#1
say i had a jazz ii V I in C major

the chords go Dm13 (i think, it would have to have a nat. 6)

G7

Cmaj7#11

would i be able to use D Dorian, G mixolidian, and C lydian, or would i just be playing C major for the D and G, and G major for the C?

i am aware that this progression is unstable, but this is just for theoretical purposes
#2
Well what you said in both sentences is the same thing essentially.

D dorian is C major but starting on D and ending on D.... play a C maj scale from D to D and you will see that what you have played is a D minor scale with a raised 6th (aka Dorian)... same thing with G mix but starting and ending on G you'll see that its a G major scale with a flat 7 (aka Mixolydian). And obviously the addition of the #11 in the C maj7 chord warrants the use of lydian.

But I would think of it as the first way you put it.... thinking of it the second way is good for referencing so you don't get all jumbled up, but you should tend to think of it the first way as D dorian, G mix, C lyd
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#3
you could do either of what you said for that progression. But theres a few things wrong. Although you could play a D-13 you dont want to, because the 6th of the D minor is the 3rd of the G7, so it kind of contradicts itself and doesnt help you set up any voice leading. So lets just leave it as D-7 (or D-9 if you wanted to color it more)

The only problem thinking that youre playing "g major for c lydian" is that you (not trying to put down your knowledge of theory, as ive never heard you play) but someone thinking like that might start on a G, which would actually be fine since its the 5 of C, but you should get used to thinking of the guide tones in C major (the 1, 3 and 5) I guess what im trying to say is that if youre thinking its G major for a C lydian, you might resolve to the G major guide tones instead of the C major. Make sure youre shreding in c lydian and not g major, although they are modes of each other, they are kind of different (hope that makes sense and doesnt confuse you more lol)

Post any more questions if you need them, im glad to try to help and get rid of and confusion.
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#4
your progression is fine....the Dmi13 ... i would think of it as a mi6 as it then could also be a G9 ... which opens up some nice possibilities...Dmi scales of course .. natural & melodic would work over the ii7-V7..think of the G7 as an altered chord and Ab melodic minor would work as well as Db7#11 for a lydian flavor..expand the chords a bit more think of the CMA7#11 as a D13 (C F# B E) and you can cycle into some nice alternatives

Dmi 6 G7alt D13 Db7b9 CMA13#11 you can use diminished scales and half-whole tone scales over this because of the Db7b9 could be thought of as a Bdim7...

use some inversions of these chords and you will find some very tasty stuff

play well

wolf