Underwood Uncurling by Belinda Underwood

Artwork | Cover of Underwood Uncurlingview larger image
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Jazz Vocals | Traditional Jazz Combo

12 tracks | 54 minutes

Released Dec 2004
on Cosmik Muse Rekords

Click Listen sample for a 30-second preview. All tracks are 192kbps high fidelity sound quality. Protected WMA $0.77 or unprotected MP3 $0.88.

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sample lyrics "DOWNLOAD" 04:44 Born To Be Blue lyrics BUY MP3 04:44 Born To Be Blue lyrics "GIFT MP3" 04:44 Born To Be Blue
sample lyrics "DOWNLOAD" 05:00 Uncurling lyrics BUY MP3 05:00 Uncurling lyrics "GIFT MP3" 05:00 Uncurling
sample lyrics "DOWNLOAD" 06:34 Trees lyrics BUY MP3 06:34 Trees lyrics "GIFT MP3" 06:34 Trees
sample lyrics "DOWNLOAD" 03:00 Later Baby lyrics BUY MP3 03:00 Later Baby lyrics "GIFT MP3" 03:00 Later Baby
sample lyrics "DOWNLOAD" 04:04 How Deep Is The Ocean lyrics BUY MP3 04:04 How Deep Is The Ocean lyrics "GIFT MP3" 04:04 How Deep Is The Ocean
sample lyrics "DOWNLOAD" 04:17 World Peace Blues lyrics BUY MP3 04:17 World Peace Blues lyrics "GIFT MP3" 04:17 World Peace Blues
sample lyrics "DOWNLOAD" 04:07 Say My Name lyrics BUY MP3 04:07 Say My Name lyrics "GIFT MP3" 04:07 Say My Name
sample lyrics "DOWNLOAD" 04:04 You're Everything lyrics BUY MP3 04:04 You're Everything lyrics "GIFT MP3" 04:04 You're Everything
sample lyrics "DOWNLOAD" 05:19 You Don't Know What Love Is lyrics BUY MP3 05:19 You Don't Know What Love Is lyrics "GIFT MP3" 05:19 You Don't Know What Love Is
sample lyrics "DOWNLOAD" 04:38 Unspoken Thought lyrics BUY MP3 04:38 Unspoken Thought lyrics "GIFT MP3" 04:38 Unspoken Thought
sample lyrics "DOWNLOAD" 05:36 Invitation lyrics BUY MP3 05:36 Invitation lyrics "GIFT MP3" 05:36 Invitation
sample lyrics "DOWNLOAD" 03:28 There Will Never Be Another You lyrics BUY MP3 03:28 There Will Never Be Another You lyrics "GIFT MP3" 03:28 There Will Never Be Another You

Fresh renditions of timeless jazz standards and deeply revealing jazz originals. Sultry, hypnotic vocals and vocal improv; frank, emotional original lyrics; all-star cast of musicians including Airto Moreira, David Friesen, and members of Pink Martini.


Editorial review

The debut album from Belinda Underwood, a Portland-based bassist-cum-vocalist, is a surprisingly excellent start, especially for what's essentially an independent release. Underwood exudes authenticity here, moving between upright bass and vocals (and a stretch on the baritone ukulele for good measure). She's slinky and sultry without diving into overblown Eartha Kitt-esque aesthetics. Her voice is breathy, and while her phrasing seems a little slow at times, it's generally used to draw you into the next notes. Her bass playing is similar in its aesthetic, though with a different pitch and timbre. The key to this album is Underwood's choices of pieces -- a half-dozen standards that she re-creates in her own style, and a half-dozen originals that show off her poetry and composition abilities. "World Peace Blues" shows off her scatting abilities at the same time as her apparent love for Marvin Gaye. "Say My Name" shows off a more melodic instrumental side with the ukulele put beside her smoky rendition of a love song. The starting track, "Born to Be Blue," is an old one, but she can put the pathos into it just as well as the old Velvet Fog could. This one might take a little effort to find, but it'll pay dividends once you do. ~ Adam Greenberg, All Music Guide

Bio / Background

About Belinda:

Belinda's first exposures to music occurred five nights a week while she was captive in her jazz-pianist-mother's womb. With birth, the nightly exposure continued while she napped under the piano in a car seat.

After a childhood of violin lessons, harp lessons, orchestras and choirs, music became her choice when she fell in love with the upright bass at age sixteen. In high school she traveled as a bass player (on scholarship) to Australia with the Monterey Jazz Festival Honor Band, and in college she played and traveled with the UC Berkeley Wednesday Band. Singing professionally didn't occur to her until years later when she was playing the bass at the Jazz School in Berkeley. "It was hard for me sometimes to translate my musical thoughts onto the bass during improvisation. There were lines in my head but my fingers couldn't find them fast enough, and rather than get frustrated during practice, I would just SING the bass solo.

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