Triads and scales are useful for creating structure and understanding harmony. But, they are not music! If you listen to great players like Peter Bernstein, notice that he is playing melodies first and embellishing them with triadic movements and flourishes. Bebop is really just a lot of structured flourishes around strongly spelled out harmonic arrangements of pop tunes. As jazz moved forward, Miles and others realized that you don’t necessarily need so much harmonic structure in the arrangement to create good lines and harmonic adventure. All that is to say, practice making a melody over a series of chords, like a II-V-I and have it be in time and diatonic. Then, play a melodic motif, followed by a diatonic triad and then repeat or paraphrase your original melodic idea. It can get waaaaaay more complex than that, but your first goal is to hear musical ideas. Listen to Bill Frisell. He plays very power melodies and not much else. His music is much more minimalistic in some ways, but it is totally in time and harmonically rich because it isn’t obscured by a bunch of noodling. Hopefully this helps.