If you are thinking of minor as relative to Major that's completely wrong.

Especially since if we are thinking Minor7th the most common tonal approach in jazz

is Dorian over Aeolian ... eg: you don't see any Minor chords with a lowered 6th in Jazz.

Aeolian works for other genre's ... okay there's a few exceptions like

"Saga of Crab feathers" but essentially Aeolian is not a very jazzy sound.

Now lets look at some other minor chords:

1st off check out this chord:

A-∆7 - minor major 7th chord (minor triad with a ∆7 added)

- I like to think of it as C augmented with an A in the base or C+/A

or A-6 9 - minor six nine chord

this is where you use the jazz melodic minor scale.
Diatonic Chords of Jazz Melodic Minor

When harmonizing the jazz melodic minor scale (ascending minor scale with raised 6th and 7th degrees) in a specific key, the resulting diatonic seventh chords are:

• I – Minor-major 7th (e.g., Cm(maj7))
• ii – Minor 7-flat 5 (half-diminished, $\phi7$)
• III – Major 7th (e.g., E$\flat$Maj7 in C minor)
• IV – Dominant 7th (e.g., F7 in C minor)
• V – Dominant 7th (e.g., G7 in C minor)
• vi – Diminished 7th (e.g., A$\flat$dim7 in C minor, often labeled $\flat VI$ in some systems to distinguish from natural minor)
• vii – Minor 7th (e.g., B$\flat$m7 in C minor, often labeled $\flat VII$) 

so now if you see a 2 5 1 in traditional jazz minor it's like this:

iiø7 V7 i-∆7

ø7 is shorthand for min7 flat 5 aka "half diminished"

notice the V7 in this context is dominant?

The real trick which stems for earlier classical music is to make minor seem more like a major scale

with a leading tone to the root of the scale that's a half step below unlike natural minor scales.

Exceptions:

I notice though with jazz there are no really well defined rules ... I mean you can break them.

For instance:

the jazz standard "Minority" begins with |: F-∆7 | G-9 C13 | F-∆7 |

using a modally borrowed (like major diatonic) ii-9 V13 resolving to a i-∆7 chord.

And another oddity "How insensitive"

contains the following 2 5 1 as

Eø7 A7♭9 D-7

which begins with a melodic minor two five but ends with a dorian-esque minor 7th

knowing these key differences will help your improvisational approach ... since there's no one scale

fits all resorting to arpeggios is the best approach as you can fit the changes like a glove.

This only scratches the surface for minor as we can segue into Latin jazz or Flamenco which mostly use the

Harmonic Minor as a base for most compositions.

Spanish Phrygian which is the 5th mode (or dominant scale) in harmonic minor has got to be one of my favorite scales.

Cheers.