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I don't know what is exactly the question you are asking. But you do 'generate chords' from melodic minor. You mention yourself several times the ii-V-i, so having a dom7 as the V chord. This cannot be done with natural minor. But you can get it from melodic minor. And where they really comes from in jazz is a vague question, because this duality the minor key has between ♭6 and 6 and ♭7 and 7 is something that has been part of classical western music ever since music became functional. So everything past Gregorian chants using the chord modes exclusively already has this property. We already had these chords and cadences long before jazz was developed.

As for using a modal approach to play over jazz using the modes of melodic minor, this is a misuse of the term 'mode' as you are not playing modal music. Yes, if music has a lot of altered chords and extensions that are not diatonic, you need scales that also have these modified notes. If you are in the key of C and the V chord is a G7♯11, you need to change the F in the scale to a F♯. And it then makes sense to refer to this scale as a Lydian scale with a ♭7, or a Lydian dominant (you could just as well call it a Mixolydian ♯4, but people call it Lydian dominant or Lydian ♭7. I think there is a 'rule' to name things after their most sharpened interval, but I don't remember). And this happens to be the fourth mode of melodic minor. So in that sense, yes. It can be used to talk about what scales to use in jazz. But it has little to do with the Lydian mode (or Lydian dominant mode), as you likely have a ii-V-I where you change the diatonic extension of an 11th to a ♯11th. And you can't be playing a melody with an 11th/F against the chord with the 11/F♯ as a color note.

I don't know what is exactly the question you are asking. But you do 'generate chords' from melodic minor. You mention yourself several times the ii-V-i, so having a dom7 as the V chord. This cannot be done with natural minor. But you can get it from melodic minor. And where they really comes from in jazz is a vague question, because this duality the minor key has between ♭6 and 6 and ♭7 and 7 is something that has been part of classical western music ever since music became functional. So everything past Gregorian chants using the chord modes exclusively already has this property. We already had these chords and cadences long before jazz was developed.

As for using a modal approach to play over jazz using the modes of melodic minor, this is a misuse of the term 'mode' as you are not playing modal music. Yes, if music has a lot of altered chords and extensions that are not diatonic, you need scales that also have these modified notes. If you are in the key of C and the V chord is a G7♯11, you need to change the C in the scale to a C#;. And it then makes sense to refer to this scale as a Lydian scale with a b7, or a Lydian dominant (you could just as well call it a Mixolydian ♯4, but people call it Lydian dominant or Lydian ♭7. I think there is a 'rule' to name things after their most sharpened interval, but I don't remember). And this happens to be the fourth mode of melodic minor. So in that sense, yes. It can be used to talk about what scales to use in jazz. But it has little to do with the Lydian mode (or Lydian dominant mode), as you likely have a ii-V-I where you change the diatonic extension of an 11th to a ♯11th. And you can't be playing a melody with an 11th/C against the chord with the 11/C#; as a color note.

I don't know what is exactly the question you are asking. But you do 'generate chords' from. melodic minor. You mention yourself several times the ii-V-i, so having a dom7 as the V chord. This cannot be done with natural minor. But you can get it from melodic minor. And where they really comes from in jazz is a vague question, because this duality the minor key has between b6 and 6 and b7 and 7 is something that has been part of classical western music ever since music became functional. So everything past Gregorian chants using the chord modes exclusively already has this property. We already had these chords and cadences long before jazz was developed.

As for using a modal approach to play over jazz using the modes of melodic minor, this is a misuse of the term 'mode' as you are not playing modal music. Yes, if music has a lot of altered chords and extensions that are not diatonic, you need scales that also have these modified notes. If you are in the key of C and the V chord is a G7#11, you need to change the F in the scale to a F#. And it then makes sense to refer to this scale as a Lydian scale with a b7, or a Lydian dominant (you could just as well call it a Mixolydian #4, but people call it Lydian dominant or Lydian b7. I think there is a 'rule' to name things after their most sharpened interval, but I don't remember). And this happens to be the fourth mode of melodic minor. So in that sense, yes. It can be used to talk about what scales to use in jazz. But it has little to do with the Lydian mode (or Lydian dominant mode), as you likely have a ii-V-I where you change the diatonic extension of an 11th to a #11th. And you can't be playing a melody with an 11th/F against the chord with the 11/F# as a color note.

