Jookeyman wrote:An idea here - I just went back and mapped this out. How about one bar on the Ab before the Bb jump? There is one bar that is open after the tritone ascent (that ends in Db) and the snare pop leading to the Bb!! Crap, if I could punch in here I could do it but I'm doing this all by myself and that's not possible (unfortunately). Maybe you could try this on your recording? Just an idea......... 
that's not bad...i tried it playing along on acoustic and it works and i believe i could sell it that way. but before trying your idea...i had another idea i wanted to try cos it looked good on paper.
since we're talking about a set up chord, i thought B7 could nicely set up the BbM7.
1. because "B7" IS the 5 of all that Em previous harmony, and...
2. "B7" is the tritone sub for F7 another obvious choice to set up a BbM7 chord but much cooler sounder voice leading!
if you feel like...try popping a B7 into that one bar hole you ID'd...then, slide down to a nice fat BbM7 and then every two bars or so fly in a real quick BMaj7 to set up the BbMaj7.
that way that FIRST "B" as played w a dom 7 voicing has all this bite....but then when you switch it over to the same shape and same voiced Maj7 chord (as BbMaj7) just up a half step......that now has just a little bit of tang to it!!!
ok, now to figure out and settle on one of a thousand ways to get over to the FMaj tonality. Maybe i'll change that up and play it as FM7#11 and run some lydian stuff into the ground!!!