Unless you have a seven string guitar, this chord is impossible to play on guitar if you want all chord degrees represented. Since it is a G-minor chord over an Fm7, you can really think of the total composite chord as an Fm13, which is a pretty standard jazz chord for guitarists. . . or any jazz player for that matter.
What notes you leave out in part depends on the ensemble you're playing in. For example, if you're playing in a jazz trio with guitar, sax, and drums then you're going to need to cover at least some of the rudimentary harmony (root, third, seventh, etc) with a frugal selection of upper-tertian harmony (say, the ninth and thirteenth.) Choosing a five-note chord in this way is good for having an active bass line, which is important if you're playing fingerstyle.
If you're playing with a bassist or a pianist (or both) then usually with upper-tertian chords the guitar plays a lot of the "active" or "filler" harmonies - notably chord extensions and other active tones.
On the other hand, if you want to show a clear delineation between the chords (such as Coltrane notated) then it would be wise for you to voice the Fm7 below a Gm triad. Since you will have to obviously omit one note, the fifth of the Fm7 would be omitted since it is a four note chord and the fifth is almost always omitted first as it is the least harmonically active of the pitches.
Thus, an example of an appropriate voicing would be (from lowest to highest):
F, Ab, Eb, G, Bb, D
That said, the lead sheet does not indicate the inversion of the chord, so feel free to experiment with shapes that give you the easiest flexibility - as long as the two chords remain separate. As indicated in the score, one or both chords may be in inversion if necessary.
Hope that helps.