Do Tu Dong, a teacher who cajoles his way into a student’s pants by offering a higher grade, is caught on audio (Vietnamese only). What a damn shame!

Thuy Van, the hotcake we all drooled over on Nguyen Hung’s Da Vu Quoc Te, is dropping her debut album, No Le Mot Cuoc Tinh. Not sure if she can sing better than shake her ass, but she can be my slave anytime. You can watch her interview (part 1, part 2, and part 3) at VNCR.

The OutKasteers, Big Boi and Andre 3000, are still kicking together on their newest release, Idlewild, one of the most anticipated hip-hop joints of the year. Hip-hop has been on the idleside lately; therefore, we need the “two dope boys in a Cadillac” to bring back her spirit. Musically, OutKast has never stood still. The Southern duo has given hip-hop a fresh vibe by funking her up with their previous releases, and they have done it again on Idlewild with jazz and blues flavors.

With The Love Below, Dre had revealed that he is ready to move beyond rap, even though he could still flow rhymes better than croon ballads. That still holds true on Idlewild, particularly his off-key singing on the guitar-strumming blues over hard beat of “Idlewild Blue (Don’t Chu Worry ‘Bout Me),” and the slick jive of “PJ & Rooster.” His singing is passable, but I would rather hear him rhymes with Big Boi. He surprises me, however, with his chops on “When I Look In Your Eyes.” He’s not Louis Armstrong or a true jazz singer, but he could maneuver his limited vocal range around the swing orchestration.

Even though Dre is the creative juice behind the album, Big still does what he does best. He spits some of the wicked verses throughout the album, noticeably on “Peaches,” in which his lyrical storytelling is as sharp as always. Although Big is not ready to joint Dre’s singing, he has his own jazz swag. In “Call The Law,” he drives the hard-swing beat (seasoned with tasty keyboard licks) with his smooth style and speedy delivery while Janelle Monáe holds down the vocal lines with her strong, clear tone. I wish Big had dropped another verse though.

Unfortunately, Idlewild as a whole is not coherent. The album has way too many interludes between the tracks, too much singing hooks, but not enough strong productions to support the def verses. The saddest part, however, is that Big and Dre don’t sound as a unit anymore.

Want some contemporary jazz? Check out Hidden Land from Béla Fleck & the Flecktones. The music is way out there. Lead by a virtuosic banjoist, the group brings an unusual easthetic to the world of jazz with the fuse of bluegrass, rock, and world music. Hidden Land may not speak to jazz purist, but it is a damn fine work from the playful interactions to colorful intonations to skillful improvisations.

Sonny Rollins’ The Complete Prestige Recordings is the 7-CD set showcasing Rollins’ street, hard-bop style. He has a big, bold, and beautiful tone on the tenor saxophone, and his thematic improvisation is both imaginative and elaborative.

I am still working my way into Bill Evans’ 12-disc The Complete Riverside Recordings. I have a thing for jazz piano, and Evans is one of my favorites. So far, the trio is amazing. Evans has an exceptional sense of jazz harmony as well as a sensational lyrical individuality.

It’s not hard to tell why Quang Dung gets mad love from his clear-heeled fans. He’s a romantic cat. His previous album, Em, is filled with sweet, lovely duets. His newest release, Yeu, finds Vietnamese-pop prince charmer than ever, especially with Dieu Huong’s ballads. From “Mot Doi Van Nho,” “Chi Co Mot Thoi,” “Doi Khong Con Nhau,” “Van Con Yeu” to “O Lai Ta Di,” Quang Dung has captured the musical articulation as well as the lyrical expression. Although he had done a flawless job of recovering “Vi Do La Em,” his vocal maneuverability isn’t as skillful as Tuan Ngoc’s. In Quang Dung’s version, the soul is there, but the technique is not. As for Trinh Cong Son’s portion, I am disappointed that Quang Dung recovers “Uot Mi,” “Tuoi Da Buon,” and “Tinh Nho.” Even though he sings these tunes with tremendous passion, they have been battered to death, and there is no way he could have saved them. Instead, he just added himself to the list of Trinh’s molester. Although his deliveries on “Chi Co Em Trong Doi,” “Cho Doi Chut On,” and “Con Ai Voi Ai” are passable, I prefer Yeu to be strictly a Dieu Huong’s songbook. It would make a fantastic album for lovers.

A simple but savory and healthy Canh Cu Sen. The natural sweet from the lotus root gives the broth an exotic flavor. I like the pig’s tail too, especially the crunchy tendon. Since mom cooked the soup, I don’t have to worry about the way the pig’s tail being prepared. As you can see from the photo, she had stripped off most of the pig’s skin.

