Take Ten
Take Ten is a jazz album by American alto saxophonist Paul Desmond, released in 1963 by RCA Victor.[1] Recorded in New York City between June 5 and 25, 1963, at Webster Hall Studios, the album features Desmond leading a quartet with guitarist Jim Hall, bassist Gene Cherico (and Eugene Wright on one track), and drummer Connie Kay.[2] It showcases a blend of cool jazz and bossa nova influences, with the title track reworking the rhythm of Desmond's earlier hit "Take Five" into 10/8 time.[3] The album's cover art, featuring a high-contrast black portrait of Desmond against a watercolor background, was designed by Andy Warhol, who was commissioned by RCA in May 1962 for $206 but not credited on the release.[4] Emerging during the peak of the bossa nova craze, Take Ten includes Latin-inspired tracks like "Samba de Orfeu" and "Theme from 'Black Orpheus'," alongside standards such as "Alone Together" and "Nancy."[3] Desmond's airy, melodic saxophone lines pair seamlessly with Hall's subtle guitar work, creating an intimate and sophisticated sound that highlights their long-standing musical rapport.[5] Critically acclaimed for its elegance and innovation, Take Ten is often regarded as one of Desmond's standout solo efforts outside his Dave Brubeck Quartet tenure, earning praise for its refined improvisations and rhythmic experimentation.[6] The album has maintained enduring popularity in jazz circles, with reissues and compilations underscoring its influence on cool jazz and bossa nova fusion.[7]Background and production
Historical context
Paul Desmond, renowned for his lyrical alto saxophone playing, gained international prominence as a key member of the Dave Brubeck Quartet, where he contributed significantly to the group's innovative explorations of unconventional time signatures. His composition "Take Five," featured on the Quartet's 1959 album Time Out, became a landmark in jazz history, achieving unprecedented commercial success as the best-selling jazz single of all time and introducing millions to cool jazz sensibilities.[8] This track's enduring popularity, driven by its 5/4 meter and Desmond's melodic improvisation, established him as a compositional force beyond the Quartet's collective sound.[9] By the early 1960s, the U.S. jazz scene was swept by a bossa nova craze, sparked by Stan Getz and Charlie Byrd's 1962 album Jazz Samba, which popularized Brazilian rhythms among American audiences and led to widespread adaptations in jazz recordings. This trend intensified with the 1964 release of Getz's collaboration Getz/Gilberto with João Gilberto, further embedding bossa nova's gentle, syncopated grooves into mainstream jazz. Desmond, attuned to these developments, drew inspiration from the genre's relaxed elegance, incorporating Brazilian elements to infuse his work with a fresh, international flavor amid the evolving post-bebop landscape.[10][11] In 1963, Desmond transitioned from Columbia Records—home to the Brubeck Quartet—to RCA Victor, marking his debut as a leader on a major label with a small-group format distinct from the Quartet's piano-driven ensemble. This shift allowed him greater artistic autonomy, enabling Take Ten to emerge as his first dedicated solo album in this intimate setting. Conceived explicitly as a sequel to "Take Five," the project sought to recapture that track's laid-back, melodic essence through collaborations like the one with guitarist Jim Hall, whose subtle chordal support complemented Desmond's airy phrasing.[12][7][3]Recording sessions and personnel
The recording sessions for Take Ten took place at Webster Hall in New York City on June 5, 10, 12, 14, and 25, 1963.[13] These sessions were produced by George Avakian, a pioneering jazz producer renowned for his work with Miles Davis, Louis Armstrong, and Dave Brubeck, who guided the project to accentuate Paul Desmond's characteristic light and airy alto saxophone tone.[14][15][7] The recording engineer, Ray Hall, managed the technical aspects to preserve the quartet's intimate and nuanced sound.[16][17] The core personnel included Paul Desmond on alto saxophone for all tracks and Jim Hall on guitar throughout; Gene Cherico played bass on tracks 2 through 8, while Gene Wright handled bass duties on track 1; Connie Kay provided drums on every track.[2][18] Session documentation indicates that multiple takes were captured during these dates, with several alternate versions later featured in reissues such as the 2004 Mosaic Records box set.[5] The recordings prioritized the spontaneous and exquisite interplay between Desmond and Hall, fostering a relaxed yet intricate group dynamic.[12][19]Musical content
Style and influences
Take Ten establishes a foundation in cool jazz, infused with bossa nova elements that lend a subtle, rhythmic warmth to its overall sound. Paul Desmond's signature alto saxophone tone—often described as dry and floating, evoking the lightness of a dry martini—floats effortlessly over understated rhythms, creating an airy and introspective atmosphere characteristic of the cool jazz idiom while incorporating the gentle sway of Brazilian influences.[20][3] Key influences on the album draw from Brazilian music pioneers, particularly through adaptations of compositions associated with Antonio Carlos Jobim, such as "Theme from 'Black Orpheus'" and "Samba de Orfeu," which integrate melodic lyricism and syncopated grooves into the quartet's palette. Guitarist Jim Hall's chordal work further echoes João Gilberto's pioneering bossa nova style, providing harmonic depth with sparse, intuitive comping that complements the ensemble's transparency.[12][3] The album's structure comprises eight tracks, including three originals by Desmond, that prioritize melody and spacious arrangements, with improvisational sections kept concise at 3–7 minutes to enhance accessibility without sacrificing depth. Notable techniques include the title track "Take Ten," which employs 5/4 time as a playful nod to the earlier "Take Five," but infuses it with a more Latin-flavored swing for added buoyancy. The interplay between Desmond's saxophone and Hall's guitar generates transparent, airy harmonies through contrapuntal exchanges, emphasizing empathy and restraint over dense solos.[12][3]Track listing
The original 1963 LP release of Take Ten was issued in both mono (LPM-2569) and stereo (LSP-2569) formats by RCA Victor, featuring eight tracks divided across two sides.[21][22]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| A1 | "Take Ten" | Paul Desmond | 2:59 |
| A2 | "El Prince" | Paul Desmond | 3:20 |
| A3 | "Alone Together" | Arthur Schwartz, Howard Dietz | 6:46 |
| A4 | "Embarcadero" | Paul Desmond | 3:56 |
| B1 | "Theme from 'Black Orpheus'" | Luiz Bonfá, Antonio Maria | 4:07 |
| B2 | "Nancy (With the Laughing Face)" | Jimmy Van Heusen, Phil Silvers | 5:58 |
| B3 | "Samba de Orfeu" | Luiz Bonfá, Antonio Maria | 4:14 |
| B4 | "The One I Love (Belongs to Somebody Else)" | Isham Jones, Gus Kahn | 5:31 |