Yeah, the C7#11 can used as an colored V7 chord that resolves to F. Post #6 here explains some other uses. (As a bVII7 in a backdoor progression that resolves to D; as a tritone sub resolving down a half step to the minor (Bm, in our case.); as a coloring for IV7 or bVI7 chords. And there’s more nerd theory talking in there, too.)
For me, with the 13th on top (although not wholly necessary), I would use that chord as the final chord in an ending tag for a jazz tune. “Satin Doll” is the one I particularly remember learning it for. So no resolution, just end on a I 13#11 (C13#11 in the key I normally play it in. The final musical figure is single notes of C-E(below the previous C and walking up to it)-F-F#-G-A-B-C, pause, and hit a C13#11 on the upbeat.
[QUOTE=pulykamell;20822231
For me, with the 13th on top (although not wholly necessary), I would use that chord as the final chord in an ending tag for a jazz tune. “Satin Doll” is the one I particularly remember learning it for. So no resolution, just end on a I 13#11 (C13#11 in the key I normally play it in. The final musical figure is single notes of C-E(below the previous C and walking up to it)-F-F#-G-A-B-C, pause, and hit a C13#11 on the upbeat.[/QUOTE]
To explain better, here’s an audio sample of the end of “Satin Doll” with the ending tag played as a C7#11 (so without the 13th I usually play.)