Another interesting way to approach this question is via chord substitution.
There's an F7. If you were comping, you might augment that by playing a ii-V to dress the chords up. Now it's Cm-F7.

So, instead of doing that substitution with your left hand (the harmony) do it, or imply it with the right hand (the melody line).

Look at those notes as if they go with a quartal Cm voicing (F-Bb-Eb, no root). You have F, Gb, Bb, B, D, Eb


RayL

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