Testimonials and acclaim

Acclaim for "This Heart of Mine" with the Fred Hercsh Trio 1997:
"A first recording which is nothing less than sumptuous.... an intimate disc, with a swing of rare elegance and with compositions of great beauty...at once subtle and generous" - Dernieres Nouvelles D'Alsace

"A vivacious young woman with character...A freshness bursts forth on the up-tempos, and her scat is original and possesses agility, vivacity, and swing. Around her an excellent rhythm section led by the pianist Fred Hersch who accompanies her with the maximum precision and attention. Someone to watch out for." - Gerard Mathieu, Jazz Notes

"Lowdermilk's a confident, personable vocalist with a wide range and Ella Fitzgerald's flair for wordplay. Her style is alternately romantic, saucy and playful, as the tunes (which range from originals such as "Ephemeral Dream"; to standards like Cole Porter's, "You Do Something To Me" require. This is cool jazz for a cold night, peppered by Lowdermilk's deft scatting and occasional piano playing." - Westword

"She scats with ease on the movers and invests appropriate tenderness on the ballads. In a musical world dominated by pop powder puffs, we need to hear more from singers such as Bonnie Lowdermilk." Jazz Scene, Oregon's Jazz Magazine

"...a voice with a kind of freshness which goes without effort from contagious jubilation to the most gentle tenderness."
- Henri Marchal, Semaine des Spectacles, France

"This cool jazz artist knows how to use the entire palette of her art to express disenchantment, sensuality, romance, and melancholy or jubilation. She scats and sings with a pleasant and seemingly effortless ease" Michel Bedin, Jazz Hot

"The blond Bonnie Lowdermilk has charm and talent in the grand classical tradition, from Fitzgerald to Bridgewater." M. P. Paulicevich, Nice-Matin

"Bonnie Lowdermilk is situated somewhere between Blossom Dearie and Judy Niemack. She is equally a remarkable pianist." - Jean-Louis Wiart, Axololotl Jazz

"Some decades ago, Bonnie Lowdermilk no doubt, would have played in the big bands of the swing era. Today, this singer and pianist plays in solo in the prestigious clubs of America, but also in Paris, where her graceful and sophisticated voice has conquered the public." Andre Greiner, Le Republican Lorrain

Acclaim for "Borderless Crossings" November 2015:
Lowdermilk’s album “Borderless Crossings" documents her transition from set pieces to exploratory works. For years, she has performed in local restaurants and clubs, singing and playing a polished repertoire of songbook classics and jazz standards. The album reflects some of this music, with comfortable, engaging performances of songs like “I’ve Grown Accustomed to His Face", “Get Out of Town" and “Suddenly It’s Spring". However, when Lowdermilk cedes the piano chair to Lande, the mood and approach changes as the band tackles three of Lowdermilk’s originals, a rarely-heard Jobim gem and a composition by Kenny Wheeler and Norma Winstone. The rhythm section of Lande, bassist Gonzalo Teppa and drummer Paul Romaine play with a surging energy not heard on Lowdermilk’s previous albums. The title track was inspired by Lowdermilk’s hike over a 15,000 mountain pass on the road to Machu Picchu. The song alternates a jagged primary motive with a smooth but insistent legato line. Ron Miles’ cornet acts as Lowdermilk’s hiking partner, echoing and answering the vocalized motives. “Sleep" opens with Lande strumming inside the piano, Teppa’s high harmonics and Romaine’s free cymbal fills. Lowdermilk’s melody and lyrics are both fragmented at the outset, but as the lines expand into full sentences, the band gradually falls into a gently swirling waltz, only to drop back into rubato near the end of the chorus. Performed as a piano/voice duet, “One Afternoon" has a rhythm which ebbs and flows instead of marching through time. The lyrics describe an intense, but short-lived romantic encounter, and the melody meanders as it mirrors the emotions of the two would-be lovers. Then suddenly the man disappears, never to be seen again, and the song stops without any sense of finality. After a beat of silence, the band jumps into “Two Kites", a breathless Jobim song which—in Lowdermilk’s rendition—imagines a joyous future for the same characters. Lowdermilk doesn’t completely conquer the thorny melodic lines of the Wheeler/Winstone song, “Winter Sweet": there are occasional pitch issues and she fails to capture the amiable adventurousness that characterizes Winstone’s style. Still, performing this piece represents a major shift from Lowdermilk’s usual repertoire, and further challenges like this can only increase her artistry. Tom Cunniffe - jazzhistoryonline http://www.jazzhistoryonline.com/Process_and_the_Product.html