I don't know what is exactly the question you are asking. But you do 'generate chords' from melodic minor. You mention yourself several times the ii-V-i, so having a dom7 as the V chord. This cannot be done with natural minor. But you can get it from melodic minor. And where they really comes from in jazz is a vague question, because this duality the minor key has between ♭6 and 6 and ♭7 and 7 is something that has been part of classical western music ever since music became functional. So everything past Gregorian chants using the chord modes exclusively already has this property. We already had these chords and cadences long before jazz was developed.

As for using a modal approach to play over jazz using the modes of melodic minor, this is a misuse of the term 'mode' as you are not playing modal music. Yes, if music has a lot of altered chords and extensions that are not diatonic, you need scales that also have these modified notes. If you are in the key of C and the V chord is a G7♯11, you need to change the F in the scale to a F♯. And it then makes sense to refer to this scale as a Lydian scale with a ♭7, or a Lydian dominant (you could just as well call it a Mixolydian ♯4, but people call it Lydian dominant or Lydian ♭7. I think there is a 'rule' to name things after their most sharpened interval, but I don't remember). And this happens to be the fourth mode of melodic minor. So in that sense, yes. It can be used to talk about what scales to use in jazz. But it has little to do with the Lydian mode (or Lydian dominant mode), as you likely have a ii-V-I where you change the diatonic extension of an 11th to a ♯11th. And you can't be playing a melody with an 11th/F against the chord with the 11/F♯ as a color note.

I don't know what is exactly the question you are asking. But you do 'generate chords' from. melodic minor. You mention yourself several times the ii-V-i, so having a dom7 as the V chord. This cannot be done with natural minor. Here you get melodic minor. And where they really comes from in jazz' is a vague question, because this duality the minor key has between b6 and 6 and b7 and 7 is something that has been part of classical western music ever since music became functional. So everything past Gregorian chants using the chord modes exclusively already has this property.

As for using a modal approach to play over jazz using the modes of melodic minor, this is a misuse of the term 'mode' as you are not playing modal music. Yes, if music has a lot of altered chords and extensions that are not diatonic, you need scales that also have these modified notes. If you are in the key of C and the V chord is a G7#11, you need to change the F in the scale to a F#. And it then makes sense to refer to this scale as a Lydian scale with a b7, or a Lydian dominant (you could just as well call it a Mixolydian #4, but people call it Lydian dominant or Lydian b7. I think there is a 'rule' to name things after their most sharpened interval, but I don't remember). And this happens to be the fourth mode of melodic minor. So in that sense, yes. It can be used to talk about what scales to use in jazz. But it has little to do with the Lydian mode (or Lydian dominant mode), as you likely have a ii-V-I where you change the diatonic extension of an 11th to a #11th. And you can't be playing a melody with an 11th/F against the chord with the 11/F# as a color note.

I don't know what is exactly the question you are asking. But you do 'generate chords' from. melodic minor. You mention yourself several times the ii-V-i, so having a dom7 as the V chord. This cannot be done with natural minor. But you can get it from melodic minor. And where they really comes from in jazz is a vague question, because this duality the minor key has between b6 and 6 and b7 and 7 is something that has been part of classical western music ever since music became functional. So everything past Gregorian chants using the chord modes exclusively already has this property. We already had these chords and cadences long before jazz was developed.

As for using a modal approach to play over jazz using the modes of melodic minor, this is a misuse of the term 'mode' as you are not playing modal music. Yes, if music has a lot of altered chords and extensions that are not diatonic, you need scales that also have these modified notes. If you are in the key of C and the V chord is a G7#11, you need to change the F in the scale to a F#. And it then makes sense to refer to this scale as a Lydian scale with a b7, or a Lydian dominant (you could just as well call it a Mixolydian #4, but people call it Lydian dominant or Lydian b7. I think there is a 'rule' to name things after their most sharpened interval, but I don't remember). And this happens to be the fourth mode of melodic minor. So in that sense, yes. It can be used to talk about what scales to use in jazz. But it has little to do with the Lydian mode (or Lydian dominant mode), as you likely have a ii-V-I where you change the diatonic extension of an 11th to a #11th. And you can't be playing a melody with an 11th/F against the chord with the 11/F# as a color note.