"4 on 6" 2-5's

The song "4 on 6" by Wes Montgomery is a reharm of "Summertime."  It features several ii-V progressions in a row and I was interested in how Wes tacked soloing over such fast changes.  He uses a lot of repetition, upper structure extensions, and outlines the changes in relatively simple ways.  When you have that many changes blowing by, especially not all from a common key, you have to be pretty straightforward with the harmony.


This the head- you can think of this as playing triads with suspensions -Bb major(sus4) against Cminor.



Here's another example.  Relatively straightforward.


Here he is playing Plays an Eb triad over the Cm which is a common thing to do.  I love the chromatic voice leading from the F in the Eb7 to the E in the Am7.   


Another Eb triad then a kind of pentatonic line.  Some upper structure triad, then an enclosure around the eventual A (9th of Gm).


Another Eb triad, this time with an approach.  The he comes down on one of those suspended triads from the head (Bb over Cm7).  Then upper structure triads, and another suspended triad (G over Am7).  Skips the Ebm7-Ab7, cause who said you need out outline every chord change.


Here's a fun using a repeated melodic minor phrase.  You could think of it as playing a major 7 over the ii or a #11 over the V.  Then a cool augmented run hitting the same interval on the Ebm7.


Bonus:
Similar to the example above, this one is from the live version with the Wynton Kelly Trio, Smokin' at the Half Note.  Using octaves and hitting the same money note- the major 7th over a m7 chord.