In two weeks my boy will turn one. It still feels like yesterday that we welcomed him into this world. Not a single day went by that I don’t look forward to spend time with him. I still can’t get over the fact that the tiny guy in a big car seat (the day we took him home from the hospital) is now can hardly fit in it anymore. I put him back into that old car seat the other day and he made the car seat looks tiny. His feet were sticking out and I could hardly buckled him up. If a year feels like yesterday, 18 years will be a breeze as well. Before I know it, he will be his own man.

In preparing for Duke’s first birthday, we’re trying to gather things for him to pick. I am not sure if it is the Vietnamese tradition, but on the child’s first birthday he gets to choose a bunch of things like stethoscope, mic, comb, scissors and so on. If he picks the stethoscope, he would end up being a doctor. Dana, in particular, would really want Duke to be a doctor. What parents wouldn’t? For me, whatever makes him happy. I will be supportive of him for whatever he choose to do in life.

Dana and I had been debating about this topic on many occasions. Her argument is not to force him to be a doctor, but to encourage him. If he could be a doctor, that’s great. If not, it’s fine. I understand her view completely, but I don’t want to set an expectation for him. I don’t want him to feel disappointed if he can’t make my expectation. I want him to do what he wants to do for himself and not for me. As long as he has the passion and works hard toward his goal, I will be behind him one hundred percent.

Anyway, we’ll see how he will turn out. I can’t predict anything from the future, but I am filled with joy to have him. Here are some of his latest snapshots.

Although Dr. Tran Viet Tan doesn’t make a living off his music, he sure knows how to put together a high-quality album. He either has the strong connection or plenty of dough to scoop up four brand-name vocalists (Hong Nhung, Thanh Lam, Ha Tran and Tung Duong) as well as big-name producers including Hoai Sa on his new release Cham Vao Dem. Furthermore, the album cover was well designed: stunningly simple and typographically clever.

Even with all that jazz, it can’t hide the fact that the doc is not a melodic composer. Hong Nhung had done her best to bring some life to “Vo Oc Thoi Gian,” “Bai Ky Niem” and “Song Ve,” but still can’t save them from being dead boring. The melodies are just flat. Thanh Lam tries to give the title track some rough edges with her irritating flow and annoying vibrato. She ends up making the tune unbearable. Even Tung Duong fails to make the doc’s song exciting. On “Dem Sapa,” he sounds as if he tries to kill an ant with a sledgehammer. The beat is light and bouncy, but his voice is so heavy and dull.

Listening to Cham Vao Dem is like going to an upscale restaurant. The decoration looks expensive and the presentation appears to be enticing, but the food simply has no taste. The up-tempo of “Hay Coi Nhau Nhu Tinh Nhan” performed by the doc himself is like the extra red bean soup you get at a Chinese restaurant at the end of the meal.

About two months ago, Hung Hoang, founder of VN Collective, invited me to a Vietnamese concert titled Dem Nho Ve Sai Gon (Memories of Sai Gon) in Mississauga. He also wanted to use two of my slideshows, “Bien Nho” and “Vietnam In Memoriam,” for the event. Although none of my work was shown for technical (and some political) issues, I still drove across the border to attend the show. The reason being that I haven’t seen neither Tuan Ngoc nor Khanh Ha live.

Tuan Ngoc didn’t disappoint. He had proven that age ain’t nothing but a number and he often joked about it during the show. By the way, his dry humors were clever and brought out the not-so-serious side of him. His outstanding performances of the night included the nostalgic rendition of Tram Tu Thien’s “Dem Nho Ve Sai Gon,” soulful take on Trinh Cong Son’s “Phoi Pha” and Ngo Thuy Mien’s “Ao Lua Ha Dong.” Loved the bossa-nova arrangement on “Ao Lua Ha Dong” and the way the piano comping behind Tuan Ngoc. His weaker performances were Trinh Cong Son’s “Ha Trang” (the mid-tempo arrangement ruined the lyrical imaginations) and “Smoke Gets In Your Eyes.” Tuan Ngoc can sing English, but not so great. His flow was stilted and his accent was transparent.

During intermission, I had an opportunity to catch up and thank Hung Hoang for the invitation. Knowing that Mr. Hoang is the organizer, a not-so-bad-looking lady in her mid thirties interrupted our conversation to request a song from Tuan Ngoc. She wanted to hear him sing “Rieng Mot Goc Troi.” I wanted to slap her for one of my visitors, but I looked at Mr. Hung and laughed instead. Tuan Ngoc did delivered “Rieng Mot Goc Troi” near the end of the concert and still managed to show off his technical skill for the 999 times he had sung the tune.

