Tim Price has been a Blogster lately. Here is what he had to say on his Blog about the Lydian Chromatic concept and slash chords (great stuff Tim!):
Speaking of George, here's some food for thought.In George Russell's "Lydian Chromatic" you get this same scale sound by playing the "Lydian Augmented" scale built on the THIRD of the
dominant 7th chord (in other words, play an E Lydian Augmented on your C7). It gives you the same pitches as the "Altered Scale" described above.The thinking is a bit more focused with the Russell- via modern stuff. I feel. BTW, I find the Lydian Chromatic way of looking at things extremely useful, particularly when looking at chord voicings. Most extended chords can be
boiled down to some kind of Ma7 chord over a bass note. Sometimes the chord is a Ma7b5, sometimes a Ma7#5, sometimes a oMa7, but it can almost always be seen as some kind of Ma7. Once you figure out what chord you're really dealing with, the Lydian Chromatic thing becomes really easy. It also gives you a way to pivot into a whole bunch of nice substitutions.
Without referencing the LCC it's a very good idea to look at the ways that the various chord types can be voiced as one of the maj7 family of chords.
1 3 5 7
1 b3 5 7
1 3 b5 7
1 3 #5 7
1 b3 b5 7
1 b3 #5 7
1 4 5 7
All of these intervallic structures share the characteristic of the maj 7th interval which becomes a min 2nd interval. Players like Bill Evans and writers like Oliver Nelson and Gil Evans owe their style in no small way to voicings that lots of tension in them often achieved by selecting chords that have min 2nds on the inside voices and or maj7 intervals
somewhere in the chord. Just imagine how any one of those maj7-type chords would function with a different note in the bass.
CHECK IT OUT;
Cmaj7/Db: sort of Dbdim-ish but not a commonly used sound
Cmaj7/Eb: sort of Eb7#5(b9,13)-ish
Cmaj7/E: just an inversion of Cmaj7
Cmaj7/G: just an inversion of Cmaj7
Cmaj7/B: just an inversion of Cmaj7 or B7sus4(b9,b13)