Instruction on how to pack up your suitcase from Kobe Tai who you may have seen on “Executions On Butt Row” (whatever that is). Honestly, I have never seen Kobe in action.

Still feelin’ the old-school, street love from Method Man and Mary J. Blige on “I’ll Be There For You (remix).” Dig the lyrics, too:

Shorty, I’m there for you anytime you need me
For real girl, it’s me in your world, believe me
Nuttin’ make a man feel better than a woman
Queen with a crown that be down for whatever
There are few things that’s forever, my lady
We can make war or make babies
Back when I was nothin’
You made a brother feel like he was somethin’
That’s why I’m with you to this day boo no frontin’
Even when the skies were gray
You would rub me on my back and say “Baby it’ll be okay”
Now that’s real to a brother like me baby
Never ever give my pussy away and keep it tight aight
And I’ma walk these dogs so we can live
In a fat-ass crib with thousands of kids
Word life, you don’t need a ring to be my wife
Just be there for me and I’ma make sure we
Be livin’ in the fuckin’ lap of luxury
I’m realizin’ that you didn’t have to fuck with me
But you did, now I’m going all out kid
And I got mad love to give, you my Nigga.

I got a love jonz for your body and your skin tone
Five minutes alone I’m already on the bone
Plus I love the fact you got a mind of your own
No need to shop around you got the good shit at home
Even if I’m locked up North you in the world
Wrapped in three-fourths of cloth never showin’ your stuff off, boo
It’ll be true me for you that how it is
I be your Noah, you be my Wiz
I’m your Mister, you my Mrs. with hugs and kisses
Valentine cards and birthday wishes? Please
Be on another level of planning, of understanding
The bond between man and woman, and child
The highest elevation, cuz we above
All that romance crap, just show your love.

As I am reading a review on Asia 51: Tinh Khuc Sau Cuoc Chien written by Viet Hai, I am wondering if Asia productions had paid him to pen it or he is just up in their ass. In the intro, he stated that Asia have stepped up their game after their last big-bang show on Tran Thien Thanh. Give me a break. Asia folks are not only stepping in the same place, but they are also taking a leap backward with the latest release. The theme, Tinh Khuc Sau Cuoc Chien, they came up was just to give them a reason to squeeze more cash out of old tunes.

The music arrangements in this video don’t sound any better than what they had done before, and the pairing up of singers makes absolutely no sense at all. Don Ho with chinky Barbie? She’s not even cute, and her sissy, ditsy voice is still annoying. Le Thu and Da Nhat Yen is like a before and after diet commercial. Le Thu is what you look like before, and Da Nhat Yen is what you will look like after. Before, you’re fat but you can sing. After, you’re loosing weight as well as voice. The good part is that DNY still got the groove. What the hell is up with Lam Thuy Van, posing like she’s ready to be boned? Who wants to bone that gladiator anyway? The mash-up between her and Ngoc Lan is horrendous. Asia musical producers have been using that technique a bit too much. Then they have seven sexless guys trying to be sexy (suit jacket without under shirt) on “Anh Van Biet.” Get the fuck out the here. And don’t you want to pull that dog-haired wig off Kim Anh’s head? I thought Doanh Doanh was bad, she is even worse: old, plastic-molded Barbie.

Speaking of old women, why don’t they act their age? Hearing the way Thanh Lan talks and laughs just ruined the strong-minded image I had for her on the previous opening video. Mama, you ain’t 16 no more. The same goes with Thao My. Not sure what she’s showing because she got none. Please cover them up, forty-year-old breasts are for your man, not the public. I have enough of Mai Le Huyen trying to get her move on. Does she need a dickslap in order for her to stand still or something? Is Asia blind or they are being dumb? I love the way Y Phuong starts off “Tra No Tinh Xa” with a bluesy feel until MLH comes in and fucks it all up with her screaming. By the time the arrangement is all rocked up, Y Phuong’s strong vocals can’t even save the track. Nothing but excessive noise filled up the stage.

The solo pieces are disappointing as well. Nguyen Khang’s rendition of “Rong Reu” is nothing invigorating. In fact, it has some of Tuan Ngoc’s resemblances. Particularly when he glides into the offbeat technique, something even Tuan Ngoc couldn’t pull off. (If you listen to Tuan Ngoc’s version of “Rong Reu,” “Ban Tinh Cuoi,” and “Bien Nho,” you’ll see how he attempts to sing the off-key style. Not sure if it is because of our Vietnamese language, but it doesn’t sound right. The only person who could sing off key and sound natural is Billie Holiday. Her timing had always been perfect.) Back to solo performers, is Bang Tam faking or what? She’s weeping out with water running down her noise, and she didn’t even wipe it. If you want to make the audience feels emotional, you have to convey it through your voice not necessarily your face—unless you’re an actor not singer. In “Cai Co,” I hear nothing in her voice because she sings the entire song with one tone, and yet she’s all cried out. The facial expression doesn’t go with the musical expression at all. Even if she has cried for real, she still looks phony to me.

