DESCRIPTION:
Billy Bang - Tunnel Rat (Flashlight and a 45)
album: VIETNAM: THE AFTERMATH (Justin Time, 2001)

The CD itself is painted olive drab. The cover features other shades of green in faded photographs. The music moves evenly with a peaceful country air. Dirges, dances, ceremonial rites, a little dramatic counterpoint, and swinging anthems take on surreal qualities through Billy Bang's compositions.

It's been a long time, but those memories linger. We were there to do a job, but no one could avoid immersion in the culture that ran so very different from our own. We felt at home, right away, with many aspects of the foreign landscape. After all, it was the same moon in the sky. The people seemed okay; but we trusted no one. Our search for commonality had to remain satisfied with the similarities of Nature, music, family values and our jobs. Mechanics, moms, butterflies and songs remain quite similar around the world, as long as you're not looking for the differences. We saw the fragile people who were as afraid of war as we were. We saw the determined people who made their daily living in spite of incredible obstacles. We saw a society that lived for today and hoped for a brighter tomorrow. And we remember everything, after all these years.

After tucking them away for a long time, violinist Billy Bang decided to put these recollections to music. With a close-knit band of like-minded artists, he interprets these old memories. There's the placid landscape and the natural flavor from traditional Vietnamese country music. There's a somber prayer for those who never returned. One swinging impression recalls the rare moment of entertainment some were able to enjoy at dance clubs, tucked far away from the front. That same Western spirit blared daily from our radios and reel-to-reel tape players. Another piece brings us the dramatic tension that we lived with every day. Bang and five other members of the ensemble are veterans. They've turned these memories into a positive affair. Culture, society, and a deeper meaning color the session thoroughly, but they're couched in lively, straight-ahead jazz terms.
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Billy Bang on allaboutjazz.com: http://www.allaboutjazz.com/php/article.php?id=2024
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there's some photos of My Lai massacre:
The My Lai Massacre was the mass murder conducted by a unit of the U.S. Army on March 16, 1968 of 347 to 504 unarmed citizens in South Vietnam, all of whom were civilians and a majority of whom were women, children, and elderly people.

Many of the victims were sexually abused, beaten, tortured, and some of the bodies were found mutilated. The massacre took place in the hamlets of Mỹ Lai and My Khe of Sơn Mỹ village during the Vietnam War. While 26 US soldiers were initially charged with criminal offenses for their actions at My Lai, only William Calley was convicted. He served only three years of an original life sentence, while on house arrest.

When the incident became public knowledge in 1969, it prompted widespread outrage around the world. The massacre also reduced U.S. support at home for the Vietnam War. Three U.S. servicemen who made an effort to halt the massacre and protect the wounded were denounced by U.S. Congressmen, received hate mail, death threats and mutilated animals on their doorsteps. Only 30 years after the event were their efforts honored.

The massacre is also known as the Sơn Mỹ Massacre (Vietnamese: thảm sát Sơn Mỹ) or sometimes as the Song My Massacre. The U.S. military codeword for the hamlet was Pinkville.

http://en.wikipedia.org/wiki/My_Lai_Massacre