A Visualgui.com reader – who is also an aspiring singer – introduced me to Eva Cassidy and I’ve been hooked. Cassidy’s style variation was boundless. Whether she sang jazz, blues, folk, pop, rock, gospel or country, her clear and powerful vocals felt right at home. From Marlena Shaw’s “Wade in the Water” to Paul McCartney “Yesterday,” she sang with tremendous attention the lyrics. Her skillful phrasing and intricate interpretation made her performances sound fresh and distinctive.

Some of my favorite songs she covered include “Wayfaring Stranger,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “What a Wonderful World,” “Songbird,” and “Penny to My Name.” Although she is no longer living on this earth, her music is still alive. I am still absorbing five of her albums back to back, and loving her jazzy tracks. If you have a chance, give Songbird a spin.

Thanks Thu Hoai for getting me sucked into Cassidy’s soul.

By now fans should know what to expect from Van Son production: same MC, same singers, same comedians, and pretty much same strategies. The only difference is where they would perform, and this time the place is Japan. I am not complaining since they do a great job of incorporating the cultures into the show. On Van Son 29, they introduce Japanese’s Shinto dance, folk music, and brief documentation on Japanese in general and Vietnamese people in Japan.

Van Son’s niche has always been the short comedies. Although most of them are not too bad, I only enjoy “Nguoi Ban Toi” because Van Son, Hong Dao, and Quang Minh go off the context a bit. I like it when comedians get out of the routine and be themselves. That way they act more natural.

On music, the best performances are from Nguyen Khang (“Van Yeu”) and Diem Lien (“Roi Mai Em Di”). Both songs come from Huynh Nhat Tan’s pen. I also dig the new girl Vy. Her lyrics mirror her attitude on “This is Vy.” Furthermore, her choreography, style, hair, and outfit reminded me of the great R&B singer Aaliyah.

On the much-needed improvement, they need to drop those translated songs, which are way too many on this video. Even Tuan Ngoc and Thai Thao perform a translated version of “Beauty and the Beast.” Huynh Nhat Tan is also wasting his skills on the translate tracks: “Em Can Cho Anh,” perform by Cat Tien, and “Yeu Em Suot Doi,” perform by Cat Tien and Nguyen Thang. Speaking of Nguyen Thang, his own attempt of translation on “Van Yeu” is bad. Dude looks and moves like a cheap version of Justin Timberlake, and the dancers look so trashy in their skanky skirts. Yet, the worse performance of all goes to Minh Tri’s “Khuc Hat Xot Xa.” His feminine vocals combined with his cheesy lyrics are intolerable. I try my hardest, but my hand forces me to hit skip.

Van Son is one of the top three Vietnamese music productions in the US. While they are cashing in on their sitcoms, their music is still way behind Asia and Thuy Nga productions.

“Me and Mariah / Go back like babies with pacifiers / Ol’ Dirty Dog no liar / Kickin’ fantasy hot like fire,” Ol’ Dirty Bastard rapped over the remix version of “Fantasy,” one of Mariah Carey’s successful tracks that jump-started her crossover with hip-hop. Her latest album The Emancipation of Mimi continues the trend by collaborating with some of the hottest hip-hop heads, such as Snoop Doggy Dogg, Twista, and Nelly.

The album starter, “It’s Like That,” kicks off the party with a club groove from one of hip-hop’s finest dance floor producers, Jermaine Dupri. The best part of the track is when Carey’s high-pitched vocals join Fatman Scoop’s big and brassy voice for the playful crowd-rocking lines, “Let’s go now, here we go now.” Again on “Shake It Off,” she uses R Kelly’s fast flowing technique over Dupre’s booty-dropping beat for more R&B bumping and grinding. With the support of Nelly on “Get Your Number,” she applies her whispery voice, seducing, “I gotta PIP penthouse with a sick hot tub / we can watch the flat screen while the bubbles fill it up.” She sounds so damn sexy. Other than Dupri, the Neptunes are also responsible for the bouncy productions including “Say Somethin'” with Snoop Dogg and “To The Floor” with Nelly.

