@Omar This is some of your best playing to date, imo! You stayed within the suggested modes, found some great melodies, and played both expressively and delicately. The ascending arpeggio into your solo section was choice, as was your entire solo (did you spend some time listening to Miles?), and even though you did end up with an F# against the final Gmi7, you made it work. So, how did he escape the trap of that Major 7th interval against a minor 7th chord, people? When the chord fades out, we're left with a strong F in the bass (that 'ending on the 7th' thing), and by playing a B after his F#, we're now hearing a diminished/b5 sound (F to Cb enh.). If the bass had ended on a G, the F# followed by a B would have been a move to the parallel major key (root, major 7th, and major 3rd) like Monk does at the end of Round Midnight, and it still would have worked. You can also hear it simply as ending on a dominant 7th sound (G, F, and B) if we think of the F# he played as a chromatic passing tone. This is some pretty hip stuff right here either way! Miles himself is quoted as having said, "There are no bad notes... only bad resolutions." Edit: @davidKOS, feel free to correct my harmonic analysis if i'm off the mark. i've already had to correct myself more than once, LOL.