Unlike Tuan Ngoc, Khanh Ha was quite a disappointment. She literally fucked up the theme of the show simply because she came way too late to practice with the band. She started out with Van Phung’s “Toi Di Giua Hoang Hon” out of tune. She sang in one key while the band played in another. The saxophone kicked in at the bridge caused her to dropped out instead of finishing up the song. Her version of “Autumn Leaves” was a mess. The band, which consisted of Canadian players, and her didn’t communicate. It was so horrible that she had to request a kid who could play some classical piano to accompanied her instead of the jazz band. She managed to pulled off Anh Bang’s “Khuc Thuy Du,” Truong Sa’s “Xin Con Goi Ten Nhau” and “Unchain Melody” with just a piano behind her. She went as far as singing Hoang Duong’s “Huong Ve Ha Noi” in an acappella style, although the theme was clearly about remembering Sai Gon. I guess she wanted to take a detour.

If this was a Tuan Ngoc & Khanh Ha show, it was decent. They both delivered their signature songs well. However, for a show with a concept of Dem Nho Sai Gon, it was all over the place. The song selection didn’t take the listeners back to Sai Gon. Choices like Thanh Tung’s “Giot Nang Ben Them,” Pham Dinh Chuong’s “Nua Hon Thuong Dau,” Duc Huy’s “Bai Di Canh Chim Bien,” Pham Duy’s “Kiep Nao Con Co Nhau” didn’t evoke the images of Sai Gon.

Musically, the band’s playing was way too restricted. Unlike Say Thu with Thu Phuong, in which the band swung, played the blues and added some Latin flavors, they played mostly pop ballad and only accommodated the vocalists. They hardly brought out their solos and improvisations. They didn’t played with confidence.

Dem Nho Sai Gon was disorganized and it was out of the organizer’s control. I could see how tough it was to put together a show; therefore, I have already abandoned my idea of my ideal concert.

As I was going through my boxes of old CDs, which had been sitting in the basement ever since we moved into the new place, I came across Tuan Ngoc and Thai Hien’s Doi Mat Nguoi Son Tay. I brushed off the dusk, popped the CD into my stereo and the music sounded fresher than ever. With Duy Cuong’s lust, sensual orchestration backing up two of the best balladeers, what’s more can one ask for?

Thai Hien kicks off the album with the title track. I could visualize the sparkling, gorgeous eyes in Pham Dinh Chuong’s “Doi Mat Nguoi Son Tay” (poem by Quang Dung) through Thai Hien’s angelic alto. Tuan Ngoc follows up with a trip to memory lane in Cung Tien’s “Huong Xua.” The gentleness in his tenor along with Duy Cuong’s classical arrangement gives the tune a filmic nostalgia. Thai Hien returns with Pham Duy’s “Nuoc Mat Mua Thu.” Unlike Le Thu, Thu Phuong and Ngoc Ha who use their vocal power, Thai Hien uses her quiet tears to lyricize the sentiment of the song and the result is quite striking without belting.

The album only has two duet tracks and they both from Le Uyen Phuong. Only the first one, “Tren Da Tinh Yeu,” is truly a duet. The second one is just a medley with each takes on a tune similar to Asia’s approach on its video releases. Other than that, the album can be experienced from start to finish and on repeat. Doi Mat Nguoi Son Tay is definitely an oldie but goodie.

A couple weeks ago, a Visualgui.com visitor sent me Camille Huyen’s Cung Tien Art Songs for review and the album has become a personal favorite for Duke (my son) and me. Besides Lullaby: A Collection, Art Songs could put both of us to sleep, rain or shine. Dana drove us to Duke’s Gymboree class earlier today and both of us in the backseat knocked out listening to the album by the time we arrived.

As sleepy as it sounds, Art Songs is a genuine work. The tracks on the albums are so intimate that they required undivided attention, preferably in a quiet area with the lights dimmed. With minimal arrangements, the music is all close ups. Camille Huyen was born in Hue and although she is currently living in Switzerland, her exquisite central accent has yet escaped her. With a trio (led and orchestrated by her classical guitar teacher Walther Giger) backing her up, Camille Huyen transfers Cung Tien’s compositions to a whole classical level.

On “Doi Bo” she floats her haunting, deep-sorrow alto into Quang Dung’s lyrics while the picking guitar reflects her forlorn. Another mesmerizing track is also based on Quang Dung’s poem “Ke O.” Love the way the guitar responds to the voice as if it feels her sadness. In fact, most of the songs are accompanied by an acoustic guitar with a few exceptions like “Vet Chim Bay” and “Khoi Ho Bay,” which included hypnotic double bass from Fumio Shirato and doleful violin from Noriko Kawamura. What makes “Khoi Ho Bay” a guilty pleasure is Nguyen Tuong Giang’s erotic lyrics: “Nho em nguc nho moi ai ngam / Mat ngot tran gian huong ngat ngay.” Nguyen Ngoc Bich has translated, “Your [small breast] where my lips come to anchor / To taste in ecstasy the honey of the world.”

The tracks are so consistent that you either listen to the entire selection or not at all and if you listen to it passively like we did, you will end up falling asleep. Although Art Songs released three years ago, it is the freshest Vietnamese album I have heard so far this year due to the endless cover of old songs with nothing new that is dominating the pop scene.

