Farees is a spoken-word artist and multi-instrumentalist. He incorporated an Assouf guitar style on his debut album to pay homage to his Tuareg heritage.
Border Patrol was an eclectic 17-song social-political epic that mixed walloping rock riffs with elements of hip-hop, soul, blues and funk.
His latest release is a six-song musical journey called Blindsight. Farees addresses fake revolutionaries and the so-called cancel culture with Stevie Wonder-esque exuberance on Bad Apples and he celebrates the social movements of the past on Wistful.
There are plenty of guitar goodness throughout, most notably on a cover of Jimi Hendrix’s Hey Joe, which sees Farees laying down fierce, wah-soaked rhythms before heading to the outer limits with a mighty solo. On The Melting, he is joined by a Meters guitar legend who weaves a colorful quilt of intricate six-string textures.
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Nocentelli was surprised by the invitation to play on the track.
He didn’t know much about Farees. I liked a few of the things he had said. I worked on the files that he sent to me. It was really nice. We found out that we had a lot in common. We were familiar with a lot of the same people and music. It was magic. It wasn’t just a musical collaboration; it was a mental connection.
Farees wanted Nocentelli to play on The Melting. He says that he is a huge fan of the Meters. He’s a legend, a superstar and an innovator. Being able to play with him and get to know him has been awesome. I have learned so much in a short time from him. The experience has been great. This is more than just music. Our connection goes deeper.
Over the years, you have guested on many artists’ records. What about Farees impressed you the most?
His music was different and abstract. I enjoy being able to perform music that isn’t straight I-IV-V or the straight 2/4 beat. There was a lot of different time signatures in this track. The vocals, the grooves and the percussion sounded African. I was attracted to that because I am part of an African background.
Both Farees andLeo have African ancestors. We all agree on the idea of rhythm. It’s important that you have something that’s rhythmically solid so that you can put your vocals on top of it. Rhythm is important to both of us and we are very similar in our musical philosophy.
We’re very similar in our musical philosophy, and rhythm is huge to both of us
Farees
Farees, when you sent the files for The Melting, did you give him direction?
Farees: not at all. There wasn’t a need for it. I always go by instinct when it comes to music, and I knew that Leo would come up with great ideas. I didn’t know what I wanted, but the only thing I wanted was Leo.
Nocentelli was not told anything. I was allowed to do my thing. I could fly the track. I tried to find a spot where I could do some guitar parts that lifted the track. I just want to make something better.
I can solo and rock out, but what I am proudest of is how I can listen to a track and know what to put on it. Nobody can do what I do. That sounds egotistical, but it is the truth.
Farees, you cover Hey Joe on the record. Do you have any doubts about changing such a famous song?
Farees: “Of course.” I feel like Hendrix is my home. There are some Meters on my version. I tried to mix it up because I didn’t want to do a straight-up Hendrix interpretation. There is an influence on the track.
It’s a big honor when I hear that. I hear a lot of Hendrix and me playing there. They are on the same page. We have the same sound. I think we knew each other for a long time before we talked.
Everybody got something from Hendrix. There isn’t a guitar player around who hasn’t learned from him
Leo Nocentelli
I was wondering if you could expand on Hendrix more. He was once called your “preeminent guitar and music teacher.”
Farees said that it wasExactly. When I was a kid, I played a lot of instruments, but then I heard Jimi Hendrix, and I started playing the guitar. I said, ‘I want to play this thing because it sings!’. It was a healing sound when Jimi was playing his guitar. I called my guitar teacher a joke when I started playing. I am self-taught. I have no knowledge of scales or notes. I just listen to what I hear. Listening to Hendrix gave me many new ideas.
Nocentelli said that everyone got something from Hendrix. There is no guitar player who has not learned from him.
There’s a lot to chew on in Blindsight. Farees, you have never shied away from discussing socio-political topics.
Music is the most powerful tool we have for bringing about change, all kinds of change and even within the music industry. We need more truth and less fake revolutionaries. I think we’re in a new era even with artists.
If you are a bigot or ignorant, it is not enough to be able to play a good guitar or keyboard. People will realize that the person behind the music is important.
Nocentelli: “I agree with Farees.” Music is the perfect vehicle for anyone who doesn’t have the power otherwise. I have tried to do that for the Meters. A message from the meters was written years ago. I use music to say things. It always is.
I am aware that Farees is working on covers of Meters songs. That’s right?
Farees: That is correct. I was in the studio today to record Loving You Is on My Mind and Find Yourself by the Meters.
I assume he’s going to be on the tracks.
Nocentelli is not sure.
Who knows? Farees Who does not know?
It would be a little weird if he wasn’t.
Farees has a new album out, it takes time to develop another one. You can only say that you are going to use this person. I will use that person. It’s possible you want a different sound or a different feeling. I’d probably do it, but it depends on what the tracks sound like.
Farees said, “For me, it was more like, ‘Let’s not bother Leo again.'” I wanted to pay respect to them.
You wanted Nocentelli to beg you. Please Farees. I have to play on this. I want to play!
Farees: “No, no, Oh, no…”
Did you use a guitar on The Melting?
Nocentelli is pretty sure he used his signature gun. My main guitar is that one, although I use other models, depending on the situation. Some records demand certain sounds, and it may not always be 335. I use whatever I need to get the point across, but sometimes it is a Tele sound.
I love copies and inexpensive guitars, but I turn them out. I change their pickups and circuits, and they become weapons
Farees
Farees, what kind of guitars did you use?
Farees said he usually plays Squiers, Grecos or To Kais. I like copies and inexpensive guitars, but I don’t like turning them out. They become weapons when I change their circuits and pickups. I am more of a do-it-yourself kind of guy, so I don’t go in for big brands.
You get a sound that is more individual. You can hear what I’m talking about if you listen to my sound. I used a small practice amplifier called a Pathfinder to record that guitar. It’s $50. That’s all you need.
- The Blindsight (opens in new tab) is out now on Rez’Arts Prod.