In another hour and half, 2010 will be gone. While waiting for the countdown, let’s take a quick retrospection.

2010 treated me not so bad at all. Our little family was doing great. It was a wonderful experience to see Dao’s progression from walking to talking to learning something new everyday. It was a joy to see him grows and I am looking forward to even more exciting activities from him next year.

In the tough economy Dana and I managed to pull through. Although I am glad that neither of our job was affected, I hope that we will do even better next year.

As for my work as GWSB, the Unified Web Project was one of the best things that happened at the university. I had a chance to know and work with a group of talented web developers from various schools within GW. I am looking forward to more collaborative effort next year.

Looking back at my own work, I am very proud with the sites I have launched, particularly Sketches of Miles, Le Mekong Vietnamese Cuisine, Julie Tran Law, Easy License Renewal and United Green Solutions. I am looking forward to more exciting projects next year.

So 2011, bring it on.

I picked up Coleman Hawkins: Portrait and Lester Young: Portrait today at the closing-out F.Y.E. for $25. Each boxset contains 10 CDs with a 40-page booklet. I can’t wait to listen to them next year.

Pianist Vijay Iyer brings his solo chops to a variety of compositions ranging from Thelonious Monk, Duke Ellington, Michael Jackson as well as his own. Solo kicks off with an elegant rendition of the King of Pop’s “Human Nature.” By taking an opposite direction Monk’s spacious approach, Iyer completely reworks “Epistrophe” with his blazing harmonization. With “Black & Tan Fantasy,” he stays close Ellington’s left-hand stride, but creates some soulful blues melodies with his right hand. “Patterns,” which starts off gentle then progresses into swells of notes, reveals Iyer’s very own compelling style. Solo, as a result, showcases both Iyer’s versatility and personality.

Guitarist Marc Ribot is a minimalist master. In Silent Movies, he makes every note counts. What causes his solo guitar so damn intoxicating is that he picks only the most telling notes and yet manages to squeeze tremendous emotion out of a single string at a time. The opening “Variation 1” and “Empty” are exemplary examples of Ribot’s spare technique. The setting is so closed and intimate that you get the feeling he is playing right in front of you in a dimmed room. From the striking, finger-picking rhythm on “Delancey Waltz” to the gorgeous, distorted glides on “Natalia In E-Bemol Major” to the beautiful ambient vibe on “Postcard From N.Y.,” Silent Movies is a must-listen if you’re in the mood for some pure, atmospheric, melodic and cinematic soundscapes.

“I’m 74 years young, there’s nothing I haven’t done,” blues legend Buddy Guy begins on the opening track of Living Proof before he rips through a frantic, attacking guitar solo that sounds like he’s 21. While “Thank Me Someday” brings back his childhood memory when he drove his family insane with his guitar playing, “Stay Around A Little Longer” displays a soulful duet with B.B. King. Carlos Santana also shows up on “Where The Blues Begins” for some Latin flavor. With a hell of a voice backing by some mean guitar riffs, Mr. Guy is indeed a Living Proof for a bluesman.

Norah Jones sure gets around. Who could resist that soulful, sensual voice of her? Even musicians want a piece of Norah Jones. A compilation of 18 tracks …Featuring Norah Jones showcases her collaborations with a wide range of artists from jazz to country to blues to hip-hop. Whether trading bars with Willie Nelson on “Baby It’s Cold Outside,” supporting Q-Tip on “Life is Better,” “Creepin’ In” with Dolly Parton, mourning next to Ryan Adams on “Dear John,” or “Taking Off [Her] Cool” with André 3000, Norah Jones remains at ease, which allows her smoky timbre to lend its way into the duets. Throughout Featuring, what makes Norah Jones a great partner is that she stands out and blends in at the same time.

The Romantic Kelly finally reveals in Love Letter. On the soulful “When a Woman Loves,” R. Kelly pours his heart out as if he recognizes the power of love and not just sex. R. Kelly has been known for his use of in-your-face sexual metaphors in the past, but on the string-ladden “Music Must Be a Lady,” his choice of comparisons are much more elegant: “Music, hello sweet soprano, Miss Music / I want you to meet Mister Tenor.” R. Kelly pays tribute to Michael Jackson with a heartfelt rendition of “You Are Not Alone,” a phenomenal hit he wrote for MJ in 1995. With sweet, sensual, sentimental ballads, Love Letter takes a break from R. Kelly’s freaky business to bring listeners back to the great old souls like Marvin Gaye, Luther Vandross, Sam Cooke and Frankie Lymon.

Vietnam Idol 2010 winner Uyen Linh and diva My Linh took on R. Kelly’s “I Believe I Can Fly” and literally butchered the song with their wailing vocals. Uyen Linh’s English isn’t so bad, but My Linh’s just kills it. As if the voices aren’t high enough, the soprano saxophone adds another layer of irritation. This is just unbearable.

Before T.I. could release King Uncaged, he was caged again for another eleven months on a parole violation. Although the album has been changed to No Mercy, some of his deep thoughts are about redemption. On “Get Back Up,” he offers his “apologies to [his] fans and [his] closest friends / I’m sorry for letting you down, I won’t take you down this road again.” As much as he tries to sound sincere, the track turns out to be irrelevant for the obvious reason: T.I. has done some dumb shit again.

No Mercy offers some softer sides of T.I., but with half-assed delivery. He is at his best when he talks shit. He rips through “I Can’t Help It” with his virtuosic swag about getting money. “Amazing” is a compelling track that laced with some of the most pornographic rhymes ever: “Turn her to a dick monster, nut muncher / sperm cum dumpster, left amongst her / Bitches in the past, pretty titties, plenty ass / they just drink up what we give them / Take shots without any glass / fuck her in the face till it fall off her till she gas, gas, gas.” Sure, his misogynistic lyricisms sound so wrong on many levels, but his flow is just too damn incredible.

That’s it? Two years in making Li Ti and Tung Duong could only come up with six songs. To make the album sounds complete, he has to add two instrumental tracks.While the quality of the productions are superb, what makes Li Ti a disappointment is the lack of inventiveness.

Whereas his previous album, Nhung O Mau Khoi Lap Phuong, was an imaginative exploration of electric music, Li Ti is more like running on electric circulation. As if NOMKLP was way too far out, Tung Duong dumbs down his music for a wider audience. The lead-off “Troi Cho” is impressive in setting up the ambient vibe with rock, but the rest aren’t up to Tung Duong’s envelop-pushing, evolving style. He sounds restraint on “Con Co.” His delivery doesn’t flow with the orchestration, which would have made a gorgeous score alone. In contrast, Tung Duong’s flow is fantastic on “Giang To” but the production never takes off. The title track, on the other hand, goes nowhere vocally as if the composition was not written for singing.

While Li Ti is much more accessible than his previous releases, it is also the dullest. In addition, Li Ti is a sign that Tung Duong’s electric experimentation has run dried. It’s time to return to the acoustic blues and jazz styles that he was so damn good at.