In modern jazz and jazz/Fusion it is really useful to look at the harmonic implications in terms of pentatonics, arpeggios, chord tones, motifs, melody notes,chromatics.
Once this is done it can be very useful to break the line up into “TETRACHORDS” [4 note groupings]. This is essential when it comes to “Double timing”. [Once you get it down then you can break the line up and make rhythmical. adjustments].
Below is the the first two tetrachords of the line:
If you play each 4 note grouping separately and then join the two groupings together the rhythmic fluidity of the line flows because the fingers, mind and ear know where to go.
Next do the same with the descending part of the line:
In this example we will play through the tetrachords by joining them together at a steady 110 BPM in 16ths.
audio 110 bpm
Below is an example that employs a more creative intervallic idea. This is very common in modern jazz due to its use of digital patterns and a “Quartal” approach/design to the harmony.
The last example employs chord pairs on the G7 altered chord..