Cullman Education and Research Building, 4 West 54th Street, Manhattan , (212) 708-9400, moma.org; free with museum admission: $20; $16 for 65+; $12 for students; free for ages 16 and under.20110331

Moey’s Music Party (Saturday) Some great things about this party: it doesn’t require an invitation, and it involves pop music for ages 6 and under that parents can enjoy too. Moey, or Melissa Levis, an Off Broadway performer, is bringing her acoustic guitar and fellow musicians to the JCC in Manhattan for a concert to celebrate the release of her new DVD, “Happily Ever Moey! A Fairy Tale Lark in Central Park.” Dressing in fairy-tale attire is encouraged. At 2:30 p.m., 344 Amsterdam Avenue, at 76th Street , moeysmusicparty.com; free.20110331

New Museum First Saturdays for Families: ‘Blooming Flowers’ (Saturday) The local environment may not be cooperating, but signs of spring will definitely be found at the New Museum on Saturday. In this program for ages 4 to 15, children will investigate flower-related art — including Isa Genzken’s sculpture “Rose II,” installed on the building’s facade — and then create bunches of their own blooms with unusual materials, like recycled magazine pages and wrapping paper. From 10 a.m. to noon, New Museum, 235 Bowery, at Prince Street, Lower East Side , (212) 219-1222, newmuseum.org; free.20110331

‘Pasta!: A Pop Ups Puppet Musical’ (Saturday) The rock duo Jacob Stein and Jason Rabinowitz are cooking once again in this show, which concerns a quest through Brooklyn to find the best ingredients for pasta sauce. The culinary adventures involve more than vegetables; mermaids and animals are to be part of the action, along with puppets created by the shops of Julianna Parr and Ingrid Crepeaux. At 11 a.m., SoHo Playhouse, 15 Van Dam Street, South Village , (212) 691-1555, sohoplayhouse.com; $25 and $30.20110331

‘Point of View’ (Friday, and Monday through Thursday) See the world of New York through a young artist’s lens. This exhibition features more than 30 photographs, as well as documentary videos and animations, by students from elementary through high school. Working with the nonprofit Magic Box Productions, which brings arts programs to schools, the young creators have dealt with both portraiture and the urban landscape. (Through June.) From 8:30 a.m. to 5 p.m.; group tours available; the Gallery at 180 Maiden Lane, between Front and South Streets, Lower Manhattan , (914) 630-0256, magicboxproductions.org; free.20110331

Rubin Museum of Art (Saturday and Wednesday) This museum is devoted to the art of the Himalayas, and its family workshop this month focuses on a Himalayan art anyone can easily pursue: felting. This Saturday, in a series called Felting Fun!, children will make miniature landscapes in felt, drawing inspiration from the show “Masterworks: Jewels of the Collection.” On Wednesday the museum will inaugurate a new monthly Family Story Tour for ages 5 and older. It will reveal the tales that artworks tell and the history behind their making. Saturday workshop from 2 to 3 p.m.; Wednesday tour from 3:30 to 4:15 p.m.; 150 West 17th Street, Chelsea , (212) 620-5000, Ext. 344, rmanyc.org/family; workshop (includes museum admission): $10 for each child and accompanying adult pair ($5 for each additional child); $5 for each child of members; free for adult members, 2 and under and Cool Culture members. Reservations advised. The Family Story Tour is free with museum admission: $10; $5 for students and 65+; free for 12 and under and members.20110331

‘The Secret History of the Swedish Cottage’ (Friday through Thursday) Gnomes, sea creatures and various magical beings help to tell this tale, but the history it explores is real: how the Swedish Cottage was built in Sweden and came to be transported to its current location — Central Park — in 1877. Created and directed by the puppeteers Tom Lee and Matthew Acheson, this commissioned new piece unfolds, of course, at the Swedish Cottage Marionette Theater, the heart of the site it celebrates. (Through June 30.) Monday through Friday at 10:30 a.m. and noon, with an additional performance on Wednesday at 2:30 p.m.; Saturday and Sunday at 1 p.m.; 79th Street and the West Drive, Central Park , (212) 988-9093, cityparksfoundation.org/swedish_cottage.html; $8; $5 for under 12. Reservations required.20110331

The Suzi Shelton Band (Saturday) Suzi Shelton has impeccable credentials to perform for listeners 10 and under: She’s a mother, and she’s a hit recording artist for children. Here she’s appearing with her band to raise funds for Gallop, NYC, an organization that provides therapeutic horseback riding for people with mental and physical disabilities. At 11 a.m. (doors open at 10:30), Flea Theater, 41 White Street, near Church Street, TriBeCa , (212) 226-2407, gallopnyc.org; $20 in advance; $25 at the door.20110331

