Another complex one, so we'll work in sections...

Bars 1-8 and 9-16: This is made entirely of minor 9th chords (a classic for smooth
jazz, funk and soul) but we can't play a single scale over all three chords. We can
use A Aeolian (A B C D E F G) over the Am9 and Dm9, but the Em9 contains an F# (the
major 6th). You could change that note, creating A Dorian, but Vinai's solution is
simpler... minor pentatonic (A C D E G). Occasionally he switches to Aeolian, but
remember to avoid that F note over the Em9.

Bars 17-24: The second part is simpler; all the chords are from F Lydian (F G A B C
D E) which coincidentally has the same notes as A Aeolian. Remember what we said
about playing around the chords? There's a couple of cool examples here - the
ascending Fmaj9 arpeggio in bar 17 and? the Am9 arpeggio in bar 20. In the latter
case, note how Vinai ends the line on D and F, ready for the Dm9 in bar 21.

Bars 25-32: Now everything changes, and we're in F minor. The overall sound is
Dorian (F G Ab Bb C D Eb) and Vinai switches to C Mixolydian (C D E F G A Bb) for
the C9 bar 28. As it's a straight (not altered) dominant chord, you might find that
the Superlocrian sounds too "outside" here.

Bars 33-40: Another change of key to C minor, but this is just a straight
transposition of the first part. This time, the G chord is mostly a minor 7th, so
you're safe with straight Aeolian (C D Eb F G Ab Bb). Vinai uses minor pentatonic
(C Eb F G Bb) for that fast descending lick in bar 37.