I am trying to sort out a bit of theory and ear training. In slowly working through the .pdf, at page 4, bar 42, there is a comment that the passage is derived from "D-6 pentatonic". When I played the transcription, I did not hear that. My ear tells me it is a pattern derived from A major b6 pentatonic which is the other pentatonic derived from D melodic minor.
It also sounds like Db aug/G (which could also be a G7(9)(#11) chord).
Am I missing something?
I think this defines Jazz. That line contains four C# (Which isn't D-6 Pentatonic), 5 B's (Which isn't A Maj b6 Pentatonic), and 4 Bb which is neither. You could see the C# as the #11 on G7, but if you were considering an altered dominant chord the Bb would be the #9.
I guess trust your ear and whatever it sounds like to you is ok. I've been working through these PDF's for years and one thing I have learned is to not try to box every one of these lines in theoretically. Part of the problem I've had in my development has been to try strict application of chord/scale theory to my playing. I think Barry's comping is every bit as impressive (maybe even better) than his single line stuff. He uses chromaticism all over the place with chords. If you can play a chord 1/2 step away and make it work in context, you can do the same with a line.
I think Jimmy Bruno once said the way he learned to play was his father would play something and not explain it, he would just say, "this is one of deeeze", and then he would play another idea and say, "this is one of doze", so it was more about the sound of an idea than the actual theoretical explanation.