The other day in our lesson Randy Porter showed me and interesting way of a resolving a dominant 7th (b9) chord. He thought it sounded like something that Cedar Walton would play, definately someone worth emulating. It's a very hip yet simple harmonic device.
So over a C7(b9) resolving to a F you would play:
A triad, Ab triad, F# triad, then resolve to F
This creates a desending triadic line that leads to the I.
This works for chordal as well as for single line intruments. Just be very clear as you play your triads or triadic line. Major triads are always very strong, able to supercede almost any harmony they are played over. In this case the triads are drawn directly from the chord-scale and descend in stepwise motion, very strong motion indeed.
CEDAR WALTON Volume 35 A New Approach to Jazz Interpretation by Jamey Aebersold