From 1991 onwards she released several albums. The first ones were as a quartet, with saxophonist Kurt van Herck on Nymphéas, dedicated to melodic lyricism, with Lee Konitz on Discoveries with a repertoire of great classics, and with Jeroen van Herzeele on the fiery Dance or die. After that came the trio, with Sal La Rocca and Hans van Oosterhout, which recorded Walking through walls and Silent Spring. The noughties saw her turn to other formulas: her trio was extended, with Laurent Blondiau on trumpet and Frank Vaganée and Kurt van Herck on saxophones, on the album Tombouctou. The recording L'Arbre pleure saw her play with more Arabic tones, utilising the oud of Karim Baggili and the clarinet work of the Italian Gianluigi Trovesi. Moments d'éternité was a very lyrical affair, with trumpeter Bert Joris and a string quartet. She then returned to the trio format, in the company of Philippe Aerts and Rick Hollander, for Les Trois Petits Singes in 2012. Alongside her own albums Loriers has also played in a multitude of other projects, especially the Brussels Jazz Orchestra, with whom she has recorded over ten albums and through which she met Joe Lovano, Dave Liebman, David Linx and Maria João.
In 2013, the Gaume Jazz Festival, as part of the Jazz au féminin project, gave her Carte blanche to put together an original lineup. Very quickly the choice fell on Dutch saxophonist Tineke Postma, a pupil of Dave Liebman: "Tineke had already offered me dates which I had not been able to accept. I had not re-listened to her discs much: I did not want to allow myself to be influenced by her compositions, but just keep her sound in my mind so that I could launch into writing. Her alto sound reminded me of Lee Konitz and the Tristanian world. Her soprano sound is reminiscent of the work of Wayne Shorter, with whom she has also rubbed shoulders." Whilst she has played with an impressive series of drummers, from Al Levitt to Rick Hollander, Aldo Romanon and Joost van Schaik, Nathalie Loriers chose a drum-free configuration: "Without drums, there is space. In terms of rhythm, we can construct grooves together". Philippe Aerts completes the trio on double bass.
The debut at the Gaume Jazz Festival was such a success that Rik Bevernage from the label W.E.R.F. decided to produce a live recording: Le peuple des silencieux. Alongside the classic ‘How deep is the ocean’ it contains five original compositions which combine melodic lyricism (‘Canzoncina’ dedicated to Enrico Pieranunzi, ‘Le peuple des silencieux’ in memory of Charlie Haden, and ‘Lennie knows’ inspired by L. Tristano) with fiery grooves (‘Funk for fun’ and ‘Dinner with Ornette and Thelonious’). For the trio's second album, We will really meet again, there was a change of personnel: on the double bass we find Nicolas Thys, who has in-depth experience of working with pianists (Kris Defoort, Ron van Rossum, Alexi Tuomarila and the American Bill Carrothers, with whom he recorded A Night at the Village Vanguard). "Nic assimilated the essence of my compositions really well and, knowing the quality of his sound, I thought that he had enough power to make up a drum-free trio". Alongside ‘Luiza’, the wonderful melody of Antonio Carlos Jobim, the album consists of six compositions and three "improvised miniatures" of widely varying styles: themes with a Brazilian feel to them (‘Dançao’), melody gorged with emotion (‘We will really meet again’, a nod to Bill Evans), short improvised moments (‘Remembering Lee’, an undisguised dedication to L. Konitz), and fiery swing (‘Take the cake’). This trio perfectly captures the very essence of the talent of Nathalie Loriers, a pianist and composer entirely dedicated to melodic, lyrical music, but also the real science of rhythm and harmony.