I spent my beautiful morning commute with the Jazz Legend Sonny Rollins. The clarity and dexterity from his tenor backed up by the crisp drumming from Shelly Manne and the bass thumbing from Ray Brown brightened my day on the opening “I’m an Old Cowhand.” The following track, his emotional reinterpretation of “Solitude” almost made me weep. The vibe continued throughout the box-set collection.

Macklemore’s latest release kicks off with three happy-go-lucky tracks. “Chant” has an infectious Latin groove. “No Bad Days” features Collett’s sun-shine hook. Even the word “bullshit” sounds so damn cute. Then Macklemore parties like it is “1984.” The album, however, busts a sharp turn on “Maniac,” in which Macklemore talks about his drug addiction. The album turns darker on issues such as social media, depression, and death, and yet, the beats never turn grime. Macklemore is a lyricist on his own right.

Bassist Christian McBride is still at his Prime. McBride charges right off the opening “Head Bedlam” with his New Jawn—trumpeter Josh Evans, saxophonist & bass clarinetist Marcus Strickland, and drummer Nasheet Waits. “Obsequious” harks back to the hard-pop era with Evans and Strickland improvising like Clifford Brown and Sonny Rollins. My personal favorite has to be “The Lurkers.” It’s a dark beauty with McBride bows broodingly on his bass. The whole album is a masterpiece with four exceptional players joined together.

My wife discovered Nguyễn Thùy Linh’s The Beatles In Jazz and passed it on to me. If I didn’t read her name, I wouldn’t have known that she’s Vietnamese. Her English is flawless and her voice is sultry. Her interpretation of The Beatles is pop-jazz at best. “All My Love” gets a straight-swing rhythm. “And I Love Her” gets a Latin flavor. “Imagine” gets a reggae groove. With “Yesterday” she pronounces through for though: “Now it looks as though they’re here to stay.” It is still an enjoyable album nevertheless.

Cecile McLorin Salvant is a rare jazz singer who has the the vocals and the chops. What makes Salvant a fascinating artist, however, has been her brilliant song choices—particularly her attention to the lyrics. With Mélusine, I just have to enjoy the music and the singing since the entire album is in French, with the exception for half of the title track in English. Since French is Salvant’s first language, her phrasings and annunciations are just sensational. I liked the up-tempo songs like “Il m’a vue nue” and “Doudou” as well as the mysterious slow-burning tracks like “Est-ce ainsi que les hommes vivent?” and “Petite musique terrienne.” Yet I loved the weirder sounds like “Wedo” and “D’un feu secret.” I enjoyed this album immensely.

French Trumpeter Erik Truffaz obviously spends lot of time studying Miles Davis. In his latest release, Rollin’, Truffaz channels Davis’s fusion as well as film scores. With mysterious synthesizer and distorted electric guitar backing him up, Truffaz plays like Miles on Bitches Brew, particularly on “Route de nuit” and “Thème de Fantômas.” “Quel temps fait-il à Paris” harks back to Davis’s Ascenseur pour l’échafaud. Sandrine Bonnaire’s reading in French sounds so damn sexy. I enjoyed this short album.

I have been so out of touch with hip-hop. I don’t know any new or young rappers. Since I have a subscription to Amazon Music, I wanted to hear new hip-hop albums. NF’s Hope was on top of the list. I had no idea who NF was so I gave him a try. On the opening title track, he sounded white and a bit angry at the industry. He sang a bit and he had the flow. His lyrics were decent and I noticed that he didn’t use any curse words. In the second track, “Motto,” I heard him mentioning God. Then he talked more about God in the song he wrote about his deceased “Mama.” I realized I was listening to a Christian rap album. I got turned off.

I recently discovered Yaeji’s With a Hammer through Amazon Music. Yaeji has saccharine vocals. Her phrasings are both exotic and eccentric trading lines between English and Korean. The productions are the elements that pulled me in. I am hooked on the electronic dance, jungle beats. With a Hammer is an impressive debut with consistent tracks throughout the album. I enjoyed it immensely.

Để đánh dấu 60 năm ca hát của nam ca sĩ Elvis Phương qua album này thì thật là đáng tiếc. 13 ca khúc và hai bonus tracks không thể nào đủ để đại diện cho khoảng đường dài trong nghệ thuật của anh. Qua 60 năm, chất giọng của anh vẫn khỏe mạnh. Cách hát và cách phát âm của anh vẫn không thay đổi nên nghe cũng có gì lạ tai. Những bài hòa âm không đạt lắm. Một cơ hội bị lỡ.

Giọng Hồng Nhung Đỗ tốt và những bài phối khí cũng chất lượng. Một album nhạc Trịnh hoàn hảo. Thế nhưng lại nghe không thấm thía. Chắc có lẽ tôi đã nghe quá nhiều album Trịnh Công Sơn và mỗi lần nghe một sản phẩm mới tôi khao khát được nghe những gì khác lạ hơn. Chứ cứ hát đi hát lại nhạc Trịnh như xưa nay thì cũng không có sự thay đổi gì. Album này hay nhưng thiếu đặc điểm riêng.