In a book titled ”Timeless – The Music of John Abercrombie” the composer mentions that he sometimes writes the Eb△#9 voicing as ”D triad / Eb”. However, I took the liberty of notating the Eb△#9 chord as an Aø/Eb chord, thus making the first 3 bars a minor II-V-I progression. The natural 6th is rather unusual choice to include in a half-diminished chord.
Hey, that’s an interesting approach to the harmony!
The broken chord figure in the introduction has a bass line alternating between Eb and A. The chord resolves to D7alt. that resolves on to G minor, which appears to me as a II-V-I progression in G minor. The way I see it, the first chord (hypothesized A half-diminished chord) is exceptionally derived from G harmonic minor scale, since it has a F# ringing alongside G. I understand that the harmony can be translated in a number of different ways.