Great suggestion, ThomasS.
The Brazilian composers of the 60s often wrote Cm6 in place of that F7. Gives it a more mysterious sound. [I know we are talking about the second chord, not the last]
Yes, any good jazz guitarist (and the Brazillians certainly are) might play a Cm6 when they see F7 on the chart. Or they might play Am7-5 (which has the same notes) because Cm6 and Am7-5 are the four upper notes of F9. When a bass is playing the chart, the combo result will be Cm6/F. Jazz guitarists who like to play all over the neck without open strings know how to play the upper part of any complex jazz chord with just with four notes, because they eliminate the root, which the bass has covered, and play the chord notes above the root. It has to do with the fact that a guitar, when you finger every note can best play four tones, not five or six (because without the thumb they only have four fret-fingers and without the pinky have four plucker-fingers.) Some big-handed guitarists can use the left-thumb to finger a fifth tone, or pluck five strings adding the pinky to the left-hand, but not all, so the four-upper-tone method of interpreting chords is quite common.
It is useful to think this way in BB, so writing Cm6/F is sometimes cooler sounding than writing F9 or F7, because it keeps the F note out of the higher voicings, which clarifies the harmony. I do this with all kinds of complex chords, because, as an arranger that is often the way we write harmony parts for sections.