Concert Select

The Grand Concert Select Traditional Bb clarinet reeds in strength 3.0 feature a established tip combined with a thicker spine for a quick response and a balanced tone.

The Grand Concert Select family of reeds offer a pure, warm tone quality that is stable and consistent from pianissimo to fortissimo, in all registers. The revolutionary cut provides unrivaled flexibleness for precise articulation and interval changes. Grand Concert Select pairs unparalleled reed-to-reed consistency with unexampled longevity.

From modest beginnings, Rico has grown to become a leader in single-reed manufacturing. Since the acquisition of Rico by D’Addario & Co., Rico has further given a healthy elasticity to it is position as the leader in woodwind reeds and accessories. At it is San Fernando Valley facility, Rico has a state-of-the-art reed exploration center, which employs the collaboration of agronomists, scientists, and musicians to develop top-quality reeds, including Rico Reserve premium reeds for clarinet and saxophone. Rico reeds are designed to gain all levels of musicians, from the beginner to the seasoned professional. Many of the world’s finest clarinetists and saxophonists use Rico brand reeds, such as Mark Nuccio, Jerry Bergonzi, Chris Potter, Benny Golson, Ernie Watts, Bob Sheppard, Henri Bok, Richie Hawley, Eric Alexander, and galore more.

Concert Select

The Grand Concert Select family of reeds features more material in the heart for a pure, warm and transparent tone quality, stable and consistent from pianissimo to fortissimo, in all registers. The revolutionary cut provides unrivaled flexibleness for precise articulation and interval changes. Grand Concert Select offers unparalleled reed-to-reed consistency with unexampled longevity.

•More wood in the heart for better projection
•Premium cane for longevity
•Outstanding articulation and response

At it is San Fernando Valley facility, Rico has a state-of-the-art reed exploration center, and employs the collaboration of agronomists, scientists, and musicians to fabricate top-quality reeds that include Rico Reserve premium reeds for clarinet and saxophone. Rico reeds are designed to gain all levels of musicians from the beginner to the seasoned professional. Many of the world’s finest clarinetists and saxophonists use Rico brand reeds, such as Anthony McGill, Mark Nuccio, Jessica Phillips, Jerry Bergonzi, Chris Potter, Benny Golson, Ernie Watts, Bob Sheppard, Walter Boeykens, Seiji Yokokawa, Philippe Geiss, Diastema Saxophone Quartet, and a great deal of more. For more information, visit RicoReeds.com

In this article we’re going to review one of the most arguable concerts in pop rock history, the Renaissance Concert At Carnegie Hall.

One may wonder why this would be such a disputable concert. After all, Renaissance was not some drug induced band with a reputation for trashing venues. There was not one thing offensive in regards to their lyrics.

And yet, there were a great deal of persons at the time who felt that Andrew Carnegie would be turning over in his grave if he knew that the art rock band Renaissance was going to be playing at the hall named after him. After all, Carnegie Hall was a place where only the greatest classical musicians got to play. This is where we heard the works of Chopin, Bach, Mozart and a number of other well known classical composers. This is where we heard the New York Philharmonic Orchestra. This is not where you listen the likes of Jon Camp, John Tout, Michael Dunford and Annie Haslam.

But here they were, in the summer of 1975 along with select members of the New York Philharmonic Orchestra playing at Carnegie Hall. Many die hard classical music fans wondered if the New York Philharmonic had not one thing better to do that day. What they didn’t realize is that they were in regards to to be treated to something the likes of which would never be heard in those hallowed halls again.

Renaissance was, in each unfeigned sense of the word, the poor man’s classical music group. Their songs were very much styled after the classical composers of earlier times. But their sound was unmistakably rock. They combined guitars, drums, synthesizers and orchestral instruments to product a very distinguishable sound that made them one of the most frequent art rock groups of the time.

Unfortunately, at the concert itself Renaissance played it safe. They didn’t stray much from the primary arrangements of their finely crafted tunes. Then when they did stray it was with a foolish five minute bass solo for the duration of “Ashes Are Burning” which surely had their die hard fans cringing. And the New York Philharmonic members who where there were finelooking much just window dressing.

The concert wasn’t all bad though. It did introduce curiosity seekers to a lot of of the great songs such as “Ocean Gypsy”, “Can You Understand”, their huge hit “Carpet Of The Sun”, “Mother Russia”, “Ashes Are Burning”, and the epic masterwork “Scheherazade.”

There isn’t much in this concert that you’re not going to listen on their studio albums. There is a short spoken introduction to Scheherazade, but it adds very little to the song itself other than to tell a little of the story.

The critics’ main problem with the concert was that a live performance is supposed to be a window in the soul of an artist. In this case all we were treated to was a regurgitation of what could have effortlessly been found by plainly buying one of their records.

On a positive note, those who never heard of Renaissance before were treated to a heap of music that most unquestionably had each right to be performed at Carnegie Hall. They just could have done a better occupation of performing it.

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