Take Ten was Desmond's follow-up composition to Take Five, for the Brubeck Quartet a hit record and for Paul a dependable annuity that is still producing considerable income for his estate. The bassist for the title tune of Desmond's second RCA album is Eugene Wright, fellow Brubeckian and shaman of 5/4 time who, in the early sixties when 5/4 was Sanskrit to most jazz musicians, would hold little counting seminars backstage: "1,2,3/1,2," he would instruct the locals, "that's the only way you can keep track of it until it becomes natural." In Take Ten, it is obviously natural to Gene. Desmond is misterioso, Near-Eastern and bluesy. Jim Hall was one of the first American musicians to return from Brazil with news of bossa nova, that felicitous melding of samba and harmonies from the French impressionists and jazz. Desmond saw deeply into its beautiful possibilities. His El Prince is heard in two versions, with drummer Connie Kay in a complex samba pattern. The second take (which languished in a tape box for two decades) is a tad slower and has forceful Desmond, a buoyant solo by Hall and intriguing bass lines by Gene Cherico. At least one hearing of Alone Together can profitably be spent concentrating on Connie's snare accents and cymbal work, little kicks of encouragement. Paul, at a fairly good clip, marries relaxation and irresistible swing, especially in his second solo. Jim quotes Dizzy Gillespie's Anthropology and in the bridge of his second solo chorus has the kind of