Thanh Lam and Le Minh Son, once again, reinvigorated Trinh Cong Son’s pop standards on Nay Em Co Nho, their third studio collaboration. By weaving eastern instruments (three-stringed lute, sixteen-stringed zither and flute) into the western (piano, guitar, violin, viola, and cello), Le Minh Son produced ingenious semi-classic harmonies. The east-meets-west musical palette gives Thanh Lam plenty of colors and room to paint Trinh’s lyrical images.

Like most Vietnamese singers (and listeners), Thanh Lam loves and respects Trinh’s works. Even though she approaches his materials with her own passion, especially on the voluptuous rendition of “Phoi Pha,” she never fails to embrace his melodies, caress his verses, and nurture his rhymes. Even on the weird recovering of “Mot Coi Di Ve,” she coarsens and punctuates in strange places, but Trinh’s aesthetics never leave the canvas. At first, I preferred the old jazz standard version, which she gave an indelible presentation on the classic Ru Doi Di Nhe, over the new eccentric classical-jazz arrangement by pianist Tran Manh Hung; however, I am more convinced after several spins. The oddness becomes natural, and that’s the way the album grows: slowly but surely.

Trinh’s signature pieces are not new to us, but Thanh Lam’s deliveries are. Like the way she flows in and out of the staccato violin on “Lang Le Noi Nay” is breathtaking. On “Nay Em Co Nho,” she maneuvers skillfully around the sonorous violin and piano accents giving the title track a soulful performance. Accompanied by Le Minh Son’s nimble-fingered guitar, Thanh Lam gives “Bien Nho” a gorgeous reminiscent of Khanh Ly and Trinh Cong Son, despite the differences in styles. Elsewhere, the clear-pitched flute not only balances her slightly gruff voice, but also assists her to paint incomparable images of Saigon, such as sunrises, rainfalls, streetlights, green tamarind leafs and familiar bricks, on the nostalgic “Em Con Nho Hay Em Da Quen.”

Last year, Thanh Lam and Le Minh Son shocked us with the groundbreaking Ru Mai Ngan Nam. If the sequel does not strike our chords, it is because we are used to its predecessor. In any rate, Nay Em Co Nho is unquestionably an expansive artistic vision from an accomplished vocalist and a talented producer.

Thanks Thao Suong for the album.

In Thuy Nga’s special DVD, Da Vu Quoc Te, Nguyen Hung and the Paris By Night’s dancers stomped the floor. Nguyen Hung is undoubtedly a skillful dancer, but Thuy Van is the one that set the stage ablaze. Her erotic appearance and her luscious steps damn near kick him off the frame. Although the cameras focus more on him, my attention switches from him to her within the first minute on the lead-off pasodoble performance of “Malaguena.” The red dress looks so hot on her, not to mention what the skirt reveals. By the time the second presentation (“Ngu Di Em”) arrives, he appears like nothing but a moving poll for her to grind on. The skin-liked outfit makes her look like a piece of fresh meat that best eats raw. The way she moves on her own choreographed rumba is jaw dropping.

On the next performance, which is the chachacha’s “Ai Se La Em,” Nguyen Hung’s screen presence shines because Thuy Van is not in it. However, she is back on “Black is Black,” and continues to dominate the stage in cowboy boots, hat, and strap while Nguyen Hung looks mad gay in his tight clothes that reveal nothing but his gut. Nguyen Hung is fit, but he is not as young and as built as the male dancers. He has the move, but not the six packs; therefore, suits fit him better. On “Tinh Nghia Doi Ta Chi The Thoi,” Nguyen Hung finally gains his stage presence in a handsome suit and gives a fantastic tango performance with Thuy Van. Once again, Thuy Van has done a wonderful job at choreographing the chachacha on “Lien Khuc Khong 1 & 2,” and her singing is not outstanding but listenable. Obviously, Ho Le Thu is nowhere near Thuy Van in term of dancing. The music video concept on “Bang Bang” is surprisingly clever, and Nguyen Cao Ky Duyen’s moves are not so bad either.

Although Da Vu Quoc Te is Nguyen Hung’s show, Thuy Van steals the attention whenever she is in it. Mad props go to Shanda Sawyer as well as Thuy Van for their creative minds as choreographers. Except for the first couple of songs where Nguyen Hung’s steps are a bit feminine, he has done a great job as a singer and dancer. I wish they had added the swing to the video. Swing is fun, and I want to see Thuy Van swings her things.

Popular Vietnamese tune combined with sophisticated jazz rhythms: Peter Zak’s quartet plays Trinh Cong Son’s “Nghe Nhung Tan Phai.” The track is from Peter’s Purple Refrain.

Renowned classical melody get rejuvenated with blazing Cuban beats: The Klazzbrothers and the Cuba Percussion give Beethoven’s “Fur Elise” a fascinating makeover, and I thought ring tones have killed this song. The track is from Classic Meets Cuba.

