Audio: -Mm. 25-27 is our next phrase of interest - it is implying a Dominant chord that cannot be looked at as a single scale. Allan is outlining an 8 note synthetic scale, which includes both b9 and #9 - (1 b2 #9 3 4 5 b6 b7). It’s best to look at this as a G Phrygian Dominant scale with an added #9. The phrase ends with a chromatic descending line that resolves on G natural (root). Allan seems to have been adding more and more tension to each phrase as the solo progresses - this last line seems to be the tensest line of the solo, capitalizing on the ambiguity of the implied dominant chord. 

Audio: - The vamp changes back to a D chord in measure 29, which is followed by another huge string skipping line which utilizes the Whole Tone scale (1 2 3 #4 #5 #6) for the first 8 notes, and changes to a D Lydian Dominant scale (1 2 3 #4 5 6 b7) for the remainder of the phrase, ending on a tritone against the D (#4). This is one of the hardest phrases to play in the solo, but at the same time one of the most rewarding ones. Simply put, it’s a beautiful line full of color and it really opens up the sound of the vamp by taking us to a place we did not expect to go to.