From Directors, Colleagues and Friends:
I’ve never worked with a better bass player or musician in 30 years of performing and directing in musicals, choirs, bands and opera. And, not only is Jon a great musician, he’s a great person and its a privilege to call him a colleague.
Carolyn Sue Bertrand, Musical Director
Bye Bye Birdie
You know what’s wonderful about your playing? You play with dynamics!
Leslie Boughton, Lead Vocals
Blue Dahlia
His competency as a musician is evident via his extreme consistency, both in sight reading and in playing. As a conductor, I appreciate Jon’s attention to detail and style in navigating through difficult musical theatre scores. You can always count on Jon to deliver a good, solid performance!
Aaron Cassette, Musical Director
Jon Moody plays the low end with a judging force no other bassist can match. He’s also an extremely talented stool-sittin’ line dancer.
Ashley Ickes, Drummer
Jon has shown himself to be a highly versatile and dynamic bass player throughout the years that I have known him. Approaching his craft with passion and dedication has resulted in one class act that we have come to depend on. A true professional.
Rachel Irimescu, Manager
Wiser Time
Mr. Moody’s composition, “Waltz for Closure”, was the perfect score for the final act of our film. With the direction of “upbeat but melancholy” and a single viewing of a very rough cut, he created a piece that underscored and elevated the emotion of the scene. I feel both blessed and spoiled to work with such a creative and understanding artist.
Dan Judd, Director – Closure
Gruesome Notions Productions
Whatever is needed – blues, jazz, folk, musicals or rip-your-face-off rock riffs are what this man gives you with aplomb. Big, big pocket and loads of harmonic awareness. This is what you get when talent and hard work collide, my friend. Always rock steady, always tasteful, always just what you need… always Moody.
David Perry, Drummer
The Dalidrama
His versatility to shift between classical, rock, blues, funk and everything in between is what sets Jon Moody apart from other musicians. He is a master at sight-reading, technique and improvisation on both the upright and electric bass. As a musical director, I seek out Jon first when I contract an orchestra.
Courtney Phelps, Musical Director
Evil Dead: the Musical
How about Jonathan Moody’s been playing bass for a while (maybe that’s a bit underwhelming). So then perhaps this: Jonathan Moody will clobber you somethin’ fierce if you don’t like his stuff (hmmm, that’s a bit grim). So let’s go with Jonathan Moody’s an amazing bass player.
Dave Serotkin, Singer / Songwriter
In The Media:
Clearly, the ensemble extends beyond the performers on stage. Music Director Courtney Phelps leads a great rock band orchestra and manages a good balance and big sound.
Marin Heinritz, Kalamazoo Gazette
HAIR at the Whole Art Theatre, 2008
Stellar performances across-the-board, great choreography, exceptional direction, a very cool set and a killer live band all contribute to the freaky good time of this cult classic done right.
Marin Heinritz, Kalamazoo Gazette
Rocky Horror Show at the Barn Theatre, 2008
But all of these elements would be for naught if not for the glue that holds the show together: the rock band. The only way to make this band better is to give them the mammoth amps common at a Who concert and let them fill the theater (and several miles around the place) with their divine sound. Surely, members of the Who would approve of how the Barn Theatre can rock their music.
Christopher Tower, Battle Creek Enquirer
The Who’s TOMMY at the Barn Theatre, 2009
Possibly, the greatest performer is the one not on the stage: the orchestra. John Jay Espino leads tremendously compelling riffs on guitar, banjo, harmonica, mandolin, and several other instruments that demonstrate how the folk music is an emanation of the nation’s spirit rather than just its literature.
Christopher Tower, Battle Creek Enquirer
Big River at the Barn Theatre, 2009
Add music by a band of zombies (the Joseph Merrick Quartet, led by musical director Courtney Phelps), a chorus of demon trees, and fun songs like ‘What the F— Was That,’ ‘Ode to an Accidental Stabbing’ and ‘Do the Necronomicon,’ and you get a peppy/horrific musical.
Mark Wedel, Kalamazoo Gazette
Evil Dead: the Musical at the Whole Art Theatre, 2009
Another highlight of the show was the expertly played music radiating from the orchestra pit. Conductor Cynthia Hunter led the obviously well rehearsed 12-piece ensemble with great energy, adding another dimension and point of interest to the musical.
Rebecca Bakken, Kalamazoo Gazette
Jekyll & Hyde at the Kalamazoo Civic Theatre, 2010
A six-piece combo tucked in the corner sounds like a much larger band playing Yazbek’s playful, jazzy score.
Sue Merrill, Grand Rapids Press
Dirty Rotten Scoundrels at Mason Street Warehouse, 2010
Zylman’s production boasts a fine 13-piece pit orchestra conducted by Michael Palmer.
C.J. Gianakaris, Kalamazoo Gazette
Annie at the Kalamazoo Civic Theatre, 2010
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