Below is an informal conversation with Jazzy Da Lam by yours truly. At first, I wanted to do a formal Q&A, but Jazzy is such an easygoing individual that I decided to throw all that out the window, and just have a normal interaction with her. As you can see, I have never done this before, but (thankfully) Jazzy has made it painless and enjoyable for me. Hope you enjoy this special exchange that can only be found at Visualgui.com.

Jazzy: Hi Donny
Donny: Hi Jazzy, I have not prepared anything.
Jazzy: We can wait till you’re ready… then we can chat. [Giggles]
Donny: Let me listen to your album [Moon & You] more carefully first.
Jazzy: Uh oh… Listen carefully for more criticisms, hihihi…
Donny: Hahaha… Are you mocking me?
Jazzy: Mocking, no. Shaking, yes.
Donny: You’re living in Germany?
Jazzy: Yea.. Munich, Germany.
Donny: You know German?
Jazzy: Yes! But not that good.
Jazzy: Would you like me to sing in German for you? [Laugh]
Donny: I would love to hear it, but wouldn’t understand a thing.
Donny: How about English? You sing English pretty good.
Jazzy: Many said that I sing English not too clear, but some like it and very supportive (they probably trying to make me feel good… by encouraging me), but I did my best… There are always two sides of things, praises and criticisms… I understand the ones that praise me are encouraging me, and the ones that criticize would like me to work harder; therefore, I appreciate both positive and negative feedbacks.
Donny: You sound pretty clear to me.
Jazzy: oh… thanks Donny.
Donny: I have listened to quite a few Vietnamese singers sing in English, but their pronunciations are way off. Did someone train you in English or you’ve trained yourself?
Jazzy: Oh I have asked several friends both Viet and American to hear how I sound. Overall the reaction is good. They said I have an accent, but that’s not important because sometimes the accent makes the song more exotic (That’s what they said).
Donny: Yes! Definitely.
Jazzy: American friends don’t expect me to sing like an American; therefore, they love it [when I sing in English]. And so… I don’t learn anything from them… I have to listen to CDs to learn on my own.
Donny: Your accent sounds really cute. I am not saying that to make you feel good either.
Jazzy: Ok ok… No more shy… I can now lift my nose up, huh? [laugh]
Donny: How did you come up with “Jazzy?”
Jazzy: Online friends came up with that name for me.
Donny: Although your name suggests jazz, your debut is consisted of jazz, blues, funk, pop and classic. Which one is your style?
Jazzy: That’s my style, everything. A little pop mixed into jazz, funk, blues…
Donny: Then you need to change your name to Jazzymixy? [Laugh]
Jazzy: hahahaha… yea
Jazzy: As a child I learned classic piano. Love Chopin, Bach and Debusy… Therefore, they influence my music.
Donny: And now, piano jazz?
Jazzy: Yes.
Donny: Who is your favorite jazz pianist?
Jazzy: Oh, many. At the beginning, I listened to Oscar Peterson. Then Bill Evans and Keith Karrett were my heros. And now I have paid more attention to Michel Camilo & Rubalcaba Gonzales.
Donny: How about Thelonious Monk?
Jazzy: I like to listen to him, but can’t play like him.
Donny: Why not? Too choppy?
Jazzy: My hands are too small. Playing like him is impossible. [Laugh]
Donny: I love him and Duke too.
Jazzy: I have a live DVD concert of Monk… just amazing!
Jazzy: Duke’s arrangements are wicked too.
Donny: How is your album doing in Vietnam?
Jazzy: It sold more than 1,000 copies in the first two weeks.
Donny: Congrats!
Jazzy: thx
Donny: I think my review has something to do with it. [Sniff Sniff]
Jazzy: hihihi… sure.
Donny: Just kidding. I am not that arrogant. [Laugh]
Jazzy: We have something in common [Giggles]
Donny: Absolutely [Giggles]
Donny: Speaking of my review, I did mention the scats at the end of “Khuc Dem.” Have you thought of scats for the whole song like Ella Fitzgerald?
Jazzy: Ohh, I used to perform “Shadow of Your Smile” with bossa feeling, and I have to scat 2-3 choruses. But this CD is for Vietnamese listeners, and it’s also my debut… I would like to keep it calm and quiet.
Donny: You mean not to make too much impression?
Jazzy: Yes. Something like that.
Donny: Hmm… Very humble!
Jazzy: Hehehe… humble?… Yeah! I am being “humbled” just to trick you. [Laugh]
Donny: Speaking of calmness, you’re a mellow person huh?
Jazzy: I think I am, but the person opposite from me might not think so.
Donny: Oh yeah, who is that “opposite” person?
Jazzy: You…[Laugh]
Donny: Yeah…sure [Laugh]
Donny: I am a mellow guy too. That’s why I appreciate “Vat Trang.”
Jazzy: You like “Vat Trang?” Can you give me a reason?
Donny: I didn’t get it at first, but once I am on the road at night, “Vat Trang” comes to life. It’s like Serenade.
Jazzy: Serenade is a form of Nocturne (a night song), and “Vat Trang” is like that. Or “Mau Dem,” “Dao Khuc,” Vong Dem,” Khuc Dem, “Trang & Em.” They all pitch black. [Laugh]
Jazzy: You like “Mau Dem” the best right? Why?
Donny: Didn’t I give a reason in my review? Just kidding. I like the tranquility, the quietness, the calmness, the urge to sooth, and your nightingale-like voice near the end.
Jazzy: [Blushing]
Donny: Are you touring now?
Jazzy: Yes. I am on the road with my funk band in Austria and Italy. In Munich, I am in a group called The Tulips – an Acapella Gospel Choir.
Donny: When will you be in the US to show us some love? [Wink]
Jazzy: I would love to have an opportunity to perform for the US audience, but my schedule is not working out this year. Hopefully next year.
Donny: What are your plans in the future?
Jazzy: I have many upcoming projects. One of them is an album in which I will perform my favorite jazz standards and another one with new materials including instrumental compositions I have written.
Donny: Sound very exciting. I am looking forward to both. Thanks for your time and good luck.