One of the top jazz vocalists based in Colorado, Bonnie Lowdermilk is also a top-notch jazz pianist. On Borderless Crossings, she alternates four of her originals and a complex Kenny Wheeler/Norma Winstone song with five standards. Art Lande is featured on piano on half of the program, alert accompaniment is provided by bassist Gonzolo Teppa and drummer Paul Romaine, and cornetist Ron Miles adds a Miles Davis/Chet Baker atmosphere to a few numbers. The originals and Wheeler/Winstone’s “Winter Sweet," really challenge the singer with their wide intervals and (other than “Peter’s Portrait") melancholy moods. Somehow she always sound relaxed. The standards, four of which also feature Ms. Lowdermilk on piano, are accessible and swinging. “I’ve Grown Accustomed To His Face" and a spirited “Get Out Of Town" (on which the singer really plays with the rhythm and melody while sticking to the lyrics) are highpoints. Her piano playing on ‘I’ve Grown Accustomed To His Face," makes one hope that in the future she will also include some instrumentals on her CDs. Borderless Crossings (available from www.bonnielowdermilk.com) is well worth acquiring.
Scott Yanow - LA Jazz Scene http://www.scottyanow.com/LAJSCDRevFeb.html

Acclaim for "Up To Now" released Feb. 2009:
"It might have taken Bonnie Lowdermilk a little more than a decade to release the followup to her previous album with the Fred Hersch Trio, but Up to Now was well worth the wait. With help from some of the area's finest players, including Mark Simon, Ken Walker and Greg Gisbert, Lowdermilk has created a delightful album that shows the jazz vocalist/pianist in complete control of her vocals, especially on the buoyant and swinging opener "Day by Day," which also features swift tenor work from Peter Sommer, and on Clifford Brown's "Joy Spring." In addition to some smart arrangements on nearly a dozen standards, Lowdermilk also wrote a few originals, including the yearning movie-star fantasy crush on "Bankin' on the Moon."" Jon Solomon - Westword

"Ms. Lowdermilk, who provided the arrangements, contributed three originals to the standards-oriented set. While the repertoire includes some warhorses, these versions are often quite unusual. Obviously she loves uptempo material for “Day By Day," “You’ve Changed" and “Jitterbug Waltz" (the three opening cuts) are all taken at surprisingly fast tempos. Somehow she handles the lyrics of “Jitterbug Waltz" effortlessly at this pace. The musicianship of the players is excellent (Gisbert is the most famous player on the date) and the leader is a fluent pianist with a swinging style. Her singing, which includes a lot of sliding between notes, is worth the effort to appreciate for she is quite expressive, versatile and musical." Scott Yanow - Los Angeles Jazz Scene

"Her vocal strut boasts a self-assurance relatable to Diana Krall and a rhythmic chiming reflective of Dena DeRose. Lowdermilk adds personality and poignant inflections through Oscar Hammerstein II and Jerome Kern’s tune “Nobody Else But Me," and evokes pure emotion along the wispy strokes of “Moon River" as her vocals advance and ebb along the ducts of lacy piano keys. The horn arrangement opening “Power Tool" exude a spirited rhapsody which switches directions and fosters a supper club atmosphere in “Dancing In The Dark." Lowdermilk’s style of singing is dapper chaffed in roughly cut edges that give her resonance a rugged texture that is both real and attractive. Writing and performing for two decades now, Bonnie Lowdermilk has honed her craft to a Dianne Reeves-sparkle." Susan Frances - Jazz Times

testimonials:
* A beautiful evening! I look forward to seeing her again, as well as her trio. Cindy Wakefield 2/5/14
* You, first of all, looked beautiful, and second of all, performed beautifully! It was amazing to see you in your element. You're so confident and elegant. It was really a treat to hear you sing. Kristian Yehl 2/4/14
* Bonnie was so professional and even asked for appropriate attire for our dinner party. She arrived 45 minutes early to set-up and be ready to start promptly at our agreed time. She played and sang beautifully; we have several musician friends who were very impressed. She played loud enough to create a perfect ambience, yet not too loud that we couldn't all visit easily. I strongly recommend Bonnie Lowdermilk. She's fabulous! ~Michele Davis -- Michele D, Parker, CO, 6/14/2008
* Bonnie was great. I was getting married and didn't need the entire quartet/trio, so she offered to come herself for the ceremony with her piano, and she was AMAZING. She dealt with our last minute move in venues because of weather without a hitch and without my having to even think about it. Thanks Bonnie!! -- Elizabeth P, Denver, CO, 4/17/2010
* Bonnie did a great job!!! Everyone loved her! -- Dean N, Aurora, CO, 2/24/2009
I thoroughly enjoyed this event - thanks for the great variety of music, Bonnie! Stephanie B. 1/5/11