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While the first solo is modal based on a Bm11 vamp the second soloist has to deal with the chord progression shown below.
Check out the B-section of Wayne's World for the melody. My first solo approach would be to try to extend the melody a bit. But this only gets you so far.
To be able to dig deeper into these chords you'll have to analyze them. Of course you could come up with exotic altered scales for some of them (A7+#9 = A B# C# D Eb/E F G A). Whatever you call this scale, it's highly chromatic and not very easy to memorize. Or E13b9 = E F G# A B C# D E.
I am sure you know that while usually all notes in a certain scale are 'correct' some notes will sound better and some not so good. On guitar especially we sometimes make too much use of the bottom up approach. We see a A7+#9 chord and the first note we think of is the root note, A. Of course that's the correct note but not especially colorful.
More colorful are usually the extensions. In the case of A7+#9 the B# (or C) is pretty strong. The sharp fifth (+) sounds cool, too.
Take one more step. Throw that sharp fifth, F, the original root note, A, and the #9, C, together and you're looking at an F major triad. Check out the first voicing in the example, and you'll find an F major triad, second inversion, on top of the voicing.
Look at the voicings in the example and find some information about what triad is contained in each. Sometimes the triad will be highly visible (E13b9), sometimes more derived (Gm/F).
Last step is to record the chord progression and then simply run through triad arpeggios. What you wanna do with the C-blues and the F#-dominant is your business - hint: C7#9 contains two thirds of an Eb major triad and F#13 has an Eb minor triad on top. This concept will help you hit a lot of cool notes.
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