Daniel Villarreal’s new album, “Lados B” (which translates to “B-sides”), is an absolute blast from start to finish. This album is all Villarreal on drums and percussion, Anna Butterss on electric bass and double bass, and Jeff Parker on guitar (plus a gorgeous contribution from Neal Francis on Rhodes piano on “Salute)—all-star folks playing hard and beautifully, but with such ease, the total definition of sprezzatura. They recorded most of this album over a couple days in the fall of 2020, outdoors at Chicali Outpost (apparently the backyard of International Anthem co-founder Scottie McNiece’s house), and this is the kind of album whose recording it would’ve been fun to witness in person, to hear and see the staggering chemistry that these three have together.
“Traveling With,” the opening track, showcases the whole band’s charms. Villarreal sets the tone with shakers, cowbell, other chimes, and settles into a quick clanging beginning and then steps it up a notch right before Butterss enters with an insane bass riff. Then Parker comes in, casually ripping off languid little phrases on guitar. Then a little more than halfway through the track, Parker suddenly floors it with a distorted version of the riff he’s been playing and it’s like it’s written in neon. I’ve listened to this probably 20-30 times and that moment is thrilling every time.
Another favorite, “Republic,” has unreal energy. Right off the bat, Villarreal and Butterss are going 100; Villarreal with big beats and tons of texture, Butterss with a deep, kinetic groove. Parker starts with a simple riff that quickly expands into something more complex—with either some momentary loops or maybe later overdubbing. Incredible playing. They are able to execute the kind of imaginary and fantastical music that the fictional jazz sextet plays in Nathaniel Mackey’s ongoing novel, “From a Broken Bottle Traces of Perfume Still Emanate.”
“Salute,” launches with another great beat from Villarreal and an easy groove from Butterss. Parker enters with a stuttering riff, a little colder and more removed, but then Francis’s Rhodes enters too, and that warms up the whole track. Parker switches to some quickly cut-off strums. Parker later puts a little delay on his guitar and it opens up the sound of this one, it feels so welcoming, so relaxed and amiable. A great illustration of the dual appeals of the album—you can get totally absorbed in this, the one-time fleeting percussive touches that Villarreal puts on every track, the outrageous abilities of all three players, each person’s virtuosity, but you can also put it on and have a good time blasting it out loud.