When I was younger my teacher Paul Contos turned me on to a book called Joe Pass Guitar Styles.
This book had a big influence on my linear concept and I played out of it a lot. Joe's lines are pretty close to something like the Platonic ideal of Be-Bop lines. I used them as a model in learning to create long connected lines. I would play through the exercises until they were under my fingers and then I would try things like altering notes, displacing notes, using just the general shapes to create novel lines, and then just using Joe's changes to create my own lines.
I recently bought myself another copy of this book and I've been using it with my students. There are a few parts of the book that are guitar specific, but most of it is perfect for horn players. When you limit yourself to only using connected 8th note lines it forces you to focus more on the overarching shapes of your lines and it also makes you think more about how your lines connect from change to change. If you practice this way it also prevents you from playing as many familiar licks.
I highly recommend this book for any serious students of Jazz.
Pere Soto, my partner in crime, just sent me these links to YouTube videos. These are from a live gig and a radio show with his Mexican based Gypsy Jazz group Swing Gitane. The radio show was recorded in Guanajuato, Mexico and the live gigs were from San Miguel Allende. These guys are smoking.
The most excellent Point of Departure online Jazz journal has excerpts an interesting interview with pianist Paul Bley from a book called Paul Bley: The Logic of Chance by Arrigo Cappelletti (Véhiculr Press; Montréal, translated from the Italian by Gregory Burk).
Nelson Hinds just sent me this page of tunes handwritten by Bill Evans in preparation for his 1971 recording session for Columbia records. Anyone care to compare the Time Remembered here to the Real Book version?