In 2009, with members of his Iowa-based Koplant No ensemble, saxophonist Joel Vanderheyden released a set of his original compositions titled Complete Life. In late 2010,  the ensemble released its debut, self-titled recording, with Vanderheyden now stepping away from the composer’s chair. Koplant No features the original works of two of its members, with 7 pieces from Brian Lewis Smith (trumpet, keyboards, drum programming) and 3 from Drew Morten (bass, synthesizers, French horn), while Vanderheyden and drummer Rob Baner easily contribute their share of the collective imagination. 

Smith’s compositions share some common elements—ambient keyboards and strings; an underlying rock feel; melodic, often very beautiful horn passages where harmony typically, not always, trumps extended melody. The resulting sound suggests a modern European sensibility, particularly when Smith takes up the trumpet, which he does often and elegantly. “Baby (With a Monocle)” is a soft rock-meets-jazz track with songful horns harmonizing with synth, the long sustains and reverbs conjuring space travel. “Cave Troll” starts a bit on the eerie side, trumpet and sax rolling over thumping percussion and string effects, modern postbop with an overlay of patient electronic experimentation. The only urgency comes from the drums, suggestive of the Dave King Trucking Company where horn conversations are pummeled by percussion without being annihilated. 

Two tracks seem related by both title and sound, “Stubby McGhee’s First Second Place Finish” and “Stubby McGhee Is Somewhat Less Than Confrontational” –even the titles suggest Dave King! Here Smith’s horn harmonies have unexpected twists yet generally create a melodic, lyrical European elegance. Vanderheyden provides a gorgeous sax workout on “Travelin’ Man,” set off in space by the underlying hymnal keyboards and synths, all energized by Baner’s frenetic drumming. “So Far” conjures a marimba echoing from outside our gravitational pull; the rounder horn could be Morten’s French horn, while the repeating basslines give a prayerful ambience. Smith’s closing track, “Quartet til Dawn,” similarly mixes haunted-house sound effects and melodic passages, his electric piano fade-out particularly lovely. 

Drew Morten’s contributions are no less a mixed bag of harmonies, rhythms and electronic effects. “Pitch Dark” is the most melodic, with an R&B feel to the beat, but its modern jazz harmonies hold the most interest as Vanderheyden climbs and descends, as if searching for lyrics. “Cracked Out Cyber Mouse” suggests a rambunctious tune, but it starts more as a dark soundtrack, the ghostly quality hastened by what sounds like some quasi-spoken, or rather whispered, passages toward the end, culminating in an electro-zoo of animal growls, chirps and screeches. “What a Way to Go” is a delightful blend of melodic, folkloric and electronic elements. Just like Koplant No. 

I caught this band a month ago at the Iowa City Jazz Festival, playing on one of the side stages. They belong on the main stage. Koplant No brings together talented writers/performers who make the most modern music accessible. Quoting KFAI jazz broadcaster Larry Englund, Koplant No  “knows how to use electronics and still sound like a jazz band.”  

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