NUAGES

On this page I will attempt to list and describe all of Django's recordings of his most famous composition, NUAGES (also known as "The Bluest Kind Of Blues"). Written and first recorded in the autumn of 1940 NUAGES became the best known and probably the most played of all of Django's large output as a composer.
The war had begun and Django had left Stephane in England and returned to France to play and record with various personnel during the winter of 1939 and the first half of 1940. By this time Django was becoming anxious to reform the quintet and since Grappelli was not available it was thought that the new line-up should be clarinet, two guitars, bass and drums. Django had been impressed by the playing of saxophone and clarinetist Hubert Rostaing and went into the studios on October 1st 1940 to record six tracks, one of which was NUAGES. Django was to record this tune a total of at least 13 times between October 1st 1940 and his death in 1953:

1/10/40 - QHCF - Paris - Hubert Rostaing (cl), Django & Joseph Reinhardt (g), Francis Luca (b), Pierre Fouad (d).
CD Releases: Fremeaux FA 310, Classics 831, Jazz Time 790560-2

The first ever NUAGES! Perhaps not the immediate success that Django had hoped for, this version remained unnissued for many years. Rostaing was uneasy with the piece and it showed right from the slightly incongruous introduction which was taken just a little too fast when compared with all other subsequent versions. The ensemble settles down to a reasonable tempo and after a statement of this beautiful new melody by the clarinettist, Django plays a chorus which promises better things to come. The reason for this, the first version, being suppressed for so long (40 years?) is not immediately obvious and surely has little to do with Django's contribution, but probably is more to do with Rostaing's uneasiness with the whole thing and Django's wish for a more orchestral sound. The last chorus is the now familiar paraphrasing of the melody which proves that this composition came fully formed in 1940 and only improved with age.............

13/12/40 - Paris - QHCF+ - Hubert Rostaing (cl), Alix Combelle (cl,ts)
Django & Joseph Reinhardt (g), Tony Rovira (b), Pierre Fouad (d).
CD Releases: Fremeaux FA 310, Classics 852, Affinity AFS 1003, Jazz Time 252707-2, Music Memoria 31005(Twice!), EMI 780671-2, Jazz Archives 157222, EMI 746 5012, RDC 40032, Suisa JZCD 376, Blue Note CDP 7243837138-2

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....................

8/5/42 - Brussels - Stan Brenders et Son Grand Orchestre feat. Django Reinhardt
Fremeaux FA 311, Classics 877, Verve 513 947-2, HEP 1041

Two years later Django, always the innovator, went into the Studio Sobedi in Brussells with a large dance orchestra and his own arrangement of NUAGES. Gone is the introduction, which gave Rostaing and Co. so much grief, replaced by a more fitting intro by Django which sets the scene for an almost symphonic version of his famous melody. Accompanied by the rhythm section and violins Django weaves a tapestry of carefully selected runs, returning to base only rarely throughout the first chorus. The brass section takes over for a while and Django seems to take care not to try to play over the top. He returns for an amazing coda bringing the whole thing to a close................

1/2/46 - London - "QHCF" - Stephane Grappelly (v), Django Reinhardt, Jack Llewellyn, Allan Hodgkiss (g), Coleridge Goode (b)
DR 10028-1 Nuages Fremeaux FA 313, Classics 945, Verve 516 931-2.
DR 10028-2 Nuages (no intro) Decca 820 591-2.
DR 10028-2 Nuages (with intro) Fremeaux FA 313, Comet MCPS CD 433150

Django and Stephane were reunited in London in February of 1946 and recorded eight titles together which included the joyful Echoes of France as well as NUAGES. Delaunay's original discography listed only one take of Nuages but it later became known that two takes were recorded. The sleeve notes of London CD 820 591-2 show that Take 1 was issued in September 1947 backed with Loves Melody but that Take 2 was not issued until February 1964 on a Decca LP ACL1158. Grappelli seemingly was as uneasy with the introduction as Rostaing had been in 1940 and on both the Decca LP and the London CD the intro was ommitted (take 2). Daniel Nevers, in his sleeve notes to Fremaux FA13, states that Take 2 was issued on the original 78 but that Take 1 was issued, probably by mistake, on a few records. However it is the music that counts and what we have here is the opportunity to hear Django on consecutive takes of the same melody. Legendary players such as he never disappoint! We are treated to two completely different and extraordinary solos showing that Django and Stephane had the ability to bring out the best in each other whenever they recorded together.  On Take 1 Django begins his solo with one of his show stopping phrases followed by a run which starts low down on the sixth string and ends high on the first. Someone once asked Django to demonstrate this and after a few attempts to figure out what happened in between could only be certain that SOMETHING happened, but he knew not what! Django goes on to construct the most delicate of solos suitable for this melody. The rest of the track is standard arrangement and Stephane does not solo. The solo to Take 2 begins, similar to the December 1940 version, in harmonics. The remainder of the solo is just as delicate and beautiful as Take 1, but completely different. The genius that was Django....................

