Barry, another masterpiece. This one really brings home your mantra about being true to the melody of a song. The melody dictates everything in this song. The dorian sequences was such a valuable insight. I actually did some research and found this excerpt here: https://www.jazziz.com/a-short-history-of-ceora-lee-morgan-1965/

Jeffrey S. McMillan writes in his book DelightfulLee: "The Life and Music of Lee Morgan, that the song’s “beautiful melody jumps and soars over a relaxed harmonic rhythmic context of elegant sophistication,” and that “many students of the music to living legends like Harold Mabern and George Coleman continue to perform it regularly.” McMillan also interestingly traces the origins of “Ceora” back to the ballad “If Someone Had Told Me,” composed by Peter De Rose and Clarence Tobias, who were popular songwriters of the 1940’s and 1950’s."
I can't verify the claim, and I always think we probably overanalyze the motivations of some of the greats. Who knows? Lee was probably just exploring changes without being academic. Anyway, the result is what counts, and, as usual, you did it justice and showed it for what it is . . . a beautiful classic. Thank you.

I found the same history on Ceora. Always wonder where a tune's title comes from but still don't know. Anyway, one thing that I note in Lee Morgan's version is that he sticks with the scale tones on the G7 (measure 14). Barry makes the Eb sound quite good there but it's not in the original - as far as my ear can tell it's an E natural (and my lead sheet says that too). The following two ii-V's introduce some color on the dominant chords. Anyway, both ways on the G7 sound great. That's the beauty of jazz.

Hi Barry, I couldn't find the lesson on Ceora this morning. Has is been taken down?

Okay... found it. But when I did a search for Ceora I received a Not Found notice. False alarm... sorry.