While playing a Jazz progression I was writing, struggling to decide on a melody, "Claire de Lune" kept whispering over the top. It made me think back to when I was a kid and loved listening to orchestrations of Debussy's piano works. Later, I learned how to play them, but was always mindful of the differences between the solo piano pieces and the arrangements for orchestra that were popular in the 1960s. I began playing "Claire de Lune" over my chords. The melody made me expand my chordal progression; the chords began to alter the melody. Then an idea hit: Why not approach the music of the Impressionists as a contemporary Jazz musician? I could explore this connection as I lose myself in the music, spontaneously. Let myself find my own impressions, as if the written notes were light and my imagination was water… Debussy was my grandfather's favorite composer; George Gershwin was my mother's. I have always thought of the two together, not only because of this personal connection, but also because there are many Jazz tendencies that find their harmonic roots in the Impressionist music of Debussy and others. I thought this project would turn into a Jazz collection with Impressionist overtones, and some of these pieces are. But mostly I found myself forging a balance between Impressionism and Jazz, creating a Neo-Classical post-Impressionist hybrid. Some pieces sound like re-arrangements, familiar, yet with a new tonal setting. Some are fresh compositions that merely quote a few known passages. Some are theme and variations, as old and new duel, collaborate. All are Fantasies that explore the intimacy between Jazz and Impressionist music, between myself and my favorite composers. I hope you are able to go back to the originals, to reconnect with them; the contrast will heighten your enjoyment. I know I'll never hear them the same again. The sections of music I've written are embedded within the songs that inspired them. Sometimes, I flip back and forth from the re-arranged score to outright original material, without announcing the change. On occasion, most listeners won't be able to tell. Other times, the break is apparent, intentionally. But, in both cases, the idea is for you to put yourself in my place, let the past and present flow together, experience how one informs the other, and share my sense of homage and creativity. This is one of my main goals. I like to think of some Impressionist music as Pastoral pre-Jazz. Sophisticated modal harmonies and playful improvisation give shape to fluid dissonance, yet avoid the urban agitations and twentieth century displacements (syncopation) that energize much of modern jazz. Sensual music, mythic yet tactile. This poetic essence is what I've tried to illuminate in each of my interpretations, regardless of the genre they fall into. Debussy has been called "the determining factor in the music of the 20th century because of the doors he opened and the restraints he cast aside." That is one of the reasons his works form the core of my explorations. The other reason is my love for his music. Please consider purchasing the physical CD. The liner notes are extensive, mentioning the history of each piece as well as a description of each interpretation. Also, I've paired paintings of the era with each of the pieces to add one more layer of Impressionistic intrigue. The combination of music and art creates a synergy you may appreciate.