Between Vassar Music Library and Pougkeepsie Public Library, I have collected over 200 jazz recordings. I spend most of my evenings listening to them. Instead of just staying in bed and enjoy jazz, I figure I should do something more productive. So after dinner, I take a shot of Hennessy, put on my earphones, and let jazz walks me through the neighborhood. Lately Bird is leading my way with his amazing alto saxophone. His intoxicating sounds combine with a little buzz from the liquor stimulate quite a pleasure strolling experience. I have been walking until the record stops, which is forty-five minutes to an hour each day. It’s long enough to break some sweats. The cool breeze of the evening feels so nice. After the walking is done, the buzz is also gone, and I get more energetic afterward. Because of this little exercise, I have been able to sleep better. I have been doing this for the past three weeks; however, if I want to continue, I need to drop the Hennessy or else I’ll become an alcoholic. A shot a day keeps the doctor away, right? Speaking of doctors, mom keeps bugging me to see my doctor about my bleeding nose. She gave me some pills, but they don’t help at all. I told her I am getting better so she is not so worried, but my nose has been bleeding tremendously. I am wondering if it is the heat or the alcohol.

Most restaurants translate Banh Xeo as Vietnamese Pancake. I would call it omelets to be more exact since it is prepared more like an omelet. Summertime is the best time for Banh Xeo because we need the fresh veggies. The variety of herbs, especially the lizard’s tail (rau dap ca), boosts the flavor significantly. Of course, a good mixed bowl of fish sauce is required. To make a good Banh Xeo, the skin needs to thin and crispy. Cu xan (the white strips that sneak out from the photo) needs to be sweet and juicy. I like the stuffing to have at least two jumbo shrimps and a bit of pork’s fat. A bottle of chilled beer, preferably Sapporo, might be necessary to wash down the food.

A special night to remember Ngoc Lan will be held on Saturday, Agust 27, 2005 in San Jose, CA. The event is not only an opportunity for iLoveNgocLan.com fans, but also for everyone who loves Ngoc Lan to get together. There will be food, music, and dance with special guests: songwriter Nam Loc, singer Thanh Lan, and journalist Truong Ky. Come out, relax, and enjoy. Check out the poster, design by AngelNgocLan who is also the organizer of the special night.

Another fantastic sweet treat from mom. Although Banh Khoai Mon is not as popular as Banh Trung Thu (Moon Cake), I like the light sweet and distinctive taste of the taro root. This piece of cake is highly enjoyable with a cup of hot tea.

Mom always find something new to go with her foods. She made this wonderful Chao Goi Ga (Congee with Chicken Salad) that got me sweating while slurping. Chao Goi Ga is nothing new, but Vietnamese chicken salad with nachos is quite different. She asked me to try, and I was reluctant at first, but was hooked once I gave it a taste, especially when accompanied by a bottle of Tsingtao. Her special mixed fish sauce added an astonishing tang to the Vietnamese taco. Mom, you rock.

Music of Ngo Thuy Mien and Trinh Cong Son has been done many times with jazz-inflected renditions. The pop-jazz fusions give NTM’s and TCS’s signature pieces new sounds, and please most bourgeois, but not the aficionados. To transform Vietnamese ballads from jazz intimation into real jazz, we need the experts. In 2000, Lang Van production distributed Purple Refrain — a live jazz session performed by the jazz pianist Peter Zak and his band. With John Wiitala on bass, Edward McClary on drums, and Dave Tidball on saxophone, Peter Zak turned NTM’s and TCS’s pop standards into phenomenon jazz tunes.

Zak’s unique approach to Vietnamese music and his ingenious escapes from the written melody make Purple Refrain an unforgettable art. He has not only found his way into the music, but also breaks down the melodies, then re-assembles them with his own interpretation to suit the complex, syncopated rhythms of jazz. For instance, he plays his piano at a doubled tempo on “Vanishing” (TCS’s “Phoi Pha”) instead of sticking with slow harmony. On the title track, “Purple Refrain” (NTM’s “Dau Tinh Sau”), he starts off with the original melody, but shifts gears toward the middle with his own elegant piano improvisation. The results are groundbreaking because Zak’s trio lets TCS and NTM music flow in away they never had before.

By putting on a feverish jazz spin, Zak’s trio gives the classics “To You With Love” (NTM’s “Giang Ngoc”) and “Without You” (NTM’s “Chieu Nay Khong Co Em”) a fresh makeover. With the addition of Dave Tidball’s polished and sensuous saxophone, both “After Times” (TCS’s “Nghe Nhung Tan Phai”) and “In a Deserted Town” (TCS’s “Du Muc”) are soothing, reviving and invigorating. Accompanied by the drunking bass and dynamic drums, the piano and the saxophone complement each other creating endless imagination on both compositions. I wish “The Last Love Song” (NTM’s “Ban Tinh Cuoi”) could have performed with the quartet instead of the trio. The song requires tremendous emotions, and the tenor saxophone would have done a fantastic job at the bridge where the male voice crescendoes, “Tinh la dang… cay…” (Love is bit…ter…).

What I like most about Purple Refrain is how Zak was able to create true jazz music without loosing the Vietnamese aesthetics. My respect and appreciation go to Lang Van production, Peter Zak and his band for bringing jazz to the Vietnamese community, as well as bringing Vietnamese music to the western audience. I hope Peter Zak and his crew could produce more albums like Purple Refrain, a gorgeous jazz flavor with a Vietnamese essence.

Browse the AIGA’s Design Archive

Watch the documentary video on David Carson

Read Inspirability

Listen to Thirteen Pictures: The Charles Mingus Anthology, especially the first track on disc one, the twenty-eight-minutes “Cumbia and Jazz Fusion” is filled with delightful sounds.