After getting her listeners all soaked up, she cools them down with a few slow jams including the thug loving “One & One” with the fastest spitter Twista. On Carey’s signature piece, “Mine Again,” her powerful vocal along with her emotional delivery infused everlasting life into the cut. “Circles” is another passionate track that is filled with Carey’s high tone aesthetic. The album closes out with “Fly Like a Bird” indicating the emancipation of Mimi. She is free like a bird, and flies high to the sky.

Ho Quynh Huong is popping up everywhere. She is currently the industry’s favorite babe. Ever since her second volume Ngay Diu Dang (A Sweet Day) drops, all eyes are on her. Qualified as a fresh rising star, Huong has the style, the attitude, and the voice. Above all, she sounds best when she has blazing beats to ride with, and her album proves it.

Ngay Diu Dang is like an experimental project for Huong. She covers everything from pop, jazz, rock to hip-hop. Surprisingly, the most successful track is Duc Tri’s “Toi Tim Thay Toi” (I Find Myself). She knows how to swing her gorgeous voice – smooth, deep with a slight cracked mantra – around the intoxicating jazz chord. After listening to that song, I just want to grab her and say, “Look ma, this is it. Give me more of it.” But even with honey pop performances, she is never unlistenable. For instance, she flows in and out of a pleasing up-tempo pop tune on Vo Thien Thanh’s “Ngay Hom Qua” (Yesterday) The mesmerizing sax breakdown gives the song a fragrance of jazz.

To give listeners different flavors, she switches up her style to blend in with various genres. Her delivery becomes rock-up when she covers Le Quang’s “Tinh Yeu Khong Quay Ve” (Love Doesn’t Return) to give listeners a taste of rock. Then she chops up her flow on Ha Dung’s “Tinh Yeu” (Love) for the hip-hop vibe. On the quieter tracks, including her own pen’s “Muon Yeu Anh” (Want to Love You), she transforms them into romantic ballads.

Whether Ho Quynh Huong doesn’t have a clear path of where she wants to go or she is being greedy, her all-you-can-eat buffet is still chewable. Although I am not a fan of flashy pop songs, I have to give her props for bringing them to my ears. Nonetheless, I still hope she would have a more focused direction on her next album.

Will Smith is mad and he is not taking any heat from that “fat, ugly chic in New York on the radio, saying [he’s] gay.” Will takes a stab at Wendy Williams on one of his angry tracks, “I Wish I Made That/Swagga.” He actually says the F. word on his latest album Lost & Found.

Like his previous recordings, Will has a handful of tracks for the club heads including “Party Starter,” “Switch,” and Snoop’s combo “Pump Your Brakes.” Unlike his previous recordings, however, he has a few issues to get off his chest. On”Tell Me Why,” along with Mary J. Blige, he touches on September 11 and the war on Iraq. “Mr. Nice Guy” hits Em up and Ms. Williams too. The title track “Lost & Found” takes it out on the rappers, ” Why should I try to sound like ya’ll sound? / that’s what’s wrong with the rap game right now / Man, it’s like a circus wit a bunch of clowns.”

While Will claims to be original, doesn’t he sound like DMX when he starts off “Party Starter” with, “get on the floor?” Doesn’t his flow resemblance Rakim on the first verse and Lloyd Banks on the second verse of “Wave Em Off?” Could “Could U Love Me” be 50’s “21 Questions?” Let’s not mention his true story “Loretta” reminds us of Eminem’s “Stan.”

If Dam Vinh Hung’s second live show, Gio H, is not as exciting as his first, Trai Tim Hat, that is because he is not new anymore and we know how his strategy works. Despite his poor judgment on the outfits and his rhythmless dance steps, his vocal wizardry is still the whole show. His strong voice allows him to performance twenty songs live, no lip-sync required.

