Interesting sound on Satin Doll

[Mattia]

Hello there! I am a new member of this forum. I started studying jazz recently and now I am trying to apply on the tune Satin Doll the 2 5 1 concepts. My difficulty is that after a while it sounds boring to me. I studied Wes M. solos but sometimes it is really difficult to me to understand the cocepts behind the solos, especially with all the alterations. I use the dorian, mixolydian ionian modes as well as arpeggios and major7 arpeggios starting from the third of minor7 chords( in this way I will play 3,5,7,9) and the same with semi diminished arpeggios starting from the third of 7 chords. Can anyone tell others way to make sound the tune more interesting and more Wes M.?
sorry about my English guys.

[bobby d]

The 2,5,1 changes are only during the B part of the song. During the Dmi, try an ascending FMaj7 arpeggio, then go down chromatically. At Emi, (don't know the scale name) try E, F, G, A, Bflat, then go back down on the same notes.

A little difficult to explain in text

[pairoducs]

Are you familiar with the concept of "outside notes"? Satin Doll passes through several keys, but lets use the Main key of "C" as an example. Dm7, G7 and CMaj7 all fall in this tonal center and would use the same notes:

C,D,E,F,G,A,B .. these are the inside note. I do not think Dorian, Mixolydian, Ionian when I play over this kind of change, but rather think of the chord tones and use the other "inside notes" of the tonal center as well.

Outside notes I like to use come in pairs. The b5/#5 of the V7 chord for example. I use these over both the IIm7 chord and the V7 chord, and sometimes even a little over the I chord (but you need to resolve to a tonal center note). I remember the b5 as it is a nice half step connector note to the ii chord. Once you get this sound in your head you can add these kind of outside notes to give some added tension to your lines.

I could provide more examples but I do not want to be redundant to what others already understand.