25/8/47 - Paris - Souvenirs de Django - Django Reinhardt (g), Maurice Meunier (cl), Eddie Bernard (p), Eugene Vees (g), Emmanuel Soudieux (b), Jacques Martinon (d)
Classics 1046, Vogue 228E 6006, Kardum GLO 139

Between September and November of 1947 Django recorded 59 tracks for RTF, the French Radio Station. The majority of these titles were played on the electrified instrument but a few early tracks were on the acoustic guitar. NUAGES was one of these. The pattern is the same, except that there is no introduction; the clarinet launches straight into the melody. Django is more aggressive on this outing than on the previous session and the improvisation seems to have little or no spaces. The changes are less obvious and I wonder if Django's exposure to American musicians over the previous couple of years was beginning to have an effect. One of the best so far.........

Dec 1948 - Concert in Brussels - Hubert Rostaing (cl), Django Reinhardt (g), Henri "Louson" Baumgartner (g), Louis Vola (b), Arthur Motta (d)
Vogue 228E 6009, RCA 74321 237692

This concert from 1948 is one of the few 'live' recordings of Django playing in front of an audience. The format is familiar - intro played by clarinet and guitar followed by melody on clarinet. Django's solo begins with the harmonics followed by the chromatic runs now familiar. Less bopish than the previous version, but our hero seems, briefly, to lose his concentration near the end.................

Jan-Feb 1949 - Rome - Django Reinhardt (g), Stephane Grappelly (v),Gianni Safred (p), Carlo Pecori (b), Aurelio de Carolis (d)
BGO CD 198, Jazz Time 827447-2

In 1949 Django and Stephane played at the 'Rupe Tarpea' nightclub in Rome with an Italian rhythm section consisting of piano, bass and drums. While there, a large amount of material was recorded for an unknown lover of their music. Django apparently recorded two versions of NUAGES at this time although only one version has ever been released. The results of these sessions (along with the 1950 Rome recordings) remained in a vault in Rome for many years; a total of around 100 tracks were released. The first NUAGES recorded in the 1949 sessions produced one of Django's masterpiece recordings. Stephane does no more than play the melody on the first and final choruses (no introduction) but in between Django displays his magical improvisational skills on acoustic guitar - he never played the amplified instrument in Stephane's company (on record). It could be argued that this was one of the maestro's finest performances to date on any recording - not just on NUAGES. The second recording of NUAGES from this session remains unissued.............

25/10/49 - Radio Geneve - Django Reinhardt (elg), Andre Ekyan (as,cl), Francois Vermeille (p), Jean Bouchety (b), Gaston Leonard (d)
Vogue 228E 6010, Vogue 600121, Vogue 668003, Vogue 670205

Once again a series of recordings, this time for Radio Geneve, remained forgotten for 30 years and contained a version of NUAGES. With Ekyan on clarinet and Django on electric guitar the contrast between this and the previous recording could not be greater. Django seemed very comfortable with the electric instrument at this time and displayed none of the distortion evident on later recordings. The pattern is the same and Django both starts and finishes his solo in harmonics. The feeling of the whole recording is one of subtlety and the impression given is that the musicians could have been playing after hours in a deserted club to wind down after a hard set.......

1950 - Rome - Django Reinhardt (elg), Andre Ekyan (as,cl), Ralph Schecroun (p)
Alf Masselier (b), Roger Paraboschi (d)
RCA ND 70929-2

Almost a duplicate of the previous version but perhaps a little less subtle. Harmonics to start the solo but not to close it out. The sound of the electric guitar is a little more metalic but not unacceptably so. If you are one of those who believe that Django's best work was done on acoustic, please give the recordings from this period a listen. You owe it to yourself! ...................

10/2/51 - Paris - Django Reinhardt (g), Bernard Hullin (tpt), Hubert Fol (as), Raymond Fol (p), Pierre Michelot (b), Pierre Lemarchand (d)
Vogue 228E 6010, Vogue LP (NEC Plus Ultra 502008)

The addition of sax and trumpet help to fill out the melody on this version from 1951. One of the few live recordings, this time from the Club Saint Germaine-des Pres in Paris. On electric guitar once again, Django dominates the proceedings after the initial statement of his theme. Harmonics for a full sixteen bars and then a beautiful unforced solo which doesn't stray too far from the original melody. An interesting feature is his use of octaves in the closing chorus.............

1951 - Paris - Film Soundtrack - Django Reinhardt (g solo)
Jazz Time 789952-2, RCA 74321 237692

Almost six and a half minutes of solo guitar improvising on a theme of NUAGES. Incredible virtuosity! I remember hearing Joe Pass, to whom a lot of people credit the invention of solo Jazz Guitar, say that early on in his solo career he looked at his watch and realised that six minutes had gone and he had already played three tunes!

Two solos were recorded (for an unreleased film?) the second being an equally incredible Belleville - Solo! Django's improvisations are all works of art and this one on the theme of NUAGES is no exception. to try to describe it is impossible - it has to be heard to be believed.................

10/3/53 - Paris - Django Reinhardt (elg), Maurice Vander (p),
Pierre Michelot(b), Jean-Louis Viale (d)
Verve 835418-2

So we have come to the final recording of NUAGES in March of 1953. It's Django all the way. No other instruments to play the first chorus, we are treated to Django's interpretation of the theme as well as what is, without doubt, his finest ever performance of NUAGES. His undoubted virtuosity and mastery of the instrument, whether it be acoustic or electric as in this case, shines like a beacon.  This recording says it all for me. Truly a master of the guitar, the legend that is Django and his most famous composition, NUAGES, will live on for a long time to come.

If you know of any other recordings or of any vocal recordings of "The Bluest Kind Of Blue" please let me know and I will add them to the list.