Some of the chords you have in there sound nice
suggest interesting possibilities but a reharmonization
doesnt work unless the bass line ends up making sense.
It isnt sufficient to just find one chord at a time
that sounds good somewhere. It's like putting together
a big puzzle, all the pieces have to go together.
For example, the g7b9 is an interesting chord there.
You'll notice though that replacing it with an E7b9 (what I
did) follows more naturally into the Am7b5 and is actually
a related chord (by another chord in the same diminished scale).
If you have a g7b9, that suggests going to a Cm6 (which is
enharmonically the same as an Am7b5) but if you go that way
you have to make the whole piece work. I couldnt see an obvious
way to do that.
If you spend alot of time on this you may find a way to put
the right passing chords to get it all to work. John had a few
good ideas.
Similarly, you can use tritone subs later on but you have
to have the whole reharm play together.
It's really hard work. In the beginning I was lucky if I could
come up with a new chord here or there once in a while. In a whole
several weeks or practicing I might find one or two new chords. Doing
a whole tune from scratch from the sheet music would have been
an impossibility.
I mean these tunes have already been gone over by top recording
artists so you have to get up pretty early in the morning
to improve on what they do.
I'm fairly fast at it now because I've been doing it for many years
and because I studied with Don Haas and Richard Hindman who
are very harmonically sophisticated and were, I assure you, quick
to point out when my subs went nowhere.
I've also seen many good examples of subs from these other players.
reed
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Reed Kotler
reed@justjazz.com
http://www.justjazz.com