This is why I stopped thinking scales/modes years and years ago. This idea that a scale of any sort can satisfy the needs of three or more dom7 chords never worked for me. It was way too restricting for my ear.
I think if you look at passing tones as belonging to the chromatic scale -- ALL notes -- you'll be better off than trying to assign them to a mode or scale. Once you can really see those chord tones there (1-3-5-b7) for each chord, you can always move chromatically between them. That always works once you get the timing down. Once you can feel good about that, you can then start to experiment with leaving some out and simply listen to the results. So long as you've got those chord tones in sight and ready to come back to, you can explore what little is left over to your heart's content.
Again, my advice is to stop thinking about some sort of mother scale that's played throughout and take it chord by chord. You'll wind up using the same notes, but you'll always have the proper context in mind if you think 'Chord of the Moment'. Then, when more complex progressions comes along, like I - IV - III - II - V, you'll just be tracking through them all as usual and your lines will always work.
Think melody!
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