Tom Hicks said:
This technique is part of what is known as the "reed style" of guitar playing (first brought forward by Charlie Christian), where you try to emulate the way horn players organise their improvs.
I'd like to here you play this tune after you trascribed and played along w/5 horn solos of it. Charlie Parker, Chet Baker, Sonny Stitt, Coltrain, and Miles.
There are many ways to manipulate diatonic, altered and symetrical diminished scales in a traditional fashion that would allow you 'out of the box'.
Poelerts methods are interesting but must be thoroughly mastered so that the ' triggers 'are inate. Without this kind of mindless playing , the resulting improvisation could tend to sound restrained.
You are doing a nice job in your development of this technique in the guitar work.
I don't like the doubled lead at all. Yes, jazz is supposed to be free, but from a professional point of view, this simply does not work.
I wouldn't have walked the bass until the solo, it's also to way to out front in the mix.
Piano voicings need more tensions...b9, 9 #9. 11, #11, b13 and 13. Comping is in need of the Steve Gad Rule..."Less is best" & could be less legato and more staccato.
Drums need serious attention. Fills and snare/cymbal accents are greatly needed.
Good luck in your studies. Your guitar work is indeed cool!
peace,
Ralph