Quyen Van Minh & Quyen Thien Dac: The flow of Vietnamese jazz through two generations of “father to son”

As a veteran in the field and often referred to as the “godfather of Vietnamese jazz”, how do you view the emerging generation of jazz musicians in Vietnam? Have you noticed changes in their musical approach and mindset compared to your time?

Today’s young jazz musicians in Vietnam perform at a level that is relatively advanced on the international scale. This is thanks to their regular live performances at jazz venues, and more importantly, over a decade of structured training through the Jazz Faculty at the Vietnam National Academy of Music. That formal foundation has significantly raised the performance quality of younger artists and will continue to support their growth. Compared to my generation, there’s a marked shift in their artistic mindset and style. In addition to professional training and live experience, today’s musicians benefit from open access to global jazz through the Internet and regular interaction with international jazz artists visiting Vietnam.

Do you have any memorable memories you would like to share about practising with your son Quyen Thien Dac? What has helped you both maintain your passion for jazz over the years?

One of my most cherished memories with Quyen Thien Dac dates back to the time we were preparing for the recording of my first CD, Improvisation 99. Before heading to Berklee in the United States, Dac was my student. We dedicated a great deal of time to practising international contemporary jazz. At the same time, he worked hard to record Vietnamese folk compositions that I had arranged in a jazz style. Although our creative perspectives sometimes clashed, Dac later came to understand that belief in one’s artistic pursuit is essential to creating something original. That understanding led him to become the lead artist in the production of the CD. After graduating in the US, he went on to produce two more CDs, one composed in a contemporary jazz style, and another blending Vietnamese folk music with his own distinctive jazz voice. These projects continue to inspire and fuel our enduring passion for jazz.

With the unique personality and creativity in jazz of artist Quyen Thien Dac, in your opinion, is that the difference between father and son when talking about the nature of jazz?

What sets us apart comes down to Dac’s individuality and his creative approach. After completing his studies at one of the world’s foremost jazz conservatories, he returned to Vietnam to continue performing and nurturing jazz here. His efforts to find a balance between international jazz influences and a Vietnamese identity in jazz reflect a natural progression and a responsibility he has taken on for the growth of the genre in Vietnam.

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The live show “Father, Son and Jazz” has been a great success in Ho Chi Minh City and Hanoi since 2008. On the occasion of meeting the audience for the third time at Ho Guom Theater on November 27, 2024 with the artists of Binh Minh Jazz Club band, what special things do you feel about the combination of two generations of father and son from this show?

I still “bravely” perform with the next generation, although young artists of the same age as my children and grandchildren, especially Quyen Thien Dac, have reached a very high level in the jazz artist community in Vietnam. And in the development process of music in general and jazz in particular, the works still retain their value through all eras. The combination of the two generations of father and son in this live show has introduced to the public a part of the process of international jazz and Vietnamese folk music. The difference in the way of performing and composing between the two generations not only reflects the musical thinking of each period, but also demonstrates the continuous development process and creative innovation in jazz through the ages.

What opportunities and challenges does Vietnamese Jazz face in the modern music scene? How can we maintain and develop this genre when other music genres are growing strongly?

Since jazz first appeared in Hanoi’s cultural life, it has faced many challenges. While other genres of music have developed strongly and have established a firm foothold in the cultural life, with the habit of listening to music with lyrics and the participation of famous artists, jazz has developed completely alone. Through each performance, the efforts of a group of teachers and students have proven to international friends and the Vietnamese public that jazz not only exists in Vietnam but is also developing over time.

Since 2001, when the European Jazz Festival was held in Hanoi, jazz has had the opportunity to reach the public of the capital and music lovers across the country. After more than 20 years, with a series of performances such as “Father, Son and Jazz”, and the program “Quyen Van Minh and Friends with Jazz” at the Hanoi Opera House, jazz has proven its strong development. Up to now, the number of jazz artists is increasing, the demand for listening to jazz at hotels and venues is also increasing, which is a positive sign for the development of jazz in Vietnam, although it still has to strive on its own. Recently, the international jazz festival organized by the Ministry of Culture, Sports and Tourism in Nha Trang has had a great impact on the psychology of jazz artists, because this is a sign of the attention of the country's leading cultural agency.

During international tours, you have had the opportunity to interact with many jazz artists around the world. What strengths and special features do you see in Vietnamese jazz compared to other jazz genres? How can Vietnamese jazz continue to develop and strengthen its global position?