Hung covers many popular songs from his last three albums including Nguyen Nhat Huy’s “Neu Co Yeu Toi,” Trinh Cong Son’s “Ben Doi Hiu Quanh,” Duy Manh’s “Giay Phut Chia Xa,” and Truong Le Son’s “Chen Dang.” Like the first concert, he invites guest singers to join him. Aside from the returning of My Tam (she looks so sensual in that white Vietnamese long dress) and Hong Ngoc, the special appearance of his mentor Thanh Lam is the best part of the show. Their duet performance on Thanh Tung’s “Giot Nang Ben Them” is breathtaking, and Lam’s vocal manipulation is amazing. Supplemented by Le Minh Son’s intricate finger-picking guitar, both Lam and Hung are remarkable on Thuan Yen’s “Chia Tay Hoang Hon.” Another beautiful collaboration is Tuong Van’s “Tieng Gio Xon Xao.” Backed up by AC&M, Hung gives a fantastic a cappella presentation.

Hung hits the mark on most of his performances except for a few. Despite the contemporary jazz arrangement, the remix version of Tran Quang Nam’s “Muoi Nam Tinh Cu” doesn’t sound fresh at all. Hung doesn’t seem to float with the beat. His duet with Nhu Y on Nguyen Nhat Huy’s “Dem Co Don” is a mismatch. When they sing the chorus, her voice is nowhere to be heard. The show is closed with “Feliz Navidad,” which becomes an incredibly annoying song, and Hung’s imperfect English only makes it worse. No one is perfect, but at least Hung gives a hundred percent of his effort on Gio H. Even though his style is not surprising anymore, the concert is still enjoyable.

I took a few days off work to unwind and chill with the fam. Surprisingly, the album I listened to the most while relaxing was Do Bao’s Canh Cung (Bow Back). Unlike his intricate and colorful production on Nhat Thuc, Canh Cung featured easy-listening melodies and easy-following lyrics that are attractive to young audiances.

The CD opener, “Buc Thu Tinh Thu Hai” (The Second Love Letter), is the catchiest track on the record. Backed by a sensational arrangement, Ho Quynh Huong leads a persuading performance that has been stuck in my head ever since I first heard it. I am still humming to the tune even though I can’t remember the words. True to its title, “Dieu Ngot Ngao Nhat” (The Sweetest Thing), is the sweetest performance on the album by the sweetheart Tran Thu Ha. Beside her voice, Huy Dat’s flute and Tran Hoa’s whistle added a marvelous sound to Do Bao’s jazz arrangement.

Canh Cung also featured two male vocalists: Tuan Minh and Le Hieu. Unfortunately their voices are lost because female singers dominate the album. Two of the most powerful performances are from Ngoc Anh and Khanh Linh. While Ngoc Anh’s voice is deep and foggy on “Anh Da Khac Xua” (You Are Not Who You Used to Be), Khanh Linh’s vocal is clear and pitch-perfect on “Dieu Hoang Duong Nhat” (The Most Absurd Thing). Each brings a unique style to Do Bao’s compositions.

As a young musician, Do Bao offers some fresh vibes to the Vietnamese music. His freshman effort, Canh Cung, demonstrates his writing and producing skills. He has a style of his own that is both exclusive and pleasing to the ears.

If I were the producer of Asia Entertainment, I would invite Thuy Mi to the annual Mua He Ruc Ro (Radiant Summer) event to showcase our Vietnamese-American multi-talented woman. According to her website and the credits on her album, she is the software engineer, songwriter, singer, guitar player, web designer, and graphic designer. She has everything I ever wanted: a Masters degree, a creative mind, and a handful of original songs. Her other talents, especially web design, are interesting, but they are beyond the scope of this article, and so, I will focus on her music.