Any Vietnamese songster who has not recorded a Trinh Cong Son’s album should start thinking about it now to get the tradition over with. That’s right, every well-known musician has released at least a Trinh’s record during his or her career. Even Phuong Thanh wants a piece of Trinh’s work, isn’t that incredible? Whenever a Trinh’s album is released, the controversy is inevitable, and Phuong Thanh’s Thuong Mot Nguoi (To Love Someone) is no exemption. Even before the album hits the racks, Trinh’s lovers have expressed frustrations; however, they can be reassured that Phuong Thanh has not destroyed anything.

Unlike Thanh Lam who has always stirred things up by singing Trinh’s songs with her powerful and intricate techniques, Phuong Thanh sticks to the script, which is unusual because she has never been a gentle vocalist. She is a belter with a huge, scratchy voice. Yet, the soft and straightforward approach works because it allows her emotion to carry the weight. Even the productions (from Kim Tuan, Hoai Sa, Vinh Tam, and Duc Tri) are kept to the minimal, simple strumming guitar accompanied most tracks, to allow Phuong Thanh’s aspirate voice be the essence. As a result, the album is delivered with honesty and sincerity from the opening “Cat Bui” (Sand and Dust) to the closing “Ca Dao Me” (Mother’s Folk Poetry).

The strength of Thuong Mot Nguoi is in the maturity of her vocals. We can enjoy her singing instead of screaming on “Uot Mi” (Tearful) and “Bien Nho” (The Sea Will Miss). Her croaky timbre sounds sweet rather than heavy on “Diem Xua” (Miss Diem) and “Rung Xua Da Khep” (The Old Forest Has Closed). Her breath control is a tremendous improvement, distinctly on “Tinh Xa” (Far Love). The heartrending “Ca Dao Me” would have been perfect if she could keep her breathing off the track like the way she does with “Tinh Xa” because the phrasing is superb, and the sentiment is there.

