Product Description
JAD TARIQ - SINGS
COMING MARCH 07, 2025, RESERVE YOUR COPY TODAY!
JAD TARIQ
Jad Tariq Sings
MoMojo Records
If you’ve caught a live show by Tony Holiday lately, you had the pleasure of hearing Jad Tariq’s sterling guitar playing behind Holiday’s vocals and harmonica runs. Tariq also did some time in John Németh’s Blue Dreamers band. His debut recording serves notice that his talents extend far beyond the guitar.
At first listen, you will be struck by the fact that his five originals blend seamlessly with three covers dating back to a time when R&B and jump blues filled the record charts. “Bloodshot Eyes” was a hit for blues shouter Wynonie Harris. Tariq’s smooth vocal contrasts nicely with the honking sounds of Art Edmaiston’s saxophone. Earl Lowe on drums and Cad Caspersen on upright bass lay down one of many swinging grooves on the album. Gerald Stephens adds a touch of class on the organ before the leader flashes his six string talents.
A cover of T-Bone Walker’s “No Sleepin’est Woman” flows along at a relaxed pace. Stephens delights on piano, engaging in a call-and-response with Tariq’s guitar. Co-producer Benton Parker adds backing vocals on “Had You Told It Like It Was,” as Tariq relates the tale of a woman moving way too fast, his guitar tone delivering a lot more bite.
The opener, “Flapjack,” is an infectious romp featuring plenty of sparkling guitar picking riding Caspersen’s firm bass lines and Wylie Bigger on piano, one of two tracks he appears on. Tariq’s original “Shame, Shame, Shame” could easily be mistaken for a classic from the Five Royales, with Lester Gilman on drums and piano while Tariq handles the vocal, guitar, and upright bass.
The mood shifts to a late night jazz feel on “Fortune’s Fool.” Listening to Tariq sing, it is easy to picture him in a high end Las Vegas lounge, entrancing every woman in the room. “You Think You’re Too Good For Me” is another beautifully constructed Tariq/Parker original that reaches back in time, yet manages to stay firmly rooted in the here and now, with Edmaiston serving as a one-man horn section, blowing another brawny solo.
The disc comes to a rockin’ conclusion on “So Much Water,” with more fiery contributions from the Tariq and Edmaiston. Throughout the recording, the instrumental solos are brief, captivating statements that enhance each song, which is all you need when songs are this good. From the retro-looking package to the vintage sounds, Jad Tariq leaves no doubt that he has arrived, and that we will be enjoying his artistry for years to come.
– Mark Thompson