I didn’t differentiate between the hammer on and pull-off and bends in my slur markings, but your ears will tell you what those are. Overall this solo is a great example of “Sco’s lyricalness, taste, and always interesting rhythmic sense – check out where he puts things in the measure and how he will wait and play things a sixteenth note later than someone might expect to make it all the more hip. I particularly like how he suggests the Ab7 flat five sub with the last two notes in bar 18, and the  E melodic minor E-maj9 arpeggio over the C#7b5 in measure 29, it really grabs your ear and shakes it for attention when he hits that.
The C#-7b5 to C-6 that he has that replaces the A-7 to E7 periodically is a cool thing to try on the gig, but make sure your bass player either knows about it beforehand or has great ears. I chose to transcribe this one for you because being a series of extended II-7 V7s that we all have to play all the time, it will give you a lot of great ideas and a great look into how he thinks in terms of substitutions on chord changes, etc.
Here is a great one for you guys to check out, John Scofield’s solo from the new (and very great) “Uberjam Deaux” CD just released a few months ago.
