Born and raised in Los Angeles by a family steeped in music, jazz pianist and composer Michael Ragonese has emerged as one of his generation’s most sought-after talents. With a career that spans over 25 years, Michael’s artistry has seen him perform, tour, and record alongside legends like Barbra Streisand, Walter Smith III, Ben Wendel, Mark Turner, Dayna Stephens, Charnett Moffett, Bennie Maupin, Dave Binney, Engelbert Humperdinck, and many more. As a bandleader, he’s released two acclaimed albums, each reflecting a unique sound shaped by his deep roots in jazz, classical music, and his Italian heritage. We caught up with Michael to talk about his musical journey, creative influences, and latest projects.
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Michael, many thanks for taking the time to speak with us. Let’s start at the very beginning—can you describe your earliest memories of music and what initially drew you to the piano? Was there a defining moment or influence that sparked your passion for music as a child?
Hi David, thanks for having me. My earliest memories are listening to my mom play guitar and sing both in church and at home. She was originally a professional musician, so music was in the house a lot. She put me in piano lessons when I was 5 years old, and I have loved it ever since. I’m not sure if there was a defining moment, but more of that music was just a huge part of our family’s life. My mom played in church every week and played with her bands, so I was just around music so much that it just felt normal to be so involved in it.
A lot of my parents’ friends who would come over were musicians, and everyone was always talking about music and playing music. My sister is also a musician, and so much of what we did was just music. I always loved being around it and didn’t realize it was a massive passion of mine as much as it was just a big part of how things are in the world, even if that is only specific to a music household. I thought everyone was a musician! I realized later, before college, how much I really loved it and wanted to pursue it.
Your musical journey took a pivotal turn toward jazz during your high school years. What was it about jazz that captured your imagination, and how did that transition from classical to jazz shape your identity as an artist?
A family friend (a jazz pianist named Sal) had always been pushing me to switch from classical to jazz, as he wanted me to explore a more creative avenue with my music that was more intricate than pop music. He gave me a Bill Evans album, and when I started listening to it, I instantly fell in love. I couldn’t believe what was going on in the music. I remember asking myself “how is he coming up with all of this?”. At that point, I began my studies into jazz.
Mentorship seems to play a significant role in your story. Who were some of your most influential mentors during your early career, and what lessons or philosophies did they impart that still guide you today?
When I started playing jazz, two of my main mentors were Lee Secard and Liz Kinnon, both from the Colburn School of Music. They really helped me in my journey from the beginning and were so supportive along the way. I learned so much from them and from being at Colburn. When I went to college, that is where I met Gary Pratt (bassist), who was the head of the music department at California State University, Northridge. He absolutely changed my life. was always pushing me to get better and to learn both in life and in music. A couple of years in, he formed a trio with me and my friend, Andres, a drummer.
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We played every week for close to 2 years and would play gigs, and eventually recorded and went on a tour later in my life. Gary was a very old-school and strict mentor. We would start playing a song, and if he didn’t like what I was playing, he would immediately stop the song and give me feedback until he felt that I was giving my 100%. It was challenging because I felt like there was always so much more to get better at. This approach taught me how to take the music as seriously as possible. Not to play anything that doesn’t feel right. Not to force anything.. to take my time and develop something. Play beautiful melodies.
These concepts completely shaped me into who I am. A more recent mentor is Walter Smith III, who recorded sax on the upcoming album and also on my first album. Ever since I knew about Walter, I was immediately a huge fan of his music. Eventually, after learning all of his music and trying to set up sessions, we finally played together right after I graduated from college. He recorded on my first album, which was heavily influenced by his writing style. Walter has been a huge help to me during the process of releasing “Chasing Calm”. He has given me so much advice and support, whether it was what he thought of the music, how to improve my EPK and website, pitching my music to jazz labels, advice on where to tour, how to tour, how to talk to venues and etc.. This year, I have learned so much from him and am truly grateful and appreciative of the relationship I have with him.
Reflecting on your time at California State University, Northridge, are there any standout experiences—either on stage or in the classroom—that proved transformative for your development as a jazz pianist and composer?
Studying at CSUN with Gary Pratt, as I mentioned before, was a life-changing experience. Additionally, I was able to get lessons from such amazing pianists such as Matt Harris, Gary Fukushima, and Josh Nelson. Josh was my main teacher for the last 3 years, and he changed my piano playing. I had been a huge fan of him and his music as well, and the experience taking private lessons with him was a big part of the development of my sound. During CSUN some outstanding moments were co-leading my quintet and participating in the Reno and Monterey jazz festivals, where we won 1st place in those competitions. The quintet spent so much time rehearsing and playing all of our original music in preparation for these competitions. These moments were turning points for me, where I knew that I wanted to be a bandleader and play concerts with my music in addition to releasing albums.
You’ve performed and recorded with an incredible roster of legendary artists. Can you share a particularly memorable collaboration—one that challenged you, surprised you, or changed your perspective on music?
A couple of my first big gigs out of school really stood out and taught me a lot. One of the first was getting called to play in Charnett Moffett’s trio. I was a huge fan of his. He had played with everyone: Wynton Marsalis, McCoy Tyner, Kenny Garrett. I remember he sent me the music, and I spent a bunch of time learning it, nervous as hell to start playing. But he would always say, “Don’t think so much, just play.”Our first show together was at Catalina’s Bar and Grill in LA, and I’ll never forget him counting off a tune so fast I had no time to think. I just had to go for it.