When I got home from work yesterday, the wind was picking up and the sky was about to rain; therefore, I couldn’t take Cu Dao to the playground. I decided to give him a haircut instead. Duke loved the sound of the clipper. He sat still for about fifteen minutes, which as long enough for me to buzz off his thin hair, before he got bored and moved around. He actually looks pretty cute with a bald cut although I didn’t shave all the way this time. Of course, I gave myself a buzz as well. Every time we’re together, the complement I always get is, “he looks just like you, especially his head.” Like father, like son.

Next week we will take a short vacation to visit Dana’s uncle in Toronto and to attend “Dem Nho Saigon” on Saturday, April 3 at the Living Arts Centre Mississauga. The concert will featured Tuan Ngoc, Khanh Ha and Bich Yen with the Canadian Jazz band, the group that helped Thu Phuong put together an unforgettable show three years ago. This will be my first time listening to Tuan Ngoc and Khanh Ha live on stage. As you can tell, I have been a fan of Tuan Ngoc for many years; therefore, I have a very high expectation of him. I hope that he won’t disappoint. Let me know if any of Visualgui.com readers will be at the show.

Chick Corea obviously loves to duet. It brings the best out of him and his partner too. His performance with another jazz legend Herbie Hancock was a masterpiece. His collaboration with the bluegrass banjo virtuoso Bela Fleck was an enchantment. His latest joint effort with the Japanese piano prodigy Hiromi is a phenomenon. What sets Corea/Hiromi apart from Corea/Hancock or Corea/Fleck is how the two sounded seamless together. Even on “Bolivar Blues,” you can’t tell who played Thelonious Monk’s fragmented chops, and not that you want to. They push each other, but each playing is a foil to the other. When Chick takes the lead (“Humpty Dumpty” for instance), Hiromi backs him up. Likewise, he complemented her on “Place to Be.” The mutual respect between the two pianists makes this two-set Duet a pure pleasure listening experience.

When we launched iLoveNgocLan.com seven years ago, WordPress didn’t exist. Instead of putting together an informational web site dedicated to Ngoc Lan, I wanted to create a place where fans could share their love for one of the most beloved Vietnamese pop singers. I used B2 for the interaction and managed everything else in HTML.

iLoveNgocLan.com site started off well and I never intended to use a blog software as a CMS. Fans allowed to create an account and write whatever they want as long as the contents are related to Ngoc Lan. Then B2 became WordPress so I upgraded the system with the help from PHP Princess.

In seven years, WordPress works great for the site. As of this writing, we have 2,589 members, 1,478 posts and over 8,252 comments. In my recent redesign of iLoveNgocLan.com, I imported all the pages into WordPress and cleaned up the codes. My partner who is the administrator of the site no longer needs to FTP in to make edits.

WordPress is so flexible that I could create a customized theme without messing up the system. I simplified the template and use only one page (no separate header or footer) to control the entire site. Simplicity is the reason I love WordPress. I could completely edit the template with just a bit of PHP knowledge.

I didn’t give any instructions on how to use the admin interface, yet all of the members have figured out themselves how to register and post to the homepage. WordPress rocks and mad props go out the the development team behind her.

Với chất giọng sương khói và rất có hồn, Thanh Tâm dể dàng thu hút người nghe ở bất cứ nhạc phẩm nào. Từ giai điệu êm dịu trong “Tháng Tư Về” của Dương Thụ, đến nổi sầu bởi chiến tranh trong “Mùa Hoa Cải ” của Lê Vinh, cho đến cái dí nhỏm trong “Bờm” của Hồ Trọng Tuấn, Thanh Tâm ghép khá nhiều thể loại vào trong album mới nhất: Cánh Đồng Tình Yêu.

Tuy Thanh Tâm trình bài hầu hết các nhạc phẩm khá trọn vẹn, Cánh Đồng Tình Yêu không có một đường lối khẳng định. Vì có quá nhiều khác biệt giữa những bài ca khiến người nghe không được tập trung. Một album thành công sẽ bắt người nghe chú ý từng bài một từ khi mở CD lên cho đến phút cuối. Những bài nhạc phải được liên kết với nhau thì album mới trở thành chặt chẻ, hoàn chỉnh được.

Cánh Đồng Tình Yêu thiếu xót điều đó. Chẳng hạn như cô đang tung tăng đùa vui với thằng “Bờm” có cái quạt mo bổng dưng chuyển qua bom đạn trong “Huyền Thoại Mẹ” của Trịnh Công Sơn. “Em Gái Quê Mình” (Trần Quế Sơn) đang tươi tắng trên đồng quê bổng dưng “Ôm trăng đánh giấc bên đồi Dạ Lan.”

Hòa âm của album cũng chứa đựng khá nhiều màu sắc. Nhất là giai điệu quê hương qua cách quyện khéo léo những nhạc cụ truyền thống. Nhưng mỗi nhạc sĩ (Thanh Phương, Minh Đao, Phan Cường, Trần Minh Tuấn và Huyền Trung) đem đến một hương vị khác nhau và được trộn lại như một nồi lẩu thập cẩm, ăn lần đầu thì ngon nhưng ăn mỗi ngày thì sẽ ngán lắm.