Chord Turnaround with Upper Note Chromatic Line and Middle Pedal Point

I'm learning that the key tp interesting playing is to explore not a single concept at a time, but two or three concepts at once.  The concepts can be harmonic or rhythmic.  An example of playing multiple concepts at once could be playing triad pairs in a hemiola rhythm (while standing on your head).  Below I have created a chord turnaround lick which combines a pedal point and descending chromatic line.  The result is a cool effect where you get the sound of both movement and stability in the line, while the chords are reharmonized along the way.

I came upon this tonight as I was relearning the head to "Autumn Leaves." It was once of the first I learned and I have since forgot how to play it (also I wanted to jam on it because it is currently fall).  I came upon the turnaround and wondered if I would approach it in a new way after my Rhythm Changes harmonization study (see previous blog post).  I created a chord turnaround which combines a middle pedal point (the B) with a descending chromatic line on top (E to C).  The original changes are Em7-Eb7-Dm7-Db7-CM7.  With the static note you keep the tritone subs but reharmonize to get an augmented 7th and minor 6th sound.  While the CM7 has a tone clash (C and B a half step apart in the same octave), it sounds logical given the continuation of the chromatic descent with middle pedal point pattern.  Check it out below.

"Autumn Leaves" Turnaround in C.  Bass note optional.