I know all of this Steve. This F# note is so important for the "latin sound" though. They use it a lot. But I almost forget it when it's time to improvise. The scale you wrote (GABbCDEbF) works perfectly all along. This harmonic minor scale goes perfectly when I'm on D7 but we have to forget it when we resolve in Gm (relative minor of Bb).

What's so nice on this pattern is even though the first chord is D I start to play the bass line with the A note...going to D and then playing a chromatic approach to resolve on G...

In the RH there is another aspect to consider as a latin sound...I play (always on D7) the major 3rd and dominant 7th and the tonic to complete this riff. So used in latin music too.

Maybe the 10 years I lived in Dominican Republic helped me a bit to understand these patterns. And I continue to be there 5 months per year...well 20 years going there and playing with Dominican musical friends.

By the way, you're a better player than me...that would be interesting to hear you playing this riff...lol. No mistakes like I do...a better improv...etc..Thanks for your comment.

You can add mystery by indeed playing the F# over the Gmi chord, producing a mi #7 chord. I call this the "Spy chord".
Also over the Gmi, you can play a descending line
G F# F E for a standard latin "montuno" effect
Try right hand G-D, F#-D, F-D, E-D
So much to explore in the Latin genre. Salsa, Samba, Bossa, .....Tito Puente, Santana, Jobim, Montoya, Cuban, South American, Spainish.....
Check out Columbian harpist Edmar Castaneda for some inspiration for string instrument groove playing.
Great explorations ahead in these Samba times
Steve A

I agree totally...latin music is a world by itself. The riff I play here...well...I consider this like a montuno. There are so many others. Of course, this descending motion...G F# F E is used a lot. So strange if you do it in Am (bass line) and then you have Stairway to heaven from Zeppelin...lol.