The 12 bar blues is a essential tool for building repertoire in jazz, rock, funk, rnb, and blues. I would venture to say it is the most important chord progression a student should memorize before attempting to learn others. I think most musicians would agree that the pentatonic and blues scales are the standard tried and true sounds for these progressions.These are great sounds, and most popular music that is blues based use these sounds as a foundation for harmony and melody, but why limit oneself to just these?
I love the sound of the augmented (magic) scale when used with other scales. At measure 3 I'm using parts of the A augmented scale leading into an D maj9 descending arpeggio, which outlines all of the color ( tones of the scale that aren't part of the chord) of the E7.( mixolydian sound) Measure 5 and 6 I play a lick that leads into a line built off of the vi minor ( F# Minor) leading into the next chord. The turnaround until the end of the progression is a mixture of augmented, chord tone embellishments, and altered sounds that I gravitate towards in my improv. These sounds are not for every situation but they can breathe life into a progression where most artist will stick to the tried and true soumds. Here are some artist that I like who use these sounds in their playing
Jim Hall - check out his tune "careful"
Guthrie Govan , Aristoctats "When We All Come Together"
Micheal Brecker any of his solos lol
George Benson " Billies Bounce"