As a musician, Thuy Mi is innovative. Her compositional skills, her lyrical spellbinding beauty, and her passion for jazz turn her into a sensation. Her luminescent debut Nhung Vet Chung (rough translation: the Scars of Life) featured ten “tu khuc” (self expression) songs recollecting her personal experience. Her compositions, which are based not on precision but passion, offer the audiences an intimate listening atmosphere. For instance, she pours her heart out on the title track “Nhung Vet Chung.” Accompanied by Thong M. Do’s soft and clear acoustic guitar, her rich, perfectly placed voice enters: “Co mot chang doi buon vo nguyen co / thuong canh la roi, xot nhanh hoa tan / chi mot minh lang le, khoc mot manh doi / ta voi ta thoi” (loose translation: A period of life that is sad without a reason / regret for the fallen leaf, pity for the withered flower / quietly alone, crying for a part of life / by myself and I). She writes lyrics that mirror her life. Through her melancholy voice, she connects with music and reaches the listeners.

Thuy Mi’s fine taste in jazz aesthetics makes her an interesting new songwriter. On “Mot Lan” (One Time), she leads an effortlessly smooth performance that is enhanced by the cascading jazz chord and mellow vibe arranged by Le Tu Phong. Besides the composer herself, the record is molded together with the help of four top-notch vocalists -Tuan Ngoc, Nguyen Khang, Thanh Ha, and Diem Lien – at their best.

Each of the vocalists brings a unique flavor to the record. Tuan Ngoc’s meticulous phrasing and his expressive delivery give spirit to “Em Van Do” (You Still There) and soul to “Em Ve Chi De Xa Toi” (You Come Back To Leave Me). As Nguyen Khang goes sentimental on “Chieu Dong” (Winter Evening), Vu Tru’s violin infuses despondency into the track. Khang’s gravelly voice married to a blues melody creates “Chung Nhu” (Supposedly) to be a masterpiece. While Thanh Ha’s intoxicating timbres match the jazzy chords on “Niu Lay Doi Nhau” (Grab Onto Each Other’s Life), Diem Lien’s thin and delicate voice blends naturally into the glimmering grooves on “Chan” (Bored). Unlike what the title suggested, “Chan” is anything but boring.

Aside from the vocalists and the composer, the album would not be complete without the brilliant production, mostly handled by Le Tu Phong, and two tracks from Ho Dang Long. Their mesmerizing jazzy sounds are the delicious butter that melts inside the hot breads of the vocals. And just like bread and butter, together they have produced an impressive debut that can be complemented by a bottle of fine wine. Nhung Vet Chung raises a glass and toasts to the possible, an aesthetic work that is elegant, intricate, and expansive. Thuy Mi, please keep on feeding us delightful dishes of soul. I am already hungry for more even though I just ate.

Don Ho not only has a singer’s ear but also a designer’s eye. From CD covers to booklets to posters, he is one of a few Vietnamese musicians who create all of the graphics design work. Now that he has finished studying computer animation, I won’t be too surprise to see his self-produced music video and website. Since Don is involved in every step of making his album, it only makes sense for him to launch his own recording company. After a long hiatus, even missing in action from Paris By Night stage, he is back with Don Ho production’s debut Con Nghe Tieng Goi (Still Hear Your Calling) to give his patiently awaiting fans a few surprises.

Don Ho’s distinctive vocals have always been his forte, but his personality, which gives soul to his performance, is his secret weapon. To say that he has “soul” would be an understatement; he is soul personified. Don’s charm and enthusiasm shine through on Dieu Huong’s “Van Con Yeu” (Still In Love), a cinema scope tune full of emotional detail. His slightly raspy voice adds an enlivening hint of smokiness to Huong’s ballad while the saxophone adds an intoxicating riff to Dong Son’s arrangement. The title track “Con Nghe Tieng Goi” (Still Hear Your Calling), which comes from Dieu Huong’s pen, is an astonishing and refreshing pop meets jazz permutation, and Don’s vocals blend into the chord as effortlessly as breathing. Don should sings more jazz-inflected grooves. His smoky but silky voice is perfect for capturing the sexiness of jazz aesthetics.