‘Three by the Sea’ (Saturday and Sunday) This triple bill of short plays by Donna Latham, presented by the Looking Glass Theater, concerns life in and around the water. “Paddy and the Mermaid,” inspired by an Irish folk tale, focuses on an unusual marriage; “Coyote’s Moon” adapts American Indian mythology; and “Foghorn Franny” celebrates a woman with a very big voice. (Through April 10.) Saturdays at noon and 2 p.m.; Sundays at 2 and 4 p.m.; Looking Glass Theater, 422 West 57th Street, Clinton , (212) 352-3101, lookingglasstheatrenyc.com; $15; $12 for ages 12 and under.20110331

‘Up, Up and Away With the Woodwinds’ (Saturday and Sunday) The Lolli-Pops concerts from the Little Orchestra Society, for ages 3 through 5, use friendly characters like Bang, Bow, Buzz and Toot to introduce music. In this program Bow the Panda and Toot the Bird will take the audience on an imaginary balloon ride around the world, learning about woodwind instruments through sounds from Europe, Asia and Africa. The jugglers Joel Jeske and Book Kennison of the Hey-Ya Brothers will join in the fun, which includes pieces by Mozart, Tchaikovsky and Ibert. Saturday at 10:30 a.m. and noon and Sunday at 1 and 2:30 p.m.; Kaye Playhouse, 68th Street between Lexington and Park Avenues , (212) 971-9500, littleorchestra.org; $12 and $40.20110331

‘Whaddaya Need? Plays Made to Order’ (Friday through Sunday) Getting your play performed by a professional cast is no small achievement for a young writer — particularly if that writer is only 10. That’s the age of the participants in the Playmaking program, sponsored by the 52nd Street Project, which provides theater opportunities for disadvantaged youth in the Clinton neighborhood. Working with professional mentors, the children write brief one-acts that culminate in fully staged productions; this showcase features 10 of them. Friday at 7:30 p.m.; Saturday at 3 and 7:30 p.m.; Sunday at 3 p.m.; Five Angels Theater, 789 10th Avenue, near 52nd Street, Clinton, second floor , (212) 642-5052, 52project.org.; free, but reservations are required.20110331

‘The Wizard of Oz’ (Friday through Sunday, and Tuesday through Thursday) The latest tornado to hit New York poses no danger, as the Children’s Museum of Manhattan celebrates “The Wizard of Oz” with this interactive exhibition. In addition to recreating scenes from the 1939 movie, the show teaches about science (including how a tornado forms and experiments with light) and offers challenges like capturing the witch’s broom from the winged monkeys. (Through May 8.) From 10 a.m. to 5 p.m.; open until 8 p.m. this Friday and until 7 p.m. on Saturday; Tisch Building, 212 West 83rd Street, Manhattan , (212) 721-1223, cmom.org; free with museum admission: $10; $7 for 65+; free for under 1 and members; free to all this Friday from 5 to 8 p.m. 20110331

LAUREL GRAEBER

Cornell Dupree, Studio guitarist, is dead at 68

The cause was emphysema, said David Kramer, his agent and longtime friend, who had organized a benefit concert for him in New York in March.

The average listener cannot su name of Mr. Dupree ("not many people read the back of the album," it acknowledged in a 1997 interview in The Observer in Dallas), but millions knew that his game. His licks are an indispensable element of a number of the most successful of Mrs. Franklin, "Rainy Night in Georgia of Brook Benton" and many other records.

By his own estimation, he played on approximately 2 500 sessions. Jerry Wexler, Atlantic Records Executive who produced hits for Dr. Franklin and many others, has stated on several occasions that he often used three guitarists on the sessions he supervises, to get that full sound that possible, until he realized by Mr. Dupree was the only one he needed.

Although known as a player of rhythm and blues, accompanying artists like Wilson Pickett and b.b. King, Mr. Dupree also performed or recorded with Joe Cocker, Barbra Streisand, Laura Nyro, Bonnie Raitt, and Mariah Carey, among other pop stars. He played on the 1973 hit album of Mr. Simon "Needless Rhymine Simon" and album of R & B - influenced Mr. Starr Ringo 4."

For funky, more contemporary sound, Miles Davis, the great jazz trumpeter, was research in the 1970s, Mr. Dupree was among musicians, he has used on his album "get up with it."

