Jazz players’ default Pentatonic is the major, whereas in blues it’s the minor Pentatonic. nigel selects specific notes from the scale to highlight the chords – the first note on every change is usually a chord tone.
in the final part of the first chorus nigel goes deeper into the harmony and in bar 9 he plays the first superimposed arpeggio – abm(maj7) over G7 which suggests a G7#5b9 sound. it’s also interesting to point out his approach to the turnaround: often jazz students feel they need to highlight every chord; nigel brilliantly shows how sometimes it’s better to ignore certain chords by playing Bb Blues scale over the last four chords: it works great.
More superimposed arpeggios! nigel plays dm7b5 over Bb7 and then Gm7b5 over eb7. although they are in different keys the concept is the same. The formula is: m7b5 arpeggio starting from the 3rd of a dom7 chord. This highlights the 3rd, 5th, b7, and 9th. saxophonist John Coltrane was fond of this idea, which is now part of the great heritage of jazz phraseology.