Thuong Mot Nguoi is neither groundbreaking nor outstanding, but much better than what I have expected. Take that as a compliment from a guy who has not been feeling Phuong Thanh since the days of “Trong Vang” (Emptiness). Congratulations on the baby girl as well as the success of the album. Hope this is a new turning point for Phuong Thanh.

After watching Lost In Translation, I’ve been looking all over for an authentic cuisine that Bill Murray has commented as, “What kind of restaurant makes you cook your own food?” Last Sunday, I have found what I have been searching for at Shabu-Zen in Boston, and I was impressed with the quality of the foods, the prices, and the services.

The whole meal is simple and elegant. Just fresh meat, fresh seafood, fresh vegetables (including tofu) boil in blazing broth according one’s personal preference (Yeah baby, I like it raw…), and then dipping in the flavorful sauce for a tasty experience. A bottle of Kirin Ichiban is a perfect choice to rinse down the food, but a glass of real-fruit smoothie, especially mango, is a delightful alternative.

I have to come back to try everything on the menu even though the “Meat Combo” (lamb and beef) and “Seafood Platter” (salmon, cod, scallops, fish cake, and squid) were magnificent. Although I am not getting paid or a free meal for my recommendation, Shabu-Zen is a worth visit if you’re in the Boston area next time.

A young Vietnamese lady who speaks no English married to a Scottish man. On their honeymoon to Thailand, they went to a zoo. The lady saw an alligator and told her husband in an exciting tone, “Lacoste.”

Am I the last one in America who have watched R. Kelly’s “Trapped in the Closet” videos? I have to give it to him. The twisted storyline is not unpredictable, but still clever.

If I am being too hard on the young singers in my music comment, that’s partly because of Lady Day. Billie Holiday was a phenomenon. No, she still is. Her style, her phrasing, her interpretation, her timing and her voice are yet to be matched. She sang as if she had lived the lyrics. She always sounded behind the beat, but never missed it. No matter how rough she came across, especially during the mid 50s when her voice deteriorated, the sweetness deep inside her vocals was always present. Most important of all, her breath control was never less than perfect.

For those who haven’t experienced the Lady Day, I highly recommend giving Billie’s Best a spin. Although this collection from Verve only provides a portion of Billie’s classics, it will give you a nice taste of the lady that sings the blues like no others; and the productions are crisp too. Obviously, every song is a hit, but pay close attention to “Stormy Blues,” “Come Love,” “Come Rain or Come Shine,” “Foggy Day,” and “U… u… u… What a Little Moonlight Can Do.”

I listen to her albums when there is completely no distraction. I can’t even play her music while working, because she demands so much concentration that I would not be able to get anything done. Listen to Holiday without paying attention to her every word is like playing chess without thinking. As I am writing this in Barnes & Noble’s café, I am noticing how chess players are thinking and planning their every move. That’s where the comparison comes from, in case you’re wondering.

Words get out fast on the Internet. I am delighted that Jazzy accepts my criticisms as well as my praises on her debut. An artist like her is the future of our music. Keep on generating original works, girl. We’re rooting for you.

Visualgui readers, your encouraging words have motivated me to see a specialist regarding to my nosebleed problem. The doc slipped a tube up my nostrils to examine them. I felt a bit discomforting, but no sign of tumors or anything is serious as far as he can see; therefore, he cauterized my vessels. The process burned like hell and caused a few tears in my eyes. Can’t remember when was the last time I cried. I have also dropped the Henessy and picked up the water for my walking. The experience is not the same, but I am still enjoying my strolls with jazz on my earphones. Currently drooling over Art Blakey’s and Max Roach’s delicious drum solos. If I have a chance, I would love to take drumming lessons. Playing the drum has always been my dream. Thank you all, once again.

