Solo improv help, over Cm7 F7 coda

[RattleSnack]

My main soul band set has one song with Cm7 F7 coda ending (Mr. Magic) and every instrument gets a chance to solo improvise. Band mates love the idea and it puts a great show.
Problem is, they all have jazz background and their solos have certain style and vibe, that I can't replicate with my limited penthatonic blues knowledge. There are no complaints from them, they even commend me when I do better than usual, but i would like to do better.
I am ok with keeping my improv around penthatonic, that's my background and style, but would like to "jazz-it-up" with good jazzy licks.
So, I found backing track on youtube to practise to, and am looking for advice and practical ideas. One example is this lick.
I am open to all sugestions, thank you for reading!

 

[Malcolm1935]

Cm7= R-b3-5-b7
F7 = R-3-5-b7

Instead of using pentatonic notes use notes of the active chord.

Follow the chords and draw your bass line notes from the harmizing chord, i.e, use pentatonic and chromatic notes as lead to notes.

Happy trails.

 

[Groove Master]

The F7 Bebop scale:F-E-Eb-D-C-Bb-A-G-F. Play that over the 2 chords. It is what beboppers are doing.

Your target notes are the f7 arpeggio. F-A-C-Eb. approach each note by a half-step below then a diatonic from above then mix the 2 approachs. When you have a whole step play a double chromatic approach and so on.

Check some bebop lines. You'll find thousands...

Start a line with the Cmin7 arpeggio and resolve on a note from F7 and go down the bebop scale and so on. You'll hear lines

 

[mambo4]

Cm7= R-b3-5-b7
F7 = R-3-5-b7

Instead of using pentatonic notes use notes of the active chord.

you can practice the transition from one to the other as well. Play R-b3-5-b7 on Cm7 and ask yourself where the nearest note of F7 is from that Bb. Then play Cm7 R-b3-5-b7-5, ask where the nearest F7 note is from the G, and so forth.

the 3rd and 7th are generally considered the most important for communicating the chord function. And drastically oversimplified "melodic" = play the thirds.

since your already competent with the pentatonic, you can try targeting those chord tones using Cm pent to navigate between them.

also try C Dorian , targeting those chord tones on strong beats. It's a common go to scale over a iim7-V7.

 

[matthewbrown]

The above comments are good advice. I'd add that using paired triad arpeggios works nicely, too. G - Cmn, F-G, Dmn-Cmn. Practice the arpeggio notes in different orders and using different rhythms. Another nice trick is to fit in open strings with hammer-ons and pull-offs -- your open G string should attract notice.

 

[Groove Master]

The above comments are good advice. I'd add that using paired triad arpeggios works nicely, too. G - Cmn, F-G, Dmn-Cmn. Practice the arpeggio notes in different orders and using different rhythms. Another nice trick is to fit in open strings with hammer-ons and pull-offs -- your open G string should attract notice.

Yes the pairing triads would be a good choice also but in this case it would be Eb-F for both chords !

 

[CallMeAl]

I thought C minor pentatonic sounded great over that. I’d probably eventually wander into C natural minor/ F mixolydian, respectively. I tend to keep my bass solos simple harmonically and rely on repetition, rhythm and space to keep it interesting.

 

[matthewbrown]

Yes the pairing triads would be a good choice also but in this case it would be Eb-F for both chords !

Those will certainly work, but they won't offer as much color or harmonic tension as the Dmn and G triads will.