That was the first time I really realized how important it is to be ready at any moment. Another big moment was playing the Lagos Jazz Festival in Nigeria with Rick Braun. That was my first time leaving the country, and I was thrown into a new style of music, more on the smooth jazz side, and Rick is one of the biggest names in that world. I was nervous again, but I learned that it’s all about trusting yourself, being adaptable, and going with the flow. Now I prepare so much to where I always feel ready, and I’m able to put my everything into a concert no matter whose music it is. I never quite knew the level of expectation until I was thrown into it. School was demanding, but it’s not the same as playing with high-level, experienced artists.
Every artist faces highs and lows. Can you talk about a defining setback or challenge in your career, how you navigated it, and what you learned from the experience?
The hardest challenge for me has been pursuing more of a bandleader/artist role. When I started on this journey around 4 years ago, I had no idea the amount of setbacks and emotional toll this would bring. Whether it’s putting out a song and no one listens to it, venues not getting back to you, musicians pulling out of gigs, playing to empty rooms, it all adds up and is a toll emotionally. Being an artist/bandleader these days is so much more than just playing and writing music.
It is as if I took 10 different full-time jobs.. those being a player/writer/booking agent/social media marketing director/website designer/tour manager etc The biggest challenge has been time management and making sure I’m able to prioritize the music while doing all these other tasks. In the beginning, I was unable to relax, and the stress was overwhelming. I’ve learned great time management and, on an emotional level, not to take anything personal, as it is hard to do. These days, I am grateful to have some help with marketing and management, but all of these experiences taught me to be patient and just keep going. The artist’s path is a long journey and everything that happens during the journey is a stepping stone to get you to the next spot.
On the flip side, what have been some of the most rewarding moments—whether on stage, in the studio, or as an educator—that continue to fuel your motivation as an artist?
There is nothing quite like playing a tour/concert with your closest friends and coming off that stage after putting on an amazing show. I had experiences playing for massive audiences as a sideman and I’d say most of those haven’t compared to playing with my band and finishing a successful show, even at a smaller venue like a club. Those moments make it all worth it. Additionally, going into the studio and watching these incredible musicians take your music and make it into something truly special and unique is always a mind-blowing experience for me. I’m a very collaborative band leader, and I love the input from my band.
You founded the Rags School of Music and the “Modern Artist” program to support the next generation of musicians. What inspired you to step into music education, and how do these programs reflect your vision for the future of jazz and creative music?
I can’t remember exactly what got me into starting a school, but I remember having an exceptional piano student and thinking this is great, and I want to do more of this when I’m in town. That led to building a whole program as just more students started coming in, and I was watching a community build, which felt really special.. The great thing about having these programs is watching these students practice so hard and get better. It reminds me of being younger and being hungry to get better and play. After our school concerts, everyone is always hanging out, people are enjoying themselves, and there is such a massive sense of accomplishment for what they just did. It’s a special thing to watch that happen. I think the future of creative music is strong from what I see. There are so many inspired young artists who really value their artistry and really value the music. I’m happy to be a part of helping the younger community, and I think it’s an important part of jazz and music education.
Through the Libretto Conservatory partnership, you’re mentoring young musicians at a high level. What do you see as the biggest challenges facing aspiring jazz artists today, and how does your approach help them overcome these obstacles?
One of the biggest challenge, I think is just awareness. A lot of students don’t really understand what it takes and what you need to do to be able to pursue a career in music. It’s challenging being young and having to think so far ahead to prep yourself, but the musicians who “make it” are incredible musicians. They are all great players. All my friends and mentors have mastered their craft and are continuously working on it.
They play at such a high level, and that is something that takes a lifetime of dedication. For the students that tell me they want to be in this career, the hardest thing to convince them of is the amount of dedication, sacrifice, and hard work that comes with being a musician. Some get it early on but it’s hard to really prove to them the importance of taking this seriously. Not only that but just playing music at a high level isn’t even enough to ensure a successful career. There’s luck, personality and so many other factors. The challenges are overwhelming for students, but it’s important for them to understand how serious it is out in the world of music while still being able to find passion and love for what we do.
Let’s talk about your creative process. With your upcoming album ‘Chasing Calm,’ what was the inspiration behind the title and the music? How did your personal experiences and artistic evolution shape this project?
This album was a little different mentally for me, as I really wanted to write music that displayed the way that I’ve been feeling, which is just a constant feeling and search for calmness throughout the chaos of our lives. Just the entire culmination of my career has been just constant ups and downs, and in the music, there are a lot of chaotic sections and then sections that are more peaceful. This was an attempt to try and put those feelings into music. I did this blending the classical style chords with jazz harmony and experimenting in very odd meters. A huge inspiration for this record was Avi Shaicohen. I love how he shapes his music while blending odd time signatures. It feels very emotional, which I love.
Chasing Calm’ is described as your most personal and reflective work yet, blending modern jazz, classical textures, and complex rhythms. Can you walk us through the development of the album—were there specific themes, stories, or emotions you wanted to capture?
On a more musical level, this music has been inspired from Avi shaicohen and Walter Smith which both artists express so much emotion in their music. After studying their music for a while, I tried to recreate some of the grooves/loops that they use in their music so there are some repeating themes that I use in my music that are paired with odd time signatures. The emotional aspect is a little on the darker, more introspective side since I’m trying to emote both frustration, anger, stress, all while evoking beauty in the music at the same time.
Finally, for young musicians hoping to carve out their own path in jazz or music more broadly, what advice would you offer—both in terms of artistic growth and navigating the realities of today’s music industry?
My advice is always to take the music very seriously, get as great as you can possibly be as early as you can, be professional, a good person, and just obsess over music. I think if you do all those things then you will have a successful career. Obviously, getting “great” will take a lifetime, so easier said than done, but pair that with being a great person to be around and professional, then I believe you will succeed.
For further information on the artist, please visit www.MichaelRagonese.com
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