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Ken, I've used that grip a bunch, but always as a dominant extension (Wynton Kelly got tons of mileage out of it as a piano voicing) - but I'd never made this connection. That makes perfect sense, thanks.
I also like to treat I and IV minor chords as separate little dorian entities. So obviously for B minor, the parent key is A. A stock move is to play ii - iii - IV (over either or both of the actual I and IV minors). Typically I'd treat ii and iii as stock min7 voicings, but I like to dress up the IV just a tad; I like 1 - 7 - 9 - 5, low to high; or, as viewed as a Bm chord, b3 - 9 - 11 - b7.
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