The first chord in this progression is Am7 flat 5, over which you see voicings from the C minor 6 diminished scale. These resolve to the E flat m6/D7 on the fourth beat, and then on to the Dmaj6/Gmaj7. This serves to illustrate that you don't have to wait until the dominant chord to start creating movement with your voicings.

Another twist to the borrowed tone idea: Since the diminished 7th chord represents four dominant 7th chords, why not "borrow" the root of one of those dominants for use in a diminished 7th voicing? When it creates a major 7th with the dropped note of the voicing, it can be most effective, as you see with the E in the second voicing, the D flat in the fourth, the B flat in the sixth, and the G in the eighth.

Why not borrow two dominant roots for the same diminished chord? As you can see on beat two, the first voicing has an E and a B flat, which are roots of two of the four dominant 7th chords related to the diminished chord of this scale. They resolve upwards to the full diminished 7th chord on the second half of the beat. As the pattern continues down the C major 6 diminished scale, note that nice, crunchy major 7th sound that happens before the borrowed tones resolve to the diminished 7th.