Paul Wertico

Although not exactly a household name in the U.S., Poland's SBB (short for either "Silesian Blues Band" or "Szukaj, Burz, Buduj") were a renowned act in their homeland during the 1970s. Like the majority of emerging '70s rock acts before punk's arrival, SBB were prog-based, and after spending much of the 1980s on hiatus, the group picked up right where it left off with sporadic reunions during the '90s and early 21st century. Released in 2005, New Century (issued as a DVD audio release) is exactly what you'd expect from the band: lush arrangements and soaring vocals merged with a polished/mainstream rock edge – with half the lyrics sung in English and the other half in Polish.

While Brazilian music had captured Pat Metheny's attention since the '70s, he placed an especially strong emphasis on Brazilian elements in the late '80s. A master of uniting seemingly disparate elements as a cohesive whole, the imaginative guitarist effectively combines Brazilian-influenced harmonies and rhythm with jazz, folk, and pop elements on "So May It Secretly Begin," "Third Wind," "Minuano (Six Eight)," and other celebrated gems included on Still Life (Talking). The Brazilian leanings are put aside on one of Metheny's most unique offerings ever, "Last Train Home," which boasts a charming Western theme that brings to mind a peaceful journey across the Arizona desert.

The first Pat Metheny Group recording in five years is a bit unusual in two ways. The band uses "contemporary" pop rhythms on many of their selections but in creative ways and without watering down the popular group's musical identity. In addition Metheny for the first time in his recording career sounds a bit like his early influence Wes Montgomery on a few of the songs. With his longtime sidemen (keyboardist Lyle Mays, bassist Steve Rodby and drummer Paul Wertico) all in top form, Metheny successfully reconciles his quartet's sound with that of the pop music world, using modern technology to expand the possibilities of his own unusual vision of creative improvised music. And as a bonus, some of the melodies are catchy.

Future Jazz is an interesting teaming of the Blue Note and Knitting Factory labels for a compilation of creative modern jazz (leaning toward the "outside"). The CD serves as a supplement to a book of the same name by music journalist Howard Mandel. The selections all come from 1990s releases, with the exception of Eric Dolphy's classic "Hat and Beard" (1964) and James Newton's rendition of "Black and Tan Fantasy" (1986). Better-known names like Dolphy, Cassandra Wilson, Don Pullen, and Pat Metheny are mixed with names that certainly should be as recognized, like pianist Marilyn Crispell, drummer Gerry Hemingway (both of the mid-'80s Anthony Braxton Quartet lineup), and the late saxophonist Thomas Chapin.