Jazz Theory for Dobro...
[or the wisdom of Jethro Burns applied to the Dobro]
I don’t want this to be over too many heads or assume that everyone has a grounding in music theory so there may be parts that seem pedantic... bear with me.

 The tabs show my approach to the melody. It is always about the melody. Everything else is just showing off if you are not playing in support of the song [and the singer]

The problem that I found in using dobro tuning for Jazz songs lies in two areas.. how to handle the minor tonality [especially minor 7 flat 5] and how to handle the extended and altered dominants[13ths, flat and sharp 9’s and dimented chords]. I found my answer in reading an interview with Jethro Burns, my mandolin hero. One can safely assume that in all instances of playing jazz on the dobro there will be guitar, bass or possibly a piano player involved. I tend to try to find  places where the tritones and the half step movements denote the tonality of the song and strongly influence the concept of tension and resolution. I will often choose to pair the melody note with an extension [a suspended 4th, 9th and slide down to a ghost note that is either the root or one of the tritone notes.
Here's a tangent for those without the theory background- Use of the root and 5th do not give the ear a clue to major or minor tonality, dominant or sub-dominant tonality.
For instance if playing in the key of G, if you use the notes E and G at the 5th fret, on the high B and D strings, the ear doesn’t immediately know if you are insinuating a G chord, a C chord, and E minor chord, an A minor chord, a A7th chord, etc....
However if you play the  F note at the 3rd fret on the low D and open high B string, and slide into the barred C chord at the 5th Fret, the ear begins to predicate a concept of what should come next. The Jazz theory of the tritone is based on the interval between the 3rd and the 7th.. in a G major chord that would be a B and F# note.
In a C7 chord it would be the E note and Bb note.. This interval creates a higher level of tension and resolution than dependence on the Root and 5th . Remember that Bass player I mentioned earlier... He’s playing the root and the 5th so you don’t have to.
That’s the wisdom of Jethro applied to the dobro.