Rico Jazz & Rico Select Jazz FAQs

FOR DETAILS CONTACT: Terry Landry (818) 771-5300 ext 225 or email -lefonk@ricoreeds.com




"What's up with those strengths?"


Rico JAZZ comes in traditional half strengths. Rico Select JAZZ, however, offers a third-strength grading system that can be a bit confusing. Here's the deal: many (though of course not all) of the reeds that don't work for you will actually be excellent quality reeds that are not quite what you as an individual are looking for, but what someone else might find to be the best reed ever. Why?
There are several reasons, including the shape and size of each individual's mouth & throat, lung capacity, tone concept, etc. But another factor is reed strength: in each box of, say, # 3 reeds, they will not all be exactly the same strength, even though they all fall within the range of #3. Some #3s are harder or softer than others, even though they're all #3s.
With Select JAZZ, we decided to narrow down that range, so that the reeds in each box are of much more consistent strengths, and thus of more consistent playability. So we came up with a third-strength grading system. Here's how you can think of Rico Select JAZZ' third strengths:

So if you play a 3 ½, for example, and want to know what strength of Rico Select JAZZ would be appropriate for you, ask yourself this question: out of a box of your regular 3 ½ strength reeds, do you like the stiffer ones or the softer ones? If you prefer the softer ones, start with a Select 3Medium (to be thought of as a 3 1/3); if you prefer the harder ones, try the Select 3Hard (to be thought of as a 3 2/3).




"How do the strengths of JAZZ and Select JAZZ compare to other brands?"

As you know, reed strengths are not standardized from brand to brand, although they usually run pretty close. Part of the reason for this is that each reed design's different contour will result in a different resistance that can't be fully categorized as "strength."

Rico JAZZ and Rico Select JAZZ feature a new cut that has no equivalent in any other brand. This new cut is, among other things, heavy in the heart of the reed, which provides a rich, full sound, solid altissimo response, better pitch definition, and great durability. However, this thick heart also means Select JAZZ has a heavy resistance designed into it--- heavier than almost every other reed on the market. Many seasoned pros told us they rely on this resistance, but even most pros need a brief adjustment period when they switch to Rico Select JAZZ. Many popular modern reed designs don't offer much resistance, so saxophonists focus their airstream on the "lower" side of the tone to get the richness of sound they seek. With Select JAZZ, due to the new cut, the opposite is true, and you'll need to focus your airstream on the "top" side of your tone to get the brilliance you're used to.

Nonetheless, most players, when first switching to Select JAZZ, tend to try to match the resistance with what they're used to. Therefore, there's a good chance that the Select JAZZ strength you first pick as comfortable will soon be found to be too soft for you. No problem, just move up a third strength when you're ready.




"I tried Rico Select JAZZ and although it was okay, it went soft very soon."

We hear this fairly often from players who pick too soft a strength. These players need to migrate up a third strength or so. Rico Select JAZZ should outlast any other cane reed on the market, and besides the artistic gains to be had from this reed, its outstanding durability is one of the leading praises we hear.

When you get the appropriate strength, you probably won't find the reed to be "okay." The sound will practically burst out of the horn.




"I tried Rico Select JAZZ and found it to be stuffy sounding and dead."

We hear this from players who have picked too hard a strength, and also from players whose degree of embouchure muscle development is better suited to Rico JAZZ' lower resistance level. It's important to note that since each reed design offers a different resistance level and type, you'll need to be methodical in determining which JAZZ or Select JAZZ strength or configuration is right for you. Since Select JAZZ has such a high resistance level, you shouldn't consider it as an affront to your abilities as a musician if you need a softer strength in Select JAZZ than your normal brand. If, during your first test of Select JAZZ, the reeds seem a bit stuffy, try a third strength softer. If the stuffiness is minor, and you're trying the unfiled version, try the same strength in a filed version (see below). If you still find the reeds stuffy, try Rico JAZZ instead. Remember, whether you find the reeds a bit too hard or too soft, you'll probably need a period of adjustment to the new resistance level.




"What's a French File and what does it do?"

Often, players refer to a reed that's "French cut." Indeed, some of our artists use this term in our own advertising. However, there seems to be no general consensus as to the meaning of this term. Some think it refers to the contour of the vamp (the actual cut portion of the reed), while others believe it refers to what we call a "French file." We like this term because, unlike the term "French cut," it has a specific meaning: the French file is the bark-sanded-off-in-a-straight-line section right behind the beginning of the vamp.

You should regard the file as an option to help you fine-tune your sound and comfort level. It frees up low-end response, making it easier to subtone at soft volumes, but also makes the tone a bit brighter. Those who prefer the file are usually those who play darker sounding mouthpieces, like Links on tenor or Meyers on alto. Those who prefer the unfiled version are usually those who play brighter mouthpieces like metal Beechlers or Dukoffs. Although Rico JAZZ is available only in an unfiled version, Rico Select JAZZ is available with or without the French file.

The use of the French file was one of the items we tested in our prototype phase. Of our pro test market, 70% preferred the French file and 30% preferred unfiled. Curiously, of our "weekend" pro/student test market, the exact reverse was true: 70% preferred the unfiled version, while 30% preferred the file.




"How are JAZZ and Select JAZZ different from other designs?"

Compared to designs historically favored for jazz, pop, or general use (such as Rico, Rico Royal, Hemke, JAVA, V-16, and La Voz) and classical-oriented designs (such as Hemke and traditional Vandoren reeds, which are thick in the back of the cut, providing a heavy, controlled tone), our new JAZZ lines feature a longer vamp cut and less wood in the back of the cut (for improved flexibility and quicker response), and more heart. Rico JAZZ and Rico Select JAZZ offer the player a huge sound and unprecedented powerful projection, yet provide improved flexibility and sensitivity.




