Ragan Whiteside has not only one musical side, but numerous ones, as she is an accomplished flutist, singer, songwriter and even a web designer, as she designed her own web site.

This multi-talented artist started music at the age of 5, studied classical music and focused on flute. However, instead of becoming a classical music flute soloist, she turned to contemporary jazz, R&B and funk. And that was definitely a good move, as she came up with a class act, her debut album "Class Axe", a breathtaking piece of work, entailing 11 soulful tracks with a neo-soul flavor. So let us have a look at the Ragan Whiteside of life!

Akbar Nour : Hi Ragan, great to have you on www.smoothjazznow.com . I had the pleasure to interview both great flutists David Crawford and Dwayne Kerr. When talking of the difficulty of playing flute, David Crawford told me: "The flute is light and sweet in sound and is very difficult to project as a lead or dominating instrument". What do you think of it?

Ragan Whiteside : I agree. It can be difficult. It took me a few years to develop ways to overcome those difficulties. Every player is different, but I've found that the right type of material, the right microphone, and the right combination of musicians, helps the flute jump right out in front.

Akbar : If I scratch my head, the main name of a smooth jazz female flute player that comes to my mind is Shannon Kennedy. And even Shannon is not representative of this trend, as she mainly plays saxophone. On one side, playing a difficult instrument and being a female player may be a challenge. On the other side, it may be easier for you, because you do not have too many contenders on the market (laughs!).

Ragan : (laughs also!) It's funny…you would think it would be easier because there isn't a lot of flute in "smooth jazz", but I find it to be a challenge. Instead of being on an even playing field like guitar players and sax players experience, flute players are going up against an entire genre which historically, hasn't embraced the flute. But I intend on changing that… (smile)

As for being a female player, I definitely enjoy the challenge. When I walk on to an all-male gig, guys usually say "aww, that's cute…she has a little flute with her". However, by the end of the gig, I have earned their respect as a musician, regardless of gender. I guess you could say that I thrive on being the "under-dog"!

Akbar : As many flute players, you have a classical music training that started when you were 5 years old (!). Even your debut album "Class Axe" starts with a short introduction from the German classical composer Felix Mendelssohn. When and how did you switch to contemporary jazz and R&B?

Ragan : About 3 weeks before I graduated from college (as a classical performance major) I realized that my heart just wasn't in it anymore. I felt like I wanted to stretch out more (creatively) than I was being allowed to in conservatory. So, after graduation I went back home to NY, where I attended a show featuring Bob Baldwin and Marion Meadows. I sat in the first row and I was hooked! The energy on that stage took me to another place, and I knew right then what I wanted to do with my music. After the show, I introduced myself to Bob Baldwin and we got into a long conversation about jazz and classical music. He mentioned that he was going into the studio to record some radio jingles and I asked if I could tag along. Next thing I knew, I was in the studio for the first time, playing flute on one of the jingles, and Bob has been my mentor and producer ever since. I have always had a love for jazz & R&B, so it was a natural transition for me.

Akbar : Furthermore to playing flute, your voice resonates on most of the tracks you also composed. You also designed your own web. So what is your next challenge?

Ragan : My next challenge is to become a marketing guru for independent jazz artists! Being an indie artist, I have found that you have to be somewhat unconventional in your approach to getting your music out there. I want to learn the most creative and cost effective ways to market independent music, and share that knowledge with others in the struggle.

Akbar : OK now, let us come to your debut album "Class Axe". In my opinion, this album is quite representative of you, not only of the musician, but also of the person. It is classy with its cool and well-crafted flute sound and graceful musical and vocal arrangements. Furthermore, this album looks like a personal diary featuring your impressions and thoughts on life. I think of the various musical punctuations or "funktuation" (your smash hit) as you call them, you first start by quoting the word "psyche", then appears your baby voice with your parents. You carry on with your mature and deep thoughts in the track "I have been thinking". How and why did you decide to integrate these various sequences in the album?

Ragan : When creating a studio album, it is important to connect with the listener, the same way it is important to connect with the audience when performing live. I wanted to add a personal touch, something that would make people laugh, love, and think.

Akbar : You are still new to the smooth jazz stage. Do you still sometimes think that you could have been a celebrated classical music flute soloist? Do you perform sometimes classical music concerts?

