A
Bar 1:
Dm7
i7
Bar 2:
%
the bar before again, Dm7
Bar 3:
%
the bar before again, Dm7
Bar 4:
%
the bar before again, Dm7
Bar 5:
%
the bar before again, Dm7
Bar 6:
%
the bar before again, Dm7
Bar 7:
%
the bar before again, Dm7
Bar 8:
%
the bar before again, Dm7
A
Bar 9:
Dm7
i7
Bar 10:
%
the bar before again, Dm7
Bar 11:
%
the bar before again, Dm7
Bar 12:
%
the bar before again, Dm7
Bar 13:
%
the bar before again, Dm7
Bar 14:
%
the bar before again, Dm7
Bar 15:
%
the bar before again, Dm7
Bar 16:
%
the bar before again, Dm7
B
Bar 17:
E♭ m7
♭ii7
Bar 18:
%
the bar before again, Ebm7
Bar 19:
%
the bar before again, Ebm7
Bar 20:
%
the bar before again, Ebm7
Bar 21:
%
the bar before again, Ebm7
Bar 22:
%
the bar before again, Ebm7
Bar 23:
%
the bar before again, Ebm7
Bar 24:
%
the bar before again, Ebm7
A
Bar 25:
Dm7
i7
Bar 26:
%
the bar before again, Dm7
Bar 27:
%
the bar before again, Dm7
Bar 28:
%
the bar before again, Dm7
Bar 29:
%
the bar before again, Dm7
Bar 30:
%
the bar before again, Dm7
Bar 31:
%
the bar before again, Dm7
Bar 32:
%
the bar before again, Dm7
C2 D C3 C E F A
Meter 4/4
Form A-A-B-A
Bars 32
Modal jazz of the late 1950s and the 1960s traded quick changes for long stretches of a single mode, leaving the soloist to create the motion. Play Dorian over the i7, and in the bridge move everything up a half step, then back down. Practice building lines from fourths and from pentatonic shapes within the mode, and listen for the lift when the bridge arrives.
None of the usual substitutions apply: there are no dominant 7ths to replace and no whole steps to fill.