I'll give you my approach to this one.
Scale wise, in a broad sense, I play E Ionian over the Emaj7 and E Mixolydian over the Bm.
E Ionian ----- E F# Ab A B C# Eb
E Mixolydian - E F# Ab A B C# D
The only difference is the 7th which clearly denotes the chord change i.e. the Eb reflecting the Emaj7 and the D reflecting the Bm.
Within this there are a bunch of things that can be done.
Here are a couple.
At times I'll play a straight E maj or B maj pentatonic over the Emaj7.
E Pent. ------- E F# Ab B C#
B Pent. - B C# Eb F# Ab
The difference between the two being the E and Eb. Both workable with the obvious Emaj7 chord resonance of the Eb.
I'll also play straight B min (blues) Pentatonic over the Bm.
B min Pent - B D E F# A
I'll also throw in some A chord resonance at the end of the Bm phrase as this chord is sometimes thrown in. The A, E and C# notes (the A chord triad) reflect this.
Notice how all the Pentatonic scales fit within the Emaj scales.
Just from listening to Jerry my sense is that he played more of the pentatonic structures in say the 70's and more 7 note major accents later on. I could be wrong but that's how it sounds to my ear.
Hope this helps.