Why the songs of Gabriel Fauré in a classical jazz piano trio/quartet setting? As composition teacher and mentor of Maurice Ravel, who was to exercise such a strong influence in jazz harmony (please refer to Miles Davis’ autobiography for indications of the extent to which Bill Evans studied him! Myriads of pianists follow suit), the Treya Quartet feels that Gabriel Fauré’s songs were just waiting to revel in a Ravellian treatment! In a way, the songs have it in their inherent nature to imply the open structure and characteristic sound of the impressionist harmonies that were to come after Fauré. In this sense, it is safe to say that Fauré was the «father» of Debussy and Ravel. The Treya Quartet is convinced that, by lending these songs a «jazz sound», a very simple and natural procedure has been implemented which was anyway about to happen in the magical history of French music. This «French feel» in the jazz chords actually enhance the beauty, simplicity and purity of Gabriel Fauré’s melodic lines. They’re ideal songs for ballad arrangements. Music history and the evolution of the chord that was to succeed Fauré in France, from Erik Satie, Maurice Ravel and Claude Debussy via Olivier Messiaen right up to the present day, was to encourage us in our search for authenticity.