You have the wrong mentality. Jazz is about playing over changes. You have to hit good notes over top of each chord. If you want to play jazz then I`d say literally every scale has a use. The first thing to do is learn to play chord tones, then expand that idea to chord-scale relationships.

100x this. I am a crap jazz player so I welcome any corrections and tips myself, but the biggest "aha" moment I had with jazz was realizing that it's not strictly bound to specific keys or scales in the sense that you might get from learning basic theory concepts like "key." Each chord is like its own little tonal world, and the artistry of writing and soloing over jazz changes is making interesting relationships between those tonal worlds, linking but also contrasting them. Oftentimes for simple charts the changes will stay in the same key so you don't really have to worry about what I just said, but for more complex pieces, if you look at jazz purely in terms of formal chord analysis for one rigid key, you're going to have to deal with all sorts of borrowed chords and exceptions to rules in order to keep relating them to that key, and if the piece gives you enough twists and turns you'll just get lost and confused. I did this for years and got a headache thinking that you had to brute-force it, but if you just focus on each chord symbol as a symbol for what notes you can throw into the chord as well as in your melody (e.g. Am7b5 tells you that at least you can put an A, C, Eb and G in there, and you could also infer that it's probably the vii chord for the key of Bb so you could play A locrian or basically Bb major rotated to A and thinking about where you're going to set up a melody into the next chord). The chords are not elements that you have to cram into a theoretical box, but rather they are guideposts that help you follow along; the composer already thought through the changes to make them flow together.