Ragan : That's an interesting question… I guess I would have to say, if my heart had been in it, it could have been a possibility. But since my passion has led me down another path, I guess I will never know. I still practice classical music to keep my chops up, but I rarely perform it publicly (maybe once a year).

Akbar : Where do you see yourself in 5 years?

Ragan : In 5 years, I would like to be on an international tour promoting my third album. I would also like to have an artist or two on my label roster.

Akbar : After a successful debut album, what's next in your musical projects?

Ragan : We are in the early stages of composing songs for the next album, which will be released early 2009. Also, I was a guest artist on the "NewUrbanJazz.com" album, featuring Bob Baldwin, Marion Meadows, Freddie Jackson, Phil Perry, and many others. It is scheduled to be released in February 2008.

Akbar : Dear Ragan, thanks so much for your time and I wish you a great 2008.

For more information: www.raganwhiteside.com


R&R Going for Adds: Music Matters, Especially Hits
RadioandRecords.com | Week of: February 18, 2008
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I hope you caught Dave Koz, stylin' and playing his ass off with Kid Rock and Keely Smith, on the Grammys. Talk about talented and telegenic! Dollface -- sorry, I meant to say "Dave" -- and Vanessa Williams cover the classic title theme from "The Way We Were" (Capitol) from his "At the Movies," one of a handful of CDs on Billboard's Contemporary Jazz chart to have sold upwards of 60,000 copies ...

Perhaps Ragan Whiteside's "Funktuation" (Randis) is the track that will break through smooth jazz perception that flute-based tracks don't appeal to smooth jazz listeners ...

I have to agree with Shannon West, who calls Steve Oliver "not only a great guitarist but an innovator," and add that his fresh approach has made Oliver a great live performance favorite too. He receives strong support from Warren Hill's assertive sax figures on "On the Upside" (SOM Entertainment) ... When I realized that the Sax Pack is Steve Cole, Jeff Kashiwa and Kim Waters, I resisted the temptation to call them "three tenors," since that wouldn't be too original, but I confess that I succumbed to the urge to say, "Threeplay." It's probably a good idea to listen to the single "Fallin' for You" (Shanachie) before you add it.

~Carol Archer


R&R Going for Adds: A First-Magnitude Star; Up-And-Coming Act
RadioandRecords.com | Week of: October 1, 2007
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Balance is said to be the secret of happiness and well-being. Smooth jazz programmers strive for a certain on-air equilibrium, in which the music, with elements between the records, fit together sonically to create their unique brand: classic tracks; other gold; currents; vocals; instrumentals, many by core artists; new music; and the occasional new artist who emerges to freshen the musical gene pool.

Superstar saxophonist Boney James' "Let It Go" (Concord) continues to rise. His sultry follow up, "Gonna Get It," is ripe for plucking by premature add-ulators who have room on their playlists for a star like James ... A rare flute offering from Ragan Whiteside, "Meu Amigo, Meu Amante" (Randis), could just open the way for contemporary jazz flute textures in smooth jazz. Incidentally, the title means "my friend, my lover" in Portuguese ... On the CD front, after eight years Joni Mitchell releases "Shine" (Concord/Starbucks/Hear), a collection that reflects her deepening as an artist, human being and spiritual seeker. She has a lot to say musically, and The New Yorker magazine thought so highly of the lyrics to Mitchell's song "Bad Dreams Are Good in the Great Plan," it published them as a poem ... What I've heard so far of Queen Latifah's "Trav'lin' Light" (Verve) is, to my ear, a tour de force. She's a star, and I'm a fan. But nothing prepared me for her recent performance at the Hollywood Bowl. She tore the place up and blew me away with great pop material and jazz vocal chops that are now legitimately within range of such great singers as Dinah Washington and Carmen McRae.

