Belinda Underwood - A Name Unheralded No Longer

Underwood Uncurling, Belinda Underwood. How is it that Belinda Underwood has
lived in Portland for two years and she's so far managed to slip under the
radar of most jazz fans. This auspicious debut album shows a truly mature
artist on her way up the jazz ladder, and it shouldn't take long for
Underwood to find her way to the top. On just the unique strength of her
voice alone she is a talent, but the fact that she also plays a fine upright
bass and baritone ukulele as well shows that she is more than just a pretty
voice.
Underwood moved up from the Bay Area a few years back to take lessons from
Portland bass legend David Friesen. The lessons have obviously paid off,
since her grasp of the subtleties of the big instrument is quite obvious on
here, where she plays nicely on three of the twelve tracks. She backs her
easygoing, lilting vocals with a steady, swinging hand on "How Deep is the
Ocean," and lends a soft pluck to the baritone ukulele on her own folksy
ballad "Say My Name."
Underwood came to Portland from Berkeley. She is the product of two
musicians, so she began her training early on in life. She played bass in
high school, then went on to U.C. Berkeley and the Jazz School in Berkeley.
She met David Friesen at a workshop at the school and decided to go to
Portland to take lessons from him.
"He encouraged me to write songs," said Underwood.
Friesen has had a positive influence on Underwood and she has blossomed as a
bassist and songwriter. She wrote six of the tracks on "Underwood
Uncurling," including the wispily beautiful title track, and the slinking
bossa "Trees," both of which could easily hold their own against anything
written by Diana Krall.
She sings on all tracks, and her voice is breathy, confident and inviting.
It's a mix of Krall, Joni Mitchell and various other singers that go between
folk and jazz with ease. Her delivery is flowing, often holding on the back
end of the rhythm and floating into phrases.
The album itself is amazingly well produced and features an impressive array
of both local and international musicians. Friesen plays bass on several
tracks, and Phil Baker also plies the big violin. Drums and percussion are
handled by Martin Zarzar and famed Latin percussionist Airto Moreira, who
Friesen brought into the fray. Clay Giberson, Dan Balmer, Chad Wagner, John
Gross and Jason Levis also provide fine support.
The only knock, and this is a slight one, is the inclusion of layered
backing vocals on several tracks. Underwood's voice is great on its own, and
the backing tracks distract slightly from the singular focus of her voice.
Underwood also performs in a folkish duo with her sister Melissa, called
Beliss.
Her CD release party for "Underwood Uncurling" is January 15 from
8:30-midnight, with no cover charge.
2004, Belinda Underwood. Playing Time: 54:59. (four stars).

- Kyle O'Brien, Jazz Society of Oregon's Jazzscene Magazine, Jan 2005