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I think the opening ones are maybe kind of variations/substitutions for a 3-6-2-5 progression in G major, which is really the home key for the piece, although the tune starts in an E minor tonality (relative minor of G of course). So, just to take the first 4 chords, you've got a B minor type, then a E minor type, then the "D13" which to my mind is really a Dsus4 type of chord (as it has a G 4th/11th in it) and that could be viewed as a sub for an A minor, and then the D13/C is like a non-sus D dominant chord (i.e. it has a major third in it - F#) and with the 7th, C, in the bass. The middle 4 strings for each of these last two chords can also be looked at as being part of that quartal harmony chord scale thing that is often talked about for modal jazz, which I guess you will be well aware of, so work on that level also. And then the notes on the upper string, while unusual additions, work melodically, and are part of a G major scale, so they make musical sense that way...
...or something! It's great stuff anyhow, despite my half-baked analysis - I will have to nick his chords, as they do sound lovely.
Really I just thought I'd offer my thoughts for what they are worth. I'll have to have a look through all the intro chords and have a think about things - as ever, I suspect the theory analysis comes after the music, and JK may well have developed these chords/harmony more by noodling about on the guitar and finding sounds he liked, rather than by starting with some theorectical concept in advance.
http://www.jazzguitar.be/forum/comping-chords-chord-progressions/56169-whats-jonathan-kreisberg-doing-his-intro-here.html#post711603
No one's replied as of yet, but hopefully it might lead to some useful insight.
Thanks !