~Carol Archer

CLASS AXE - SmoothJazz.com CD Review
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From her clever introduction (a quick sojourn into a Felix Mendelssohn opus, interrupted by her chuckle and the word "Psyche") to the first bars of "Funktuation" (Need I define that for you?), you know CLASS AXE is going to be something special. And it is. Mt. Vernon, NY's Ragan Whiteside is someone special. You can just tell. She's totally connected to the hip, sexy side of the jazz flute (she switched from Classical some time back) for this awesome collection of Smooth Jazz, Urban, Neo-Soul songs that will totally convince you this woman has a huge future ahead of her. It's hard to believe this is her debut album. The performances… and I'm talking her playing, her singing, her writing… are mature and confident. She's got the masterful Bob Baldwin and Dennis Johnson producing this disc, which certainly adds a magnitude of strength to the project, but they'll be the first to tell you that Ragan rises to the occasion beautifully with both her playing and her singing. This is an album that, as Bob Baldwin puts it, clearly shows that "her breakthrough on this instrument can be historical for the genre. She's smooth, sexy, and radio-friendly." You've really got to hear this one. From the aforementioned "Funktuation" to the delicious Bob Baldwin-penned Latin Samba "Meu Amigo, Meu Amante," this is an album that gets my highest recommendation. I promise you, this is only the beginning of the Ragan Whiteside story! She is totally a class act with her CLASS AXE!

~SCOTT O'BRIEN
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CLASS AXE - Dusty Groove America CD Review
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Sweet funky flute from Ragan Whiteside -- an up and coming player who may well be the 21st Century heir to the 70s grooves of Bobbi Humphrey! The style here has a slightly smooth feel -- a bit like Bobbi's work for the Epic label, instead of Blue Note -- but the grooves are all right on the money, and flow along beautifully with Ragan's sweet leads and solos on flute -- all recorded with enough warm tones and classic elements to remind us of mainstream 70s fusion! There's a bit of vocals in the mix -- again like some of Bobbi's later work -- and the overall approach is perfectly balanced, with less of the smooth jazz elements than you might think -- and much more of a real soul groove overall. Titles include "Options", "Call Me", "Funktuation", "Gonna Fly", "So Glad", "3AM", "Meu Amigo Meu Amante", and "How Do You Know".
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NEW YORK FLUTIST WINS 2006 CAPITAL JAZZ FESTIVAL JAZZ CHALLENGE
ContemporaryJazz.com
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COLUMBIA, MARYLAND- Ragan Whiteside, of Mt. Vernon, New York, believes her big win at the Capital Jazz Festival Jazz Challenge is a dream come true. The Flutist who rocked the third annual competition on Saturday, June 3rd, 2006 held at the Merriweather Post Pavillion, also hopes her victory will open new doors for her promising career.

Winning the festival was an unbelievable experience, said Whiteside. When they announced me as the winner, it took a minute for it to register… it's just now starting to sink in! This was the first national jazz competition I have competed in since I switched from classical music, so I am very proud of this accomplishment, she added.

For Whiteside, the competition was an opportunity to gain national exposure and showcase some of her original works at the largest Contemporary Jazz Festival on the entire East Coast. During the Capital Jazz Festival Challenge, she performed 3 songs from her new CD: Gonna Fly, Meu Amigo Meu Amante, and Funktuation. The Flutist, who has an eclectic, neo-jazz sound, said she first attended the jazz festival three years ago with her mentor, smooth jazz artist Bob Baldwin, and never expected to return so soon following in his footsteps on the big stage.

Baldwin, the nationally known Keyboardist and Arranger, who co-produced (along with Dennis Johnson) Whiteside's soon to be released CD, Funktuation, praised his progs latest accomplishments and credited her success to hard work, natural talent and persistence. "When I met Ragan at a jazz club when she was still in college, she expressed her desire to become a recording artist, he said.

Her skill-set was solid; 15+ years of classical training and a college degree in music under her belt gave her the foundation, said Baldwin, who featured Whiteside on his latest CD, All In a Days Work. She began to do work for me on 2002's The American Spirit, where she co-wrote Let's Roll, then we began to work towards a demo, but the output was so solid, we found ourselves working on her actual record… she is a great unsigned artist looking for the right deal.

Of her victory at the Capital Jazz festival, Baldwin said, when she competed at one of the greatest stages for instrumental music, I felt confident that she was going to compete and win, and win she did!! She's well deserving of the accolades. I am very glad to be a part of her development and subsequent successes," he added.

