An extravagantly gifted composer, arranger, and pianist — some considered him a genius — Billy Strayhorn toiled throughout most of his maturity in the gaudy shadow of his employer, collaborator, and friend, Duke Ellington. Only in the '90s was Strayhorn's profile lifted to a level approaching that of Ellington, where diligent searching of the Strayhorn archives (mainly by David Hajdu, author of the excellent Strayhorn bio Lush Life) revealed that Strayhorn's contribution to the Ellington legacy was far more extensive and complex than once thought. There are several instances where Strayhorn compositions were registered as Ellington/Strayhorn pieces ("Day Dream," "Something to Live For"), where collaborations between the two were listed only under Duke's name ("Satin Doll," "Sugar Hill Penthouse," "C-Jam Blues"), and where Strayhorn pieces were copyrighted under Ellington's name or no name at all. Even tunes that were listed as Strayhorn's alone have suffered; the proverbial man on the street is likely to tell you that "Take the 'A' Train" — perhaps Strayhorn's most famous tune — is a Duke Ellington song. Still, among musicians and jazz fans, Strayhorn is renowned for acknowledged classics like "Lotus Blossom," "Lush Life," "Rain Check," "A Flower Is a Lovesome Thing," and "Mid-Riff." While tailored for the Ellington idiom, Strayhorn's pieces often have their own bittersweet flavor, and his larger works have coherent, classically influenced designs quite apart from those of Ellington.