For the D7 chord, that means G harmonic minor. My instinct for scale choice would be to stay as close as possible to the home key. I agree with keith, the "blue note" F# is a good hint here (Frisell himself picks up on this). Compared with which the bridge is pretty orthodox (vi-V-i in home key). So there's some clever "feinting" going on here (Abm7 doesn't go to Db7 before Cm D7 doesn't go to Gm or G). The Cm-D7 move makes you think (for a moment) that the key is G minor. The odd chord is the D7/F# - a secondary dominant (of G), but not resolving to G. Nevertheless the Abmaj7-Abm7 change is quite familiar (IV-iv in Eb major). But like I say, the clear b7 in the chord argues against that idea. Abm would then be a melodic minor chord, and it would only need a G bass (and the 6/13 note, F) to make it an altered dominant. It's not quite equivalent, because the Abm chord has a clear b7 (Gb), while an orthodox Db7 in that position would be lydian dominant (with a G natural). First thing I notice is that the Abm13 looks like a kind of sub for Db7, bII of Cm (tritone sub of G7).
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