"How are JAZZ and Select JAZZ different from each other?"

Many pros asked us to develop a superior jazz saxophone product to meet the needs of demanding professionals, exceeding the standards of any other jazz reed in the world. These are the people for whom Rico Select JAZZ was developed, and most pros favor Select JAZZ over Rico JAZZ. Why?

The primary characteristic that separates a satisfied Select JAZZ player from a satisfied Rico JAZZ player is the degree of development of embouchure muscles. Rico JAZZ is designed primarily as a cost-effective alternative to Select JAZZ for advanced students and "weekend" pros.

Rico JAZZ and Rico Select JAZZ feature an identical cut, and differ primarily in the options available (French file & strength grading system), and the grade of cane: premium in Rico JAZZ, and a new higher, harder grade we actually developed and defined for Rico Select JAZZ. This new grade of cane is very resistant, and is not for everyone. Most seasoned pros we talked to prefer the resistance it provides, but those players that don't have mature, highly developed embouchure muscles from years of prolonged daily practice, or those who want to minimize resistance, may prefer the (slightly softer) premium grade of cane we use in Rico JAZZ. Teachers and students should note that, due to the built-in resistance of the new designs, both new JAZZ lines are a poor choice for most students younger than about 10th or 11th grade, and Select JAZZ is a poor choice for most students younger than University level.




"What makes this reed a 'jazz' reed?"

Of course, there are no rules that state you can only play certain types of reeds for certain types of music. In fact, there are quite a few high-profile jazz players who use "classical" mouthpieces and/or reeds with fantastic success. However, most of Rico's saxophone reed lines have historically been for general use. (The exception being Hemke reeds, designed in cooperation with Dr. Frederick Hemke for classical use.)

As different styles of music have evolved, different styles of saxophone playing have simultaneously evolved, often by necessity. Since different playing styles often warrant different reed choices, we began to find that design nuances favored by, say, a saxophonist in a loud funk band would not be as warmly received by, say, a straight ahead jazz player. Thus, we began to see our "general use" designs no longer meeting the needs of many of our artists. Our market research identified the straight ahead jazz market as the one most in need, so we set out to design a reed for those players.

We surveyed over 200 jazz saxophonists, from University level to world-class professional. They told us the features they wanted, the problems they wanted solved, and the equipment they play. We designed our new JAZZ lines according to what these saxophonists told us they wanted, then set about prototype testing with this same group.

The plurality of this group told us they play Link or large-chambered Berg Larsen mouthpieces on tenor, and Meyers on alto (open, round-chambered mouthpieces), so we designed our JAZZ lines to optimize these mouthpieces. In fact, many who previously used mouthpieces with wedges and high baffles find that, when coupled to a Rico Select JAZZ reed, a Link or Meyer provides a richer sound, and gives them the power and projection they used to get with a baffled mouthpiece, with none of the intonation or volatility problems. But, many funk players with small-chambered, bright-sounding mouthpieces are finding Rico JAZZ and the unfiled version of Rico Select JAZZ to be the reed of choice for full tone quality, even though we designed the reed for a different type of player. Similarly, some classical saxophonists are now extolling the merits of Rico JAZZ and Rico Select JAZZ.

The bottom line? We designed a reed around what jazz players told us they wanted. Because it's a great product, lots of saxophonists find it meets their needs, even if they aren't mainstream jazz players.




"Who are the players who helped in your prototype program?"

We talked to University professors, students, professionals from various local markets around the world, and "name" professionals. "Name" pros involved in our prototype program include (alphabetically) Pete Christlieb, Ronnie Cuber, Brandon Fields, Chico Freeman, Johnny Griffin, Steve Grossman, Charles Lloyd, Bill Pierce, Antoine Roney, Bob Sheppard, Greg & Bev Smith, Lew Tabackin, and others.

With the exception of Ronnie Cuber (who still prefers regular Ricos), all the above-mentioned are currently playing Rico Select JAZZ. Other greats who have since joined the ranks of Select JAZZ players include Jerry Bergonzi, Arthur Blythe, Gordon Brisker, James Moody, Mike Smith, Tommy Smith, Jim Snidero, Joe Temperley, Stanley Turrentine, Walt Weiskopf, Albert Wing.




"Is this a cane reed, or is it synthetic?"

Our JAZZ lines are made of high-quality cane. Rico JAZZ is made of Premium cane, while Select JAZZ is made of a grade newly defined for its rare hardness and "snappy" resonance. There are no synthetic materials in either product.

Most of our JAZZ cane comes from the famed Var region in the south of France. In fact, Rico uses more French cane than any other reed manufacturer. Our JAZZ reeds are cut of cane from our eleven French plantations and from our experimental plantations in California, where we have agriculture scientists from the famed research facilities at the University of California working to improve the quality of our cane.




"Are these reeds expensive or what?!"

Yes they are. Numerous pros told us in our market research that they needed a quality reed, even if they had to pay a premium price for it. So we developed some new manufacturing procedures and defined a new hard grade of cane that's very rare. The rare grades of cane and new manufacturing processes developed are the reasons for the expense of these new lines. They are expensive to manufacture, hence expensive to purchase. However, when you take into account the number of usable reeds per box and the enhanced durability of the reed, you will likely find that your monthly reed expenditures are less, not more.

This is especially true for users of Select JAZZ, due to the development of the reed's third-strength grading system. As mentioned earlier, in a box of your regular reeds, many (though of course not all) of the reeds that don't work for you are perfectly good, but not quite in your comfortable strength range, even though they are within the strength listed on the box. With Select JAZZ we narrowed down that range so that the reeds in every box play much more similarly to each other. You will find them much more consistent than any other reed on the market. In addition to the artistic benefits you'll reap, better consistency equals better cost-effectiveness to you.