Seems like Jack's busy, or we didn't support his efforts enough. I'm going to try and contribute by doing this.
That's the chart, courtesy of Nuages de Swing.
Here are some ideas to create harmonic movement, utilizing diminished passing chords:
C6/9, Ddim, Ebdim, C/E
E7 (typical extension would be b9, some use natural 9), F#dim, Gdim, E/G#
A7 (b9), Bdim, Cdim, A/C#
Dm6, Edim, Dm/F, Dm6
etc.. etc.. Apply the same concepts to chords that follow.
Since there are a lot of dominant chords, you can have fun with reharmonizing those as well. Try what's called a V into ii-V: if you have an E7 chord, replace it with one bar of Bm7 and one bar of E7. If you have a dominant that resolves to a minor chord, make sure it's a iim7b5.
C6/9 / / / | / / / / | Bm7 / / / | E9 / / / |
Em7b5 / / / | A7b9 / / / | Dm / / / | / / / / |
Whenever you have four bars of a minor chord, you can do a "line cliche" where the root decends chromatically: Dm, Dmmaj7, Dm7, Dm6. I recommend having the "melody" being the decending line, that is, use a voicing that starts with the root as the top voice and move it down chromatically.
Soloing ideas? Not too good at this but some off the top of my head:
C6/9 arpeggio, Fdim arpeggio over E7, Bbdim arpeggio over A7, D dorian or Dm6/9 arpeggios over Dm.
You can also add some interest by playing a Bb dominant idea over E7 (tritone sub). This usually works most effectively when the idea doesn't have too many chromatics and is more or less simple arpeggation. For an A7 arpeggio, Eb7 is the tritone sub. You can also add extensions to the tritone sub, but they should always be natural, with the exception of a #11. On Bb7 (TT sub of E7), they would be C (9th), E (#11 or b5), and G (13th). The reason for the natural extensions is that they are actually all of the altered extensions on the original dominant chord, which adds harmonic interest (i.e. sounds hip and outside).
I'll see if I come up with more ideas but I don't want to irritate my wrist anymore - onset of tendonitis perhaps?
Hope someone finds this useful.