Whiteside, 28, won a $5,000 prize after competing in what she described as a competition. Delivering her unique brand of smooth and funky contemporary jazz, she stole the showcase, beating out five other finalists from across the country. As the top winner, she also performed on the festival main stage on Sunday, June 4th.

It provided more opportunities that I had anticipated, said the energetic flutist. Of course, the obvious one is to play in front of a very large crowd that is interested in hearing you. You really can't beat that kind of exposure. In addition, you also get to have your live show critiqued by professionals in the industry (like Kirk Whalum) and get feedback, she added.

Finally, you get to network with other artists and bands, both "newbies" and "veterans," said Whiteside, above all else, you have the opportunity to expose yourself to a new region, hopefully winning fans outside of your hometown. She also hopes her victory results in a record deal in the near future.

Source: Bob Baldwin
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Capital Jazz 2006 ( partial review)
SmoothViews.com
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June 4, 2006...

Sunday was a bright cloudless day and first up was the winner of the 2006 Capital Jazz Challenge, Ragan Whiteside, a flutist and vocalist who describes her music as a cross between contemporary jazz and neo-soul. Backed by her trio, she delved into breezy sounds as well as punctuated funk riffs during her set which consisted of all original tunes. The Capital Jazz audience participated in her closing tune, "Funktuation," which evoked memories of the late Herbie Mann. The theme for the day seemed to be the super-bands, combinations of fantastic musicians, playing together and having the time of their lives while playing their music for us...

~ Kat Sarracco, SmoothViews.com
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Multi-Talented Mt Vernon Native Making Her Mark In The Music World
Mt. Vernon Inquirer, April/May 2006
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By Christina Tapper
She closed her eyes, placed her lips upon the flute and began her performance of Gonna Fly at the dimly lit Lazy Lounge in White Plains. Her fingers gently moved over the keys of the instrument, while the velvet sound of the flute infused the evening air. On this brisk March night Ragan Whiteside was in her musical zone.

Dressed in a simple black tube top and black pants with a long gold beaded necklace, she went on to perform the title track on her forthcoming album Funktuation. She unleashed the vocalist in her by singing Jill Scott's A Long Walk and Call Me, which she co-wrote with producer/boyfriend Dennis Johnson. While some musicians rely on certain strategies to help them stay the course during a performance, Whiteside sticks to a basic game plan. There is no detailed method needed for this curly-haired, multi-talented 28-year-old when she's on stage. As Whiteside simply puts it, "You just get into the groove and remember your notes." A modest way to describe her smooth delivery of contemporary jazz, neo-soul and funk fusion.

Whiteside's seemingly laid-back approach is a pillar of her persona and is present not only in her performances, but also appears while creating quality sounds. When composing the music for Funktuation, Whiteside sums up her technique in three words—groove, chords, and melody—signifying the format for her musical stylings. Just like her public performances, Whiteside's lyrical process doesn't involve intense schematics either. "I wrote what came to me," she says of making Funktuation. "Whatever came out, came out."

What emerges from the flutist/vocalist/songwriter is a sexy, crisp, and tantalizing sound that sashays its way into the music lover's mind, making it hard to stop crooning the chorus of Options or whistling the melody of 3 AM. "Her writings are wonderful and her layerings between flute and vocals are very tasty and warm," says Mt. Vernon native Bob Baldwin, a jazz musician and mentor to Whiteside.

Inspired by legendary performers Stevie Wonder, Earth, Wind, and Fire, and Ella Fitzgerald, Whiteside began her musical journey when she was a tot, took a detour as a college senior, and is moving forward with an album release in July. At the tender age of five, Whiteside was immersed in the Summer Creative Arts program held in Mt. Vernon. The yearly four-week program offered lessons in drama, singing, and dancing, among other activities, to school-aged children. "Through the program I probably played about every instrument," she says.

The music enthusiast in Whiteside grew. By the age of eight she latched onto the flute after giving up the violin. Subsequently, Whiteside found herself in a number of programs and performances. "Anything performance related, I took it," says Whiteside, who won a silver medal in the NAACP's national ACT-SO competition for a classical flute duet she wrote in high school. "Since I was five there has not been one year where I have not performed in front of an audience."

