does anyone know some nice 'bridge' chords, in measures 15 and 16, on c, to get to the dmin chord at the start of the a-section? i figured out c b bb a out already. but i need some more suggestions to keep it interesting...
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how about cmaj9 dm7 em7 a7+5(resolves to a7)

and for a "match" to this, in the third measure and fourth measures of the b section play fmaj7 gm7 am7 bbm7

by the way "out cattin'" i take as meaning "tom-cattin'!  
what say ye?
...meaning two chords each measure.
thnx!!!

can somebody figure out was mccoy tyner uses as voicings in these measures, on his recording nights of ballads and blues... i can't seem to get it..
what about cmaj7 f7 em7b5 a7
i think mccoy plays e7b13 a7b9 after 1.a  
cmaj7 cdim7 cmaj7 after 2.a leading to the bridge.  
after the bridge he plays dm7/g a7 leading back to 3.a
hope this will help you
you're welcome.
this is the type of turn-around thatosacr peterson or monty alexander might use, it's bluesey sounding:

| cmaj7 f7 | e7+9 a7+5 |
nihonjin & jazz+  : i am not letting this f7 sound good. how would you voice such a progression?
on the album "mccoy tyner plays ellington", he gets back to the a section by playing the following chords in the last two bars of the bridge: dm9 g13 - ebm9 ab13. the bass or left hand might play a g under the first two chords, an ab for the second two.

this takes the tonality up a half step for the final bar of the bridge, and then back again, and sounds really hip. all the other turnaround things sound old-fashioned or predictable to me now! however, be careful, the bass player needs to follow you or you will just sound wrong...
"all the other turnaround things sound old-fashioned or predictable to me now!"  

with enough time these too will sound predictable, drjazz. so probably those cats that play really wild "avantgarde" jazz can only be appreciated by their own kind, which is indeed a rare crowd. relativity is everything.
solart - yes that was a rather a cynical comment on my part, i admit! of course i play ordinary turnarounds all the time! but in my defense i don't think you can call mccoy tyner's device of moving up a 1/2 a step and back (in place of a turnaround) a really wild "avant garde" technique! we're talking 1964! he just found a way to do it that was different to everyone else and still sounds fresh today.
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