The Strayhorn is not on Spotify but I came to the same conclusion.
Stanley lived not far from me before he moved full time to America. The Felsted sessions are my jazz bedrock.
He was always kindly toward the spotty youth who asked too many questions.
Classic…
Dave
Very very good, im my opinion even better than Going Up, that I like too
Stanley is our guest this morning.
A modern jazz pianist with a good left hand.
Much to admire on Quobuz or Spot.
As ever the Concord sound and mastering is/was admirable.
N
Just listened to the Bill Mays one … thanks for recommending @narcom ; very nice and sounding a bit “Bill Evans like”, not?
Iver
My bedtime lullaby.
I see that Barry Green’s Turn left at Monday is now on Qobuz.
Strangely filed under Dave Green.
Often vocalist Ian Shaw’s accompanist but a fine soloist in his own rite.
Fran Landesman’s Ballad of the Sad Young Men would be my choice.
N
@narcom @bpou Enjoying your Bill Mays recommendations. Qobuz/Roon highlighted another album, with the same personnel, worth checking out…
Also, Bill Mays Maybeck recital…
Not sure about the jumper though. 
Enjoy
Dave
Its Val Doonican 
This is an interesting release from Jazz in Britain:
Discussed by Richard Williams on his Blue Moment blog and reviewed in the Observer last Sunday.
Picked up an LP copy of that one. Quite a find !
One of his best - on a Vocalion CD.
The just released album Moon Day by Binker Golding on sax, John Edwards on Bass and Steve Noble on drums
Wonderfully creative free jazz. Enjoying the download whilst awaiting the vinyl delivery.
Streaming on Tidal
My inbox tells me this is a forthcoming Tone Poet Blue Note LP
Not heard this one before, from 1961 and pleasingly a bit more varied stylistically than the usual Hard Bop fare.
Art Blakey & Jazz Messengers - The Witch Doctor
Into the third year of utilizing late-'20s superstars trumpeter Lee Morgan and tenor saxophonist Wayne Shorter on the front line, Art Blakey’s Jazz Messengers were showing a progressive compositional stance, mostly due to the emerging creativity of Shorter’s sharply off-minor ideas. Pianist Bobby Timmons, a peer of the front liners, is swimming somewhere in the middle of this stylistic lake, exhibiting soulful backstrokes, straight-ahead sprinting, and the angular chordal complexities or sudden changes any potpourri of modernities might offer. Faithful bassist Jymie Merritt, no young pup at the time (seven years Blakey’s junior) is solid, unspectacular, and right where this band of stars needed him to be. Writing chores continue to be split evenly between the horn players, but Shorter’s pieces are distinct with a difference. “Those Who Sit and Wait” is a classic hard bop line with opposing non-sequitur melody/harmony cross sections, while “Joelle” sports two piano chords from Timmons leading to unusual phrasings, but still in a hard bop stance. Morgan contributes the title track and an alternate take with its typical and reliable hard bop shuffle buoying quirky horn and piano exchanges, and the spectacular “Afrique” with a 6/8 modal, choppy clave Latin beat merging to easy swing from the heavy tenor of Shorter – the best of three worlds. Timmons contributes “A Little Busy” which is not far removed from the soul-jazz he is known for, a fun and funky groove biscuit where the pianist is truly in his element. “Lost & Found,” penned by Clifford Jordan, showcases the straight-ahead signature sound the Jazz Messengers mined for decades – upbeat, happy and tight. Whether this was or was not the pinnacle for this great band is still up for debate, but it assuredly ranks with Blakey’s personal best aside from the popular album Moanin’ of the same time frame.
