Before considering and analyzing this record, the debut work of Francesca Naibo, now a Lombard-Venetian guitarist, I think it could be interesting to repeat that every musician, perhaps every artist, starts from a sort of naively physical conception of her/his art. Sound, however intangible and invisible, is not just an expression or a chain of expressions, but something that really touches, envelops and involves. It is the vehicle through which the music arrives, the passionate motif that saddens us for an occasional memory that evokes in us, the friendships it gives life to and cement.
Francesca Naibo did things right, for her first cd. She created, deleted, finished each note with painstaking patience. She was able to forget and then recreate. “Namatoulee” is an intelligent, complex, spontaneous, fresh record that offers multiple interpretations. Let’s start, for example, from the title of the record and that of the 14 pieces that compose it, puns in a non-existent language, which perhaps mean nothing. Dada jokes that refer with their musicality to other sounds. Titles like “Lameda” Lemeda “,” Nadare Nura “,” Toundaleda “, which perhaps already exist in some dialect or in some technical manual of a nation close to us, are also a first indication of the creative desire of an artist who wants to invent regardless, that when she acts she still creates.
Francesca is a guitarist with multiple experiences, the Conservatory, Joni Mitchell, folk, classical, contemporary, interpretation, improvisation. Francesca runs on the edge, on the strings of her guitars, with the precarious balance of those who live on the borderlands, where limits and styles are thin traces on the sand that are constantly canceled and rewritten. Listening to “Namatoulee” can be a difficult stylistic exercise for a guitarist, it means thinking about music and sound and forgetting the instrument, technical terms, the romantic sentimentality, the stigmata of experimentation.
We need to listen and think in acousmatic terms, removing the memory of the instrument and facing a “concrete” music that it would be easy and superficial to define “abstract”. Because “concrete” means the existence of a material or physical form; not abstract. I don’t think Francesca’s music is abstract, if anything chromatic, that iridescent and mutable chromatism that is an object of wonder for those who look through a rotating kaleidoscope. The music of “Namatoulee” is will, it’s passion and it is no less immediate than the world itself, it belongs to time and its changes. Jorge Luis Borges reminds us how, in Oscar Wilde’s dialogue, we read that music reveals to us a personal past that up until that moment we were unaware of, and moves us to cry for misfortunes that never hit us and sins we never committed….the music of “Namatoulee” is all this.