One way of analyzing this is to use the chord qualities to decide what modes/scales to use. The problem at hand is to decide what is considered a key change in the tune and what is not. I suggest this is a starting point:

Fmaj7 → F Ionian

Gbmaj7#11 → Gb Lydian (due to the #11)

Ebmaj7#11 → Eb Lydian (due to the #11)

Dmin7 → F Aeolian

Ebmaj7 → Eb Lydian, to retain the sense of F major, alternatively Eb Ionian if the Ebmaj7 is considered a key change. The difference between the two is the 5th tone, Ab (Ionian) or A (Lydian). I'd try the Lydian, since the 5th step in Eb Lydian coincide with the third of F major.

Bbmin7 → Ab Dorian/G Phrygian/Db Aeolian, what key should Bbm7 be considered a part of)

Amin7 → F Phrygian (retaining the tonal center of F major)

Emin7b5 → F Locrian

A7#9 → D mixolydian, but beware of the B, since the chord specifies a #9, Bb)

Dm7 → F Aeolian

Gmin7 → F Dorian

Gbmaj7 → Gb Lydian

Fmin7 → Eb Dorian, Db phrygian or Ab Aeolian, I'd start with Eb dorian, since this follows a temporary key change to Eb, being close to the key of F

Gbmaj7 → Gb Lydian

If we are strict about the qualities of chords, you should end up with these modes for the different qualities: Maj7: Ionian, Lydian

7: Mixolydian

m7: Dorian, Phrygian or Aeolian

m7b5: Locrian

In order to find the scales for maj7's and m7's, you need to find (or choose, or regard) the function for the chord. If you start with Fmaj7, you should use Ionian, since it is obvious that the tune is in F major. The greatest ambiguity is found in the m7 chords, since these can use three scales (based on chord tones found in the different scales).

Finally, you can play a lot of different things on 7th chords, in particular on altered 7ths...

I hope this was helpful! Scales are hugely useful to improvisation, and you really should study them.

If anything is unclear, make comments, and I'll try to explain.

One way of analyzing this is to use the chord qualities to decide what modes/scales to use. The problem at hand is to decide what is considered a key change in the tune and what is not. I suggest this is a starting point:

Fmaj7 → F Ionian

Gbmaj7#11 → Gb Lydian (due to the #11)

Ebmaj7#11 → Eb Lydian (due to the #11)

Dmin7 → F Aeolian

Ebmaj7 → Eb Lydian, to retain the sense of F major, alternatively Eb Ionian if the Ebmaj7 is considered a key change. The difference between the two is the 5th tone, Ab (Ionian) or A (Lydian). I'd try the Lydian, since the 5th step in Eb Lydian coincide with the third of F major.

Bbmin7 → Ab Dorian/G Phrygian/Db Aeolian, what key should Bbm7 be considered a part of)

Amin7 → F Phrygian (retaining the tonal center of F major)

Emin7b5 → F Locrian

A7#9 → D mixolydian, but beware of the B, since the chord specifies a #9, C)

Dm7 → F Aeolian

Gmin7 → F Dorian

Gbmaj7 → Gb Lydian

Fmin7 → Eb Dorian, Db phrygian or Ab Aeolian, I'd start with Eb dorian, since this follows a temporary key change to Eb, being close to the key of F

Gbmaj7 → Gb Lydian

If we are strict about the qualities of chords, you should end up with these modes for the different qualities: Maj7: Ionian, Lydian

7: Mixolydian

m7: Dorian, Phrygian or Aeolian

m7b5: Locrian

In order to find the scales for maj7's and m7's, you need to find (or choose, or regard) the function for the chord. If you start with Fmaj7, you should use Ionian, since it is obvious that the tune is in F major. The greatest ambiguity is found in the m7 chords, since these can use three scales (based on chord tones found in the different scales).

Finally, you can play a lot of different things on 7th chords, in particular on altered 7ths...

I hope this was helpful! Scales are hugely useful to improvisation, and you really should study them.

If anything is unclear, make comments, and I'll try to explain.