ExamplE7 beboP lines over two-chord lydian vaMP
cd track 66
This example toggles back and forth between d maj7 and Cm7 (the ivmaj7 and iiim7 in the key of a ), and as the iv is functioning as the key centre, this could be considered from the perspective of d lydian (r-2-3-#4-5-6-7). it’s possible that rémy is visualising these lines from the parent key’s ii chord, Bbm7, Bb (Bb-C-db-eb-F-G-ab),
along with its associated dorian mode using a device called minorisation. if you like this type of sound and approach, then you really must investigate both the musical and the educational contributions to jazz presented to us by the legendary guitarist, Pat Martino.