Recently I have been working with a student on using your pentatonic scales for jazz improvisation purposes. I have found them useful especially because of the notes left out. Just for the record, I do not make a difference between minor and major pentatonics in that as far as I can see it they are the same, be it not that many guitarists started out their lead guitar playing with the minor pentatonic scale and blues scale. So when I speak of using the G#min pentatonic scale over B7 others will speak of the B major pentatonic scale which is the same only it starts on the B (the second not of the G# minor pentatonic scale). I like to keep things simple.
The first eight bars of Autumn Leaves are:
|| Am7 | D7 | G maj7 | C maj7 |
| Fm7b5 | B7 | Em | Em E7 ||
Below is an example of how you can use the minor pentatonic and blues scale over the chord progression set out previously. Please be aware that this is an example and as far as I am concerned it is one of the many ways in which you can improvise over the song.
Now lets see what is happening here:
Bar 1: A min pent (V) goes to B min pentatonic (VII) which creates a nice sound adding the 9 and 13 besides that it moves right into the next bar (D7) in which we will play C min pentatonic
Bar 2: C minor pentatonic (VIII) even though it has the 11 in there, the emphasis is primarily focussed on the b9 and the b13, Mist of all it sets up to chromatically resolve into the B minor pentatonic that can be used over the G maj7 chord
Bar 3: Using the B minor pentatonic this creates a nicely grounded flavor while at the same time adding a 9 and 13 in your lines.
Bar 4: I used a pattern in sixteenth notes in E blues scale (VII) and repeated the pattern in pos II which would make that the B blues scale. The f# creates the airiness associated with the lydian scale. By repeating the same pattern yuou also create that sort of modern sound.
Bar 5: again a repeated pattern using F# blues scale (II) and A blues scale (V) all notes, even though their weird signature (sorry it was my power tab) are all closely related to the chord
Bar 6: Over the B7 I played a G# blues (IV) scale and a F blues scale (I) but avoiding the Bb note although it would work as a chromatic note to b, and thus I slid very nicely back into a Bar 7 -8 E blues scale to play over the E minor (open). The last two notes are the 3 and 7 of an E7.