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Comments
The the G chord is fine, that’s just a IV chord.
D maj Pentatonic will work fine over everything… even the C9 with careful use of the B natural. You can include the b3(F) to enhance the C9 chord when the time comes, you could think of that as the B Blues scale.
Am Pent for Am7
Cmaj Pent for C9
If one wants to get further into the sounds there are other pentatonics that can be used to enhance the character of each chord. But you may run the risk of being swamped by options.
You can look into modes:
Dmaj7 - D Ionian
Am7 - A Dorian
Gmaj7 - G Lydian or G Ionian to retain the note C that could’ve been established in the previous chord.
C9** - C Mixolydian
G/A - A Mixolydian
Be aware that D Ionian, G Lydian and A Mixolydian are in fact the same pool of notes so it’s important to hit the chord tones.
** an extra choice over C9 is the Lydian b7 scale, mode 4 of melodic minor.
Very often basing something around the chord tones (ie notes within each chord) and/or the vocal melody will work well. But I'd strongly focus about getting a melody that fits based on instinct rather than what technically works on paper.
Eg:
I A-7 D7 I G maj 7 I
Similarly the C9 at the end is implying a common 'Hollywood or Back door' II V back to D (missing the II).
Eg I G-7 C7I Dmaj7I
When improvising you can think of the whole structure as
I Dmaj7 I A-7 D7 I Gmaj7 I G-7 C7 I
The second ending (G/A) is substitute V chord of D (A9/11)
Ps sorry- just noted you mentioned not being comfortable with II V I’s. As mentioned above, arpeggios rule!