Mr. Dupree more sustainable associations were with Dr. Franklin and saxophonist King Curtis. He joined King Curtis and the pivots in 1962 (Jimi Hendrix was briefly in the band with him) and was still a member when Dr. Franklin incurred to accompany him on tour in 1967. King Curtis died in 1971, but Mr. Dupree remained with Mrs. Franklin until 1976.

At the time, he left Dr. Franklin, he and a number of session musicians began to record and perform as a group. Known as Stuff, they made several all-instrumental for Warner Brothers albums and toured.

Mr. Dupree has also recorded as a conductor; his last album for the label tone Austin has not yet been issued.

Cornell Dupree Jr. was born on December 19, 1942, in Fort Worth, the only child of Cornell and Bernice Dupree. His first instrument was the saxophone, but he started to play guitar in his teens.

He is survived by his wife, the former Erma symbol; three children, James Cornell, Cornell III and Celestin Maria; and nine grandchildren.

John Hollenbeck, red fish

What looks like his tone of writing beyond the circumference of its peer group? When he is not shaping the pulse of the battery? When the power of interpretation has been entrusted to another group, with another point of view?

We could not feel the need to ask these questions if Mr. Hollenbeck were not primarily known as a jazz musician. Composers dwell in ideas. the execution may or may not involve them. And Mr. Hollenbeck increased more and more accomplished as a composer, always more assured in the distinctive clarity of her voice. This point was home, powerfully, red fish in Greenwich Village Monday night.

Presented by Jazz dead, this was a project of double act featuring the large set of John Hollenbeck and, France, Orchestra National de Jazz de 10 pieces. The two bands played music by Mr. Hollenbeck: Orchestra, an initiative of the French Ministry of Culture, now in its 25th year, attacked a body of work called "Shut Up and Dance," recently released as a double album on the label of Jazz bee.

The artistic director of the Orchestra, for a term of three years, is Daniel Yvinec, a polymath who has studied the bass guitar in a jazz context in New York. Under his leadership, the institution has taken on a daring character, with a relatively young range to look like a set of student. Each room in "Shut Up and Dance" is a mini-concerto for a specific member of the Orchestra.

The theme relates to the music and human movement: a real concern for Mr. Hollenbeck, which has long collaborated with Meredith Monk body-based performance artist. (She was sitting at a table of centre across the two series). More texture, rhythm, was the currency of this performance. Several pieces derived strength from counters superimposed, such as the animation of five against four "Flying Dream," a prog-fusion tour sought to introduce Pierre Perchaud on guitar.

"Racing Heart, racing heart," featuring saxophonist tenor Remi Dumoulin, used a chunky pointillism, polyrhythmical; "Clips of joy," featuring Vincent Lafont on Fender Rhodes piano and electronics, rode a derivation of the rhythm of the samba.

However, the distinctive palette of the Group - heavy of the rhythmic section, with several wind instruments but just a trumpet and no trombones - clearly part of compositions. Often there were agreements which coalesced in dissonance airy, as reeds sidled in training.

The band managed this slippery music laudable, even when the soloists short: of Antonin - sorting Hoang saxophone alto and bass clarinet work on "Melissa Dance" felt awkward and squeezed, but the room itself was fantastically immersive, opening with a dark chordal ring and closure - after a longSlow swell and a coda Sci - Fi stark - with flutter Butterfly stamps, evoking the exciting side of classical minimalism.

The large set of John Hollenbeck has used the same effects as a whole, but with a little more than: polyphony, cacophony, plume. For this appearance, the Group was joined by a guest pianist, Uri Caine and two singers, Theo Bleckmann and Kate McGarry. The directory revolved around what Mr. Hollenbeck called "my idea of pop music," by Imogen Heap and Kraftwerk and Jimmy Webb songs. ("I forgot to listen to pop music as a kid", Mr. Hollenbeck usefully explained.)

The whole, conducted by J. C. Sanford, played with imposing dynamism, often construction developed on a drone. "Constant conversation", based on a text by Rumi, was conducted by a plunging downbeat, after the example of devotional Sufi music. The Ballad of Ornette Coleman "all my life" was Ms. McGarry singing openheartedly against a bleating horns accretion.

And "A Man of Constant sorrow" began with a forest sentence for all the bass-clef instruments in the band, and then switches into speed as a testimony of the Appalachian Celtic, with crosstalk. It has ended, after an exhilarating full band freakout, with saxophonist Tony Malaby wheezing a tenor your unique split, suggestively desperate.