I'm sure Steve will be familiar with the b3 b7 compared with ionian approach to modes I used a moment ago, but in case others are not, here is a link to a page also approaching modes starting with the major scale on the same root. I learned this approach on a jazz course, harmonisation in jazz is of course another thing altogether and I only dipped my toe in:

http://www.jargstorff.us/2011/major-scale-modes-from-bright-to-dark/

If you scroll down the page you will see examples showing how the modes relate to C major in terms of adding a sharp (lydian) or flats (the rest).