Notice the subtle differences in the background on each page? After getting rid of the big and bold flowers and went with complete minimal, I wanted to bring back some visual to give the site a bit of individuality; however, I decided to play with muted graphics to maintain simplicity. I am also at a point of my life where I appreciate nature more than anything; therefore, I would like to reflect that on my personal site.

After looking at the Vault, the Beauty and the Unmatched, I determined to incorporate the graphics into the whole composition instead of just the headers like many sites have been showcased. There is also extra bonus for those with large screens. Hope you’ll dig the new changes and that you won’t find the backgrounds interfere with readability.

The name Jazzy Da Lam has been floating around many Vietnamese-related Web sites including this one. Her low-quality MP3’s have created a nice buzz for her profile. Jazz fans have been waiting patiently to hear what this young pianist/singer/composer/writer who has been studying music in Germany has to offer. After two years in production, Da Lam’s debut Moon & You (Trang & Em), a collaboration with German musicians, is ready to introduce to Vietnamese audiences worldwide.

Moon & You embodied four tracks from her pen, and the remaining lyrics, including three English songs, were written by others, but all composed by Da Lam. “Khuc Dem” opens the album with a soothing Latin-jazz fusion. Her soft and clear vocals give the palette a calming color. The way she scats near the end is exhilarating. On the classical “Vat Trang,” Vincent Nguyen’s languorous arrangement sets off the mood by leading listeners into a nocturnal atmosphere. Da Lam voice then joins in and takes us into her magical world, (“Mot dem trang buoc xuong doi / ngam suong nha trang mai doi”), while the orchestration (strings, flute, clarinet, contra bass, and piano) weaving in and out of her aspirate vocals as if sharing her thoughts and soul. Assisted by Ingolf Burkhardt’s silken trumpet, she curls her feathery voice effortlessly around the smooth jazz arrangement on “Trang & Em.”

“Hay Ve Day” is what Da Lam threw in to flirt with the young heads. The funk-pop production is spicy; her voice is spicier. Sex is everywhere: in the sax, in the voice and in the words. Listen to the way she croons the refrain, “Hay ve day / an ai ta co nhau trong dam say / huong tinh yeu thom ngat bao dem lam em ngat ngay / dau nam thang xa cach cho tai te noi dang cay / hay quay ve day.” She begs you to come back and make love to her. She has been waiting for way too long. Can’t you smell the sweet scent of love? She is yearning for your touch. If that is not a booty call, then I don’t know what is.

True to her name, which was given by her online friends, jazz and blues fit her style like hand in glove. On the soulful blues, “Mau Dem,” she floats heartfelt over the light brushwork and shimmering flute riffs. By fusing Vietnamese folk into jazz with her own elegant piano work, Da Lam gives an electrifying presentation on “Vong Dem,” creating a gorgeous image of a Vietnamese women with milky breasts rocking her baby to sleep (“bo mi oi khep ngoan a oi / bau nguc thom huong sua oi a”).

Da Lam not only impresses us with her composing, singing, and writing original music, but also strikes us with her ability to perform in English. Her accentuations are exotic on “Life is” and “When I am With You,” but her timbres are banal on the pop tunes. Although the record featured various styles, it doesn’t feel disorienting thanks to Vincent Nguyen’s focused arrangements and orchestrations, and the night theme Da Lam has cleverly crafted. Yet, I still prefer a solid concentration of jazz and classic. Unlike many new musicians, Da Lam has tremendous potential and proper training in writing and performing, especially in jazz. Like many new singers, her voice is still a work in progress, noticeably her breath control. Nevertheless, her debut is still a sensation.

Had an easy weekend. Spent time alone and got through both Ashley Kahn’s A Love Supreme : The Story of John Coltrane’s Signature Album and Kind of Blue: The Making of the Miles Davis Masterpiece. Enjoyed both books. Kahn’s writing, especially on the sessions of recording the pieces, gives readers deeper appreciations on two of the most influential jazz albums. These two CDs are back on heavy rotations. Kind of Blue is for relaxing, and A Love Supreme is for spiritual uplifting.