In his later style (c.1946 onwards) Reinhardt began to incorporate more bebop influences in his compositions and improvisations, also fitting a Stimer electric pickup to his acoustic guitar. With the addition of amplification, his playing became more linear and "horn like", with the greater facility of the amplified instrument for longer sustain and to be heard in quiet passages, and in general less reliance on his gypsy "bag of tricks" as developed for his acoustic guitar style (also, in some of his late recordings, with a very different supporting group context from his "classic", pre-war Quintette sound). These "electric period" Reinhardt recordings have in general received less popular re-release and critical analysis than his pre-war releases (the latter also extending to the period from 1940–1945 when Grappelli was absent, which included some of his most famous compositions such as "Nuages"), but are also a fascinating area of Reinhardt's work to study, and have begun to be revived by players such as the Rosenberg Trio (with their 2010 release "Djangologists") and Biréli Lagrène. Wayne Jefferies, in his article "Django's Forgotten Era", writes: