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1940 December 13 - Swing, Paris Django was not happy with his first attempt at NUAGES and when the quintet returned to the studios for another session he also called on Alix Combelle. In the Delauney biography of Django, Combelle recalls an original idea which emerged: "With a single clarinet Django couldn't get the effect he was after; it was the typical quintet sound. Now, with two clarinets he had the makings of an orchestra at his disposal and even succeded in in giving the impression of a much larger group". On this session 14 tracks were recorded and on Nuages the presence of the two clarinets is only obvious on the introduction and the standard last chorus. The tempo was adjusted to a more reasonable pace and by the time Django begins his solo the feeling is that this is more successful. The guitar solo here begins with eight bars played in harmonics proving that Django was a guitarist ahead of his time. (It is a reminder that fifteen years after this recording Tal Farlow was to make extensive use of harmonics part of his vocabulary, albeit with the help of amplification). Django's solo continues with immaculate runs that always imply the the original melody through the chord changes. The last chorus is enhanced by the addition of the second clarinet and the feeling is that Django could now be satisfied that his new conception is a success after all. - David Gould