One of Vietnamese jazz’s strongest assets is its fusion with traditional folk music, a fresh and distinctive contribution to the international jazz scene. For the genre to grow and gain greater visibility globally, artists must continue to compose works rooted in a strong Vietnamese identity and actively participate in live performances. These efforts are essential to reaching more international festivals.

Support from the Ministry of Culture, Sports and Tourism is also crucial. Their backing can help Vietnamese jazz expand its reach abroad and facilitate cultural exchange by welcoming international acts to Vietnam. When organising festivals here, it’s important to include multiple Vietnamese jazz ensembles to foster both competition and progress. Back in 2001, the European Union invited me to curate a Vietnamese jazz night. I brought together three jazz groups from Hanoi’s major art schools, as well as the Song Hong Bigband Orchestra, to present a diverse and vibrant showcase.

Looking back on your journey, what makes you feel most proud? Can you share your upcoming projects, especially those that connect Vietnamese jazz with the international scene and contribute to the sustainable growth of the genre at home?

What I feel proudest of, looking back, is keeping the promise I made at the age of 14, the first time I heard jazz on the radio. With years of perseverance, I helped establish the saxophone department at the Vietnam National Academy of Music and became one of its pioneering jazz educators. In the near future, I plan to continue the concert series Quyen Van Minh and Friends with Jazz to introduce emerging Vietnamese jazz talents to a wider audience.

To further integrate Vietnamese jazz with its international counterpart, it’s vital to improve the calibre of musicians performing folk-infused jazz. At the same time, we need new compositions, whether from myself, Quyen Thien Dac or our fellow artists, to bring high-quality Vietnamese jazz to global festivals. That remains a major dream of mine, and I hope to see it realised in the future.

Hello Quyen Thien Dac, following in the footsteps of the generation of “family musicians”, can you share your role in developing jazz music and enriching contemporary Vietnamese music?

I see myself as the keeper of the jazz flame, especially for future generations pursuing this genre, alongside students who love and study jazz. I plan to continue releasing new music, organising live shows, and running the jazz club every night to nurture talented young artists. Through these efforts, I believe I can contribute meaningfully to enriching the country’s musical landscape.

Jazz in Vietnam has a certain community of fans, but still faces “pickiness” from the market and audience. Do you feel that new approaches help jazz get closer to the Vietnamese public?

The domestic jazz community remains relatively small, representing about 5 to 10 percent of the music market’s demand. Nevertheless, we strive to reach audiences through various methods, such as participating in talk shows, releasing new albums, and launching projects that blend jazz with other genres. Particularly, jazz clubs hosting live music every night offer more opportunities for the public to experience and enjoy jazz. It’s not that we don’t want jazz to reach everyone, but there are simply not many listeners who genuinely seek it out.

It is known that you have combined art forms such as jazz, contemporary painting, and folk culture together. Does this combination create your own jazz style with a strong Vietnamese identity and promote a new trend in modern Vietnamese music? Is there any difficulty in creating a new musical language?

Jazz is my primary discipline, while painting comes from the influence of my friends and brothers who are painters. They have helped me develop richer imagery when composing music. In simple terms, my music needs vivid imagery to connect quickly with audiences. I focus on folk music as the core element, blending it with jazz in a distinctly Vietnamese language and tone, rather than playing American or European pieces. The greatest challenge lies in finding logic within these combinations while preserving my personal musical language, my unique style and sound.

With improvisation and individual style in jazz, can you share more specifically about balancing formal techniques and indigenous elements to bring Vietnamese sounds into each piece? Is the combination of traditional instruments with saxophone your difference from your father, who used Western instruments to express Vietnamese culture?

As I mentioned earlier, the hardest part is achieving the right balance. Technique is merely a tool to express emotions and ideas during improvisation. This applies not only when integrating folk instruments. I strive to dive deeper into indigenous and folk music to truly experience the sounds and feelings of those traditions. When I return to the saxophone, I must find a harmony that fits. The key is how all these elements merge into a single musical expression, not just a simple fusion of Western and folk instruments.

Can you share your feelings and the special meaning of performing with your father—Meritorious Artist Quyen Van Minh—in the reunion live show “Father, Son and Jazz” this time?

My father has lived through more than 70 springs, and recently, we shared the stage equally in the show. What struck me most was his boundless love for jazz and music. It made me wonder if, when I reach his age, I will still possess the same dedication and passion he shows.

What musical projects have you been working on recently, and what are your upcoming plans?

Recently, I went to France to record my first vinyl album, which was released in January 2025, titled Paper Shirt. At present, I am preparing a project with a string ensemble. After that, I plan to release several singles on digital platforms alongside this special music project.

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