“Dem” (Night), music composed by Dong Son and lyrics written by Dong Son and Minh Chau, demonstrates Don’s performance over the years, which has become increasingly thoughtful and textured. He interposes tremendous soul and warmth into the work that one can hear in the details, and his bends and slides are honestly delivered. Besides the mellow tracks, Don stays loyal to his young fans by providing some bouncy tunes including Sy Dan’s “Con Tim Mu Loa” (A Blinded Heart), and by his skillful interpretation of covering catchy translated songs such as Nhat Ngan’s “Mong Mo Xa Roi” (Faded Dream).

The most surprising song on the record is the sweet duo performance between Don Ho and the little girl Lan Anh on Louis Armstrong’s “What a Wonderful World.” Lan Anh’s young and adorable voice gives Don a rejuvenating sound, and together they complement each other having a wondrous time, weaving in and out of the sax harmony. What a wonderful world!

Con Nghe Tieng Goi marks a strong new beginning for Don Ho as he embarks on his solo career path. Now that he has his own production company, the creative freedom is interminable. While his fans should not miss this stellar effort, I am looking forward to what he will have lined up next.

Beside Ru Doi Di Nhe, Tu Su, Ru Mai Ngan Nam, and the most recent Nang Len, the 2001 released May Trang Bay Ve is another groundbreaking work from the Vietnamese diva Thanh Lam who is a formidable musician with a strong and profound voice. Although she has never been a gentle singer (at least in my mind), this record featured a handful of soothing tracks that requires Lam to melt stylistically. Nonetheless, those who love her powerful voice can reassured that they are not left out.

When Duong Thu contemporary folk melodies meet Quoc Trung’s new world grooves, and bridge the two together by Thanh Lam’s passionate vocals, the result is a barrier-tearing sound that can be found on the title track “May Trang Bay Ve,” as well as “Loi Toi Ru,” “Danh Thuc Tam Xuan,” and “Bay Vao Ngay Xanh.” Aside from Duong Thu’s compositions, Pho Duoc Phuong’s “Ho Tren Nui” is another rejuvenating folk and rock mashup. On these five songs, she has exerted an enchantment over her listeners by virtue of the expressive emotional range, volume, and intensity of her singing.

On this album, she covers eight of Duong Thu’s compositions. The lead-off track “Cam Tay Mua He” is a rare tune sported by Trung’s gorgeous mid-tempo arrangement in which she relaxes into the mellow rhythm, allowing it to calm her. The voice sampling (reminds me of Enigma) adds a sense of mysterious into the piece. Even though “Do Tinh” has a faster drumbeat, her vocals still stay cool and drive the arrangements. Beside her serene delivery, The Dan’s two-string fiddle (dan nhi) performance adds an exquisite aroma of traditional folk to the fresh vibe.

Accompanied by Tran Manh Tuan’s sensual soprano saxophone and backed up the choir of Nhac Vien Ha Noi, Lam’s authoritative, prosperous, and perfect placed timbre comes to live on “Hy Vong” (Hope), the inspiring lyric written by Duong Thu and mesmerizing music composed by Niels Lan Doky. The track is almost perfect except for the flaw in the production where the volume level drops noticeably right after the bridge. Also joining by Nhac Vien Ha Noi choir, “Goi Anh” is a delightful duet with the distinguished musician Trung Kien who voice is a phenomenon; together they provide listeners an opera experience.

Bao Tran’s “Hoa Co Mua Xua” is the cutest track on the album because of the kids from PTTN Viet Nam. They have done a spectacular job backing up Lam and she blends in with them smoothly. She sounds young next to them, and together they come off full of live on top of Trung’s fresh keyboard chord. Not only Trung deserves his praises for the wonderful sounds he produced on the album, his own composition “Tre Xanh Ru” is no less irresistible.

May Trang Bay Ve showcases a peerless vocal from Thanh Lam matches by Dung Thu’s writing skills and Quoc Trung’s arranging techniques at their best. Once again, Lam delivers another solid album and pushes the limit to elevate her stature. While many pop singers come and gone, Lam remains on top because of her timeless work.