Engrossed in the works of Classical musicians, Whiteside spent her college years studying at Cleveland Institute of Music and the Harid Conservatory. During her senior year, however, Whiteside realized the classical genre wasn't her musical niche. "My senior year of college I auditioned for semi-professional orchestra in Florida. Just before I was about to go on, a little light bulb went on. I thought 'This is not what I want to do,'" says Whiteside, who has performed alongside Grammy Award winning opera singer Esther Hinds, Buddy Williams, and Chuck Loeb. "My heart wasn't into classical music anymore."

Whiteside finished the audition, but found herself at a crossroads. That is until she met Baldwin—a jazz composer, keyboardist and producer—three weeks after graduation. The classically trained flutist had a front row seat at a concert featuring Baldwin when she realized the path she would embark on. Whiteside says she was blown away by Baldwin's energy and contemporary jazz tunes.

"I was sitting there with my jaw on the floor," Whiteside says, dramatically motioning how her jaw dropped while attending the concert. "This is what I want to do," Whiteside remembers thinking. And with those seven lucky words, she cemented her jazz career. It was at that concert Whiteside redirected her musical talents and gained a mentor.

Whiteside credits Baldwin for her successful transition from the classical works of Rachmaninoff to the jazz musings of Herbie Hancock. "I spoke to Baldwin after the show and he took me under his wing," she says. Baldwin continues to offer Whiteside guidance and helped produce Funktuation.

"Her transition from one to the other is quite impressive," Baldwin says. "Her work ethic is solid. She practices regularly and is evolving to be quite the performer." Before Whiteside pursued her music full-time, the self-described "computer nerd" (she designed her own Web site) dabbled in web design for about four years. But the humdrum workweek dragged for Whiteside, who has also held posts as music teacher, lifeguard, and administrative assistant. She grew weary of her routine that included a one-hour commute to and from her New York City cubicle, only to return home exhausted after a day's work.

"I would wake up and instantly be depressed," Whiteside admits. "Everything was blah. I was miserable," she adds. "Then I'd get home and I was too tired for my music."

Surviving three years of layoffs at the web design company, Whiteside shocked her boss when she volunteered herself as the next employee to get the axe. It was a decision she had to make to ensure her burgeoning musical career wouldn't be slowed down. Whiteside left her cubicle for the music studio two and a half years ago with no regrets. As a full-time musician, Whiteside splits her time between the pre-production studio in her Mt. Vernon home and the Uppa Room studio in Yonkers, which is managed by Johnson, who calls her a "trooper."

"My studio can get very hot, especially during the summer," says Johnson, who met Whiteside through Baldwin. "Ragan will be sweating bullets while she's working, but she never complains. She won't stop until she gets it right." Her current focus isn't on landing a major recording contract. Whiteside says she's content with sharing her talents without a big name record label, but confesses if a deal was offered, she may consider it. "Right now, I just want my music to be heard," says Whiteside who plans on releasing three albums in the next five years.

In addition to her solo performances, Whiteside also jams with the all female jazz ensemble Sage every month. Sage has performed at various functions, including Clinton Young's 13th Legislative District 2006 Martin Luther King, Jr. Celebration and a star-studded 2004 national Boys & Girls Club event honoring Denzel Washington. "I don't get star struck but I was like, 'Wow, there's Star Jones,'" recalls Whiteside, who also rubbed elbows with Angela Bassett and Donald Trump that night.

Whiteside recently taped a cameo appearance for Unforgiven Sins, an independent film by writer and director Perla Humphrey. She plays the featured performer in the film and has five songs on the movie's soundtrack. The movie will be released this summer. By showcasing her musical talents in front of a celebrity crowd and having a role in an independent film, Whiteside is reaching broader audiences. Johnson believes it's not only Whiteside's talent that draws people toward the musical starlet, but also her charm.

"She's very warm, very magnetic," Johnson says. "She has that thing that you can't describe but you just gravitate toward." Even with her relaxed persona, Whiteside manages to reel any music lover in. She needs no formal strategy to pull you close to her sounds. Her musical creations are simply resounding—just as they were at the Lazy Lounge that Wednesday evening.

Call her a captivating performer, but Whiteside, with her easy-going demeanor, simply says, "This is me." For more information on Ragan Whiteside's upcoming album and performances log onto www.raganwhiteside.com.

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