In Jazz, guys will take those chord changes with substitutions to create different voicings, every time you change one thing it changes the harmonic possibilities of the music. If I choose to play a chord differently at that point it changes the harmonic possibilities of the whole song. Definitely, I would have collaborated with a producer in a very expensive tropical setting. Someone not so close to the music, with an outside perspective, but with an understanding of what I'm trying to express. Most big name musicians obviously started out by being great performers or bands, but the recording of their music became the hurtle, which is sometimes difficult to jump when you are the producer, musician, engineer and agent.
Most great bands have a great producer behind their music.
U2 has Steve Lilywhite and Daniel Lanois. Lillywhite has most recently worked with Dave Mathews, and Peter Gabriel. Sting and the Police had Hugh Padgham, Tchad Blake worked with Neil Finn and Sheryl Crow, and of course the ultimate producer was George Martin who produced the Beatles. In my humble opinion, all these musicians would not have reached their level of success had it not been for the visionaries we call producers. I don't have the luxury of pulling in a session musician like Tony Levin or Omar Hakim.