Bar 1, chord Fmaj7 – phrase on Fmaj7

Bar 2, chord Ebmaj7– phrase on Eb major

Bar 3-4, chord D7 – phrase D major
Bar 5-6 Gm7> phrase on Gm9 arpeggio, then Dm7 arpeggio
Bar 7-8 , Bbm7, Eb7> Phrase on Eb mixolydian
Bar 9, chord Am7 > A minor pentatonic phrase
Bar 10, chord Dm7 minor harmonic scale
Bar 11, chord Gm7> G dorian
Bar 12, chord C7 > C mixolydian
Bar 13, chord Em7b5, A7alt, > F major scale
Bar 14, chord Bb13, Ab13, G13 > G major phrase
Bar 15, chord Gm7,Am7 > A natural minor phrase
Bar 16, chord Bbm7, C7 > Bb dorian, Ab major
Bar 17 chord Fmaj7 > F major scales with crhomatic descendant passage between D-C
Bar 18 chord Ebmaj7 > arpeggio Ebmaj7
Bar 19,20, chord D7 > D diminished arpeggio
Bar 21, chord Gm7 > arpeggios on Gm
Bar 22, chord Gm7 > F mixolydian phrase
Bar 23, chord Bbm7 > Bbm9 phrase
Bar 24, chord Eb7 > Eb mixolydian
Bar 25, chord Am7 > A phrygian
Bar 26, chord Dm7 > ascendent Arpeggio on Fmaj7#5 and F major scale. Fmaj7 arpeggio.
Bar 27, chord B-7b5 > Dm9 arpeggio
Bar 28, chord Bb7 > D pentatonic scale
Bar 29, chord Am7 Dm7 > discendent arpeggio Am7 Dm7
Bar 30, chord Gm7 C7 > Gm7 arpeggio discendent
Bar 31, chord Fmaj7 Ab7 > Fmaj9 arpeggio, Ab mixolydian discendent
Bar 32, chord Dbmaj7 Gb7 > Db major phrase

B-7b5 27 Arpeggio Dm9

Bb7 28 Frase su Pentatonica Blues di D (#11 usata come nota di volta)

Am7 Dm7 29 Arpeggi discendenti di Am7 e Dm7

Arpeggio discendente di Gm7 e fraseggio bebop sul C7 che partendo dal F, arriva
Gm7 C7 30 al G passando per D D# E

Fmaj7 Ab7 31 Arpeggio di Fmaj9 e scala di Ab misolidio discendente

Frase su Db maggiore che diventa Db minore melodio (3b). Doppio approccio

Dbmaj7 Gb7 32 cromatico al successivo F
500 miles high

Em7 dorian(/aeolian) : the mode is suggested by melody  and the Bm arpeggio

Gm7 dorian : it follow the previous Em dorian mode and same Dm7 arpeggio figure 

BbMaj7 Lydian : the melody has an intrinsic F major, it works a Bb lydian mode (and also G dorian) , we
can look at this as the III chord in Gm, or the I chord in Bb major. 

B-7b5 Locrian (II) > E7#9 Ionian (V) > A-7 aeolian/dorian

it is a sequence II V I in A minor, the passage is obtained with a halftone step from Bbmaj7 to Bm7b5 on
the bass. The melody is on G major, but when pass to E7#9 leads to Am

F#-7b5 Locrian : the chord is similar to the previous A- with (F#) A C E, we can look to a D9 inverted
considering the D in the melody,it could be  like a  II (A-7) - V(D9) that solves on Gmajor, but this not
happened.

F- Dorian: the melody on F#m7b5 is repeated a whole step lower, but in F-7 harmonization, it's a IVm7 in C
major/minor, a IVm7 takes a Dorian sound.  

C- Aeolian B altered: seems the last chord, but bring to B altered (V) to move to the turnaround back to E-
(I) starting chord