I've been working with the Tad Dameron tune "Lady Bird", and have been exploring how to approach the turnaround in measures 3 and 4. Of course there's nothing wrong with using Fm7 to B-flat 7. But I have a transcription (see link below) of Sam Jones playing this (with Horace Parlan), and haven't quite figured out what he is thinking here. In measure 3, for example, he never (at least in these choruses) plays the root (F). Instead, he plays A-flat, B-flat, D-flat, E-flat, sometimes C, plus an occasional chromatic passing note. It's almost as if he's thinking A-flat major to E-flat. It's hard to see how he could be thinking Fm7. And he seems to treat measure 4 more like D-major (using F-sharp rather than F) going to G, never hitting B-flat. I'm really curious as to what others make of Jones' approach to this turnaround (which I think some have referred to as the "backdoor ii-V"). What is he doing/thinking harmonically? A portion of this transcription is posted online. The recording is also available online.