Thoughts on the Jazz Melodic Minor Scale

[Reg]

When I pull from or use MM... I tend to use in more of a modal interchange style....once I introduce, all chordal or melodic uses are available.
Example... If Bb7 is going to Ami7. I decide to make Bb7 ....Bb7 Lydian b7,
I now have access to standard tritone sub or E7alt, but I also have access to use any chordal or melodic structure built from that collection of pitches...which is harmonically from F melodic minor and any degree of.

That same process would apply to any other choice of that Bb7.

I don't solo with chord tones and then add chromatic notes in the standard method that most seem to preach on this site.
For me personally....Every note comes from a harmonic structure. Every note can be voiced with a complete structure. I pull most of my Blue notes from Melodic Minor, which have complete harmonic implications or from chordal structures constructed from blue note additions to typical jazz practice harmonic implications.
I tend to use MM in more of a modal style.... Not typical CPP functional applications. Obviously not always... But at least 75% of the time.

There is a big difference between practicing licks which imply different modal styles of melodic minor and then actually playing live jazz. Just as you generally don't beat the ears silly with Blue notes when implying a blues feel over any jazz standard or any tune... You also generally don't pound out melodic minor licks when implying through modal interchange or what ever system your using to introduce MM. As with anything... There is alway balance.
Reg

[monkmiles]

Found a good lesson on Lydian Dominant mode of the Medlodic Minor scale as I've ben trying to work it into my playing over dom7 chords:

[AlsoRan]

More good stuff AL and Reg!

HallPass, I have been wanting to here a lot of music with just that Lydian Dominant sound since so many here on the forum speak well of it.

Thank you.