Trolle gives good advice. One thing I'd like to recommend, though, is getting used to the seventh chord arpeggios that go along with each scale. The reason is, with those different modes, you can call them by different names, but when you play them, they'll often just sound like the major scale, it's hard to get them to resolve at a different spot. If we're going to talk about jazz, I definitely don't think about switching scales for a ii V I. People who say dorian/mixolydian/ionian for a ii V I, I think that's kind of funny, it's all the same notes. I think in this situation, and in many where you're playing over moving harmony, thinking more about the arpeggios based on these scales can help with soloing. When playing over a vamp, it's hard not to think modally, and use scales, because how long can you stick to chord tones if there's a 16 bar vamp on dm right?