can do. A U-M "jazz studies" student, Al-Saadi performs with the maturity of a veteran fully in command of his voice and instrument, whether crooning Sinatra ballads, improvising on a Pat Metheny composition, or gettin' down with Chuck Berry.
Al-Saadi heads up the kind of weeknight cover band that fills the background while patrons drink and talk until they can't ignore his polished performance any longer. Partnering with a bassist or keyboardist and a drummer, Al-Saadi plays guitar with the enthusiasm of a young rocker, but he also listens to his band members, and he gives them room to explore, too. His lineup has been in flux, but both of the versions I saw one at the Tap Room in Ypsilanti that emphasized rock and R&B, the other at Goodnite Gracie that showcased more swank jazz were tight ensembles, clearly having a ball together. When he plays, Al-Saadi lets his emotions go, closing his eyes and throwing his head back when the song hits a climax, often laughing as his fingers fly over the strings.
More than a capable mimic, Al-Saadi brings an improvisational spirit to everything he plays. His interpretation of "Georgia" surprises with creative guitar phrasing, and he demonstrates the results of his education in jazzy instrumentals like Sonny Rollins's "Oleo." Al-Saadi's guitar stands in for Rollins's sax, dishing up show-off looping solos and bursts of out-there riffs. He can pull just about any sound from his guitar, making it smooth and open or tight and bright, and I saw him break a string on "All along the Watchtower."