The theme for Asia 51 is to embrace “golden music.” I have no problem with music of Ngo Thuy Mien, Tran Quang Nam, Nguyen Trung Cang, and Duc Huy being called “nhac vang” after the war. But when they profiled Trish’s music in this category, and called Cardin’s shit as music of our future, we have a big fucking problem. (And let me not get into that little midget with the “Viet Pride” tagged on his jacket. How lame is that?)

Damn, another sleepless night. The coffee was kicking in, but not strong enough to cause insomnia. My mind was onto something else (something real special), and my brain was rushing like adrenaline on fire; therefore, I needed some soothing music to calm down my nerves. I pulled out three of my favorite past-bedtime soundtracks—Don Ho and Ngoc Lan’s Con Duong Tinh Ta Di, Tinh Phu, and Xin Con Goi Ten Nhau, all released between 1992 and 1993 under Giang Ngoc, one of the first productions in the early Vietnamese-American days. Unfortunately, they had shut down their shop.

Giang Ngoc had a strange marketing strategy. Even though they grouped the two together, Don Ho always had more songs (6 to 4) than Ngoc Lan. My guess is that Ngoc Lan had already established her name at the time, and Don Ho was just getting his feet wet; therefore, people who liked Ngoc Lan would pick up these albums, and give Don Ho a spin. Giang Ngoc productions were right, Don Ho was new at singing Vietnamese “golden” ballads, but that what made these albums shined. He was inexperienced, but he had tremendous soul. His flows were as natural as breathing, and he poured his heart out on every single song. I was impressed at how he was able to transform himself from English and translated tunes into Vietnamese romantic ballads with such refinement and effortlessness. He nailed “Ngu Di Em,” “Chieu Nay Khong Co Em,” “Loi Tinh Buon,” “Em Den Tham Anh Dem 30,” “Goi Ten Bon Mua,” “Xin Hay Quen Toi,” ” Kiep Dam Me,” “Khuc Thuy Du,” “Chiec La Cuoi Cung,” “Dem Vu Truong,” “Dau Tinh Sau,” “Vet Thuong Cuoi Cung,” “Vet Thu Tren Lung Ngua Hoang,” and “Xin Con Goi Ten Nhau” dead on the spot with his relaxed, feathery, whispery, and deeply personalized style.

On the other hand, angelic-voiced Ngoc Lan drowned her souls and sorrows into “Tha Nhu Giot Mua,” “Giet Nguoi Trong Mong,” “Le Da,” “Mua Thu Cho Em,” and “Tinh Phu.” Not only she could express sentimental ballads, but Ngoc Lan could also maneuver her flow around up-tempo beats. The smoothness, richness, and silkiness quality in her vocals made her rendition of “Trung Vuong Khung Cua Mua Thu” unsurpassable. Yet, what amazed me the most was her cover of “Vi Toi La Linh Muc.” I was dead wrong when I thought only male singers could sing this tune. She had not only proved that my assumption was incorrect, but she also demonstrated how she could take it to another level from a female point of view. She pulled it off with her ethereal, exotic aesthetics.

What are lacking on these albums are the duets. I wish they had done more than just two tracks together because I love how his low, smoky tone complements her high and clear pitch and vice versa. “Biet Dau Nguoi Cuoi” showed the playful interaction between the voices as well as their rhythmic sensibility. In contrast, they took the time to express the lyrics in the slow-tempo “Con Duong Tinh Ta Di,” like two matured lovers reflecting on the good old days. Mad props to Thanh Lam too for the gorgeous saxophone accompaniment. Personally, these three albums had opened up the gate to the Vietnamese music scene for me, and I must credit both Don Ho and Ngoc Lan for allowed me to appreciate our original music.

New Yorker music critic Sasha Frere-Jones introduces Boredoms, a noise/punk-rock group straight from Japan. Their music is anything but boring.

Julia Thuy gives Tu Cong Phung’s “Nhu Chiec Que Diem” a shade of blues. Nice work, girl!

Damn! Ngoc Khue plagiarized Nguyen Thi Minh Thuong’s “Cha Va Mua Thu” almost word for word, and yet she is unapologetic about it. Very disappointing!

Ngoc Lan sang Trinh Cong Son. Love her rendition of “Biet Dau Nguon Coi.” She rode the up-tempo beat quite well.