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Basically any chord is what it is when viewed as a basic triad ... like root / third / fifth ... then you add the extensions
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
One thing you might gleam from Viz's picture is that it's essentially a Bm over a bass note of G. This is a useful way of thinking about maj7 chords because you can let the bass player play the root and just play a minor chord 2 tones up.
So play an Am over a bass note of F and you have Fmaj7 for example. Play Em over a bass note of C = Cmaj7
OP, see also: diminished triads off the third for dom7.
And then, write out the chord, stacking thirds to get all the you'll note that this yields a bunch of triads you can substitute or superimpose E.g.: minor triads a tone apart as that classic r'n'b sideslip move, so Gm-Am and back over C7....
Have fun