{"id":1542,"date":"2008-12-03T11:31:10","date_gmt":"2008-12-03T19:31:10","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1542"},"modified":"2008-12-03T11:31:10","modified_gmt":"2008-12-03T19:31:10","slug":"take_ten","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/12\/take_ten\/","title":{"rendered":"Take Ten"},"content":{"rendered":"<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"Take Ten.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/Take%20Ten.jpg\" width=\"110\" height=\"110\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" \/><\/span>Michael Ricci, the proprietor of the <em>All About Jazz<\/em> web site, asked me to contribute (in the true sense of the word) something about &#8220;Take Ten,&#8221; the piece Paul Desmond hoped would become as big a hit as its predecessor, &#8220;Take Five.&#8221; Michael and I worked together to adapt a substantial portion of the chapter of my Desmond biography that deals with &#8220;Take Ten.&#8221; <em>AAJ<\/em> put it up today, with a bonus in the form of illustrated audio of Desmond, Jim Hall, Gene Cherico and Connie Kay playing &#8220;Samba de Orpheu&#8221; from the <em>Take Ten <\/em>CD. <a href=\"http:\/\/www.allaboutjazz.com\/php\/article.php?id=31289\" target=\"_blank\">By clicking here<\/a>, you will find all of that, complete with a link to the publisher of <em>Take Five: The Public and Private Lives of Paul Desmond<\/em>, who would be happy to sell you a copy and throw in free shipping. Christmas is coming. The book wraps beautifully. <\/p>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Michael Ricci, the proprietor of the All About Jazz web site, asked me to contribute (in the true sense of the word) something about &#8220;Take Ten,&#8221; the piece Paul Desmond hoped would become as big a hit as its predecessor, &#8220;Take Five.&#8221; Michael and I worked together to adapt a substantial portion of the chapter [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1542","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1542"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1542\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}