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Portland, Oregon-based vocalist/bassist Belinda Underwood opens her debut with Mel Torme's "Born To Be Blue," employing a vocal style that seems a curious mixture of coy guilelessness and sultry sensuality. Not bad for someone who started as an instrumentalistbass, violin, baritone ukulele, piano, harpand then started singing late in the game because she couldn't make her bass play the sounds she was thinking, forcing her resort to her voice.
Underwood Uncurling features six of Underwood's own compositions, the highlight perhaps the title tune, which has a very Joni Mitchell vibe. She also tackles a couple of familiar standardsIrving Berlin's "How Deep Is The Ocean," featuring some marvelous phrasing in front of a vibrant arrangement; and "You Don't Know What Love Is," a loving nod to Billie Holiday infused with Underwood's own style.
Underwood is a talented lady. The mix of standards and originals here, played with understated but tasteful accompaniment, makes for an engaging listen in the singer/songwriter categoryleaning toward jazz on the standards and looking in the pop/songstress direction (Joni Mitchell style) on her originals. "Invitation" (B.F. Kaper/P.F. Webster), featuring a backdrop of gently bubbling percussion, makes me think she'd sound wonderfulwith that touch of hush that creeps into her voice at timeson a bossa nova set.
Track Listing: Born to Be Blue, Uncurling, Trees, Later Baby, How Deep Is the Ocean, World Peace Blues, Say My Name, You're Everything, You Don't Know Wqhat Love Is, Unspoken thought, Invitation , There Will Never Be Another You
Personnel: Belinda Underwood--voice, bass, baritone ukulele;John Gross--tenor saxophone; Clay Giberson--piano; Phil Baker--bass; Martin Zarzar--drums and percussion; Dan Balmer--guitar; David Friesen--Hamage bass; Airto Moreira--drums and percussion; Chad Wagner--piano; Jason Levis--drums
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.