Begin with a basic I IV V progression in Fmajor. Divide the 12 bars into 4 bar segments. This gives you a Tonic (F7) in the first phrase, Sub-Dominant (Bb7) in the 2nd phrase and a turn-around in the 3rd phrase. As substitutions are applied the integrity of this basic structure should be maintained, particularly the IV chord in bar 5. A good understanding of Functional Harmony will be helpful.

Gmi7-C7 replaces C7-Bb7 in bar 9-10 F7-Dmi7-Gmi7-C7 (I-vi-ii-V) replaces F7-C7 (I-V)

Cmi7-F7 in bar 4 is a seconday "ii V" of Bb. D7 in bar 8 and 11 is the secondary dominant of Gmi

Bdiminished in bar 2 and 6 is a common transition from IV to I Ami7-D7 in bar 8 is ii V of Gmi. Ami7(b5) is a good option here as well

7th chords are extended to 9ths Also consider 13ths B9 in bar 4 is a tri-tone sub for F7 Bb7 in bar 7 resolves chromatically to Ami7 D7(b9) in bar 8 is the secondary dominant of Gmi.........7(b9) chord in general strengthens a minor resolution Ab13 in bar 11 is the tri-tone sub for D7.

Once the cycle progressions are recognized, secondary doninant and tri-tone subs allow for unlimited possisilities. Continued study should involve an improvised approach. Start out by playing the chords as an accompaniement. As you begin to add melodic ideas you achieve an improvised chord melody solo. Applying a melody helps to define chords types by specifying the top note of the voicing. When alterations (b5, #5, b9, #9 or #11) or extentions (9th, 11th, or 13th) are used it will generally be the top note of the chord.