In every chart, backing track, online lesson, etc for It Could Happen to You , bar 10 is a Db7, a backdoor dominant between the ii and I chords. Given that Paul Chambers, Ray Brown, Ahmad Jamal, Sonny Stitt, etc., never played this chord, where does it come from, and why is it so ubiquitous now?
Since the beginning of the year, I've been working on some standards using target tones as my main approach. This has involved playing choruses using just the current target note for each two-bar chunk, practicing stepwise approaches to the target, choruses where I try to land on the target on beat one, and others where I aim for the and of 4. While I've definitely made progress over that time, I'm still not really where I want to be with these tunes, and I'm wondering if anyone here who's been using the target tone approach to soloing for longer than I have can share any insights into the process. Particularly interested to hear from horn players, but all are welcome.