I like to know how you would analyze this pick up to his solo.
For what sort of analysis are you hoping?
It is a sincere question. If you are sort of expecting the notes Red Garland plays in his right hand to match chord tones from the chord symbols, that is going to happen less than 40% of the time.
In front of me as I write, there is an accurate transcription of one of his solos on the Cole Porter classic WHAT IS THIS THING CALLED LOVE. Both his right hand improvisation, and the accompanying extended chords, plus the bass, to my ear, are faithful to the recording. But, when one comes to analyze what Mr. Garland was doing, big problems arise:
Example: There are 2 measures where the harmony sits on a simple F minor. During those two measures, his solo line covers the following DIFFERENT notes: Bb, C, Eb, E, F, Gb, G , and Ab (playing several of them more than once). Of those 8 different notes, 5 are “outside the chord”.
Red Garland’s style was to “circle around” chord tones, frequently hitting the note above, AND the note below, before landing on a chord note proper. Or he would slide up to it, or down to it chromatically. This sort of embellished playing almost defies analysis, unless one wants to treat each one-half beat as its own extended or altered chord. Even if that were practical, such segmented analysis completely misses the point of harmonic drive characteristic of bebop.
If I missed the point of your question, I am sorry for that. But this is an on-going struggle for those attempting to categorize what the great improvisors are doing.