Do you mean you always want that F#m7b5, or just for giggles and grins, now and again?

Because, if it was an occasional thing, a well placed F# would get the job done. If it was a permanent reharmonization, it's a snap on the Roland's to edit the track...

No-one's saying anyone HAS to use either method. They both have mutually exclusive advantages, though. Yes, reharmonization, if you have the skill, is easier done on the arranger side. Playing a two handed part (for instance, nailing the sax's scoops and inflections) is easier done on the SMF side.

It all depends on what you consider the most important aspect of the track. For me, on this particular tune, it would be all about nailing Getz's phrasing and bending. Most sax parts strike me that way. I never heard a sax player yet who didn't scoop, dive and moan his way around a part (even when they weren't trying!), and a large number of his best pitch tricks happen EXACTLY at chord boundaries....

I keep trying to point out the Chord Sequencer was the PERFECT meld of arranger play and SMF play advantages. You could reharmonize to your hearts content, every night a different set of changes, had you the skill, but after doing that, you could then play a tasty two hand solo without being tied up repeating the changes.

But of course, along with so many other great features off so many great arrangers that few bothered to figure out, it got dropped...