Ghosthouse, after the bass solo, if one listens closely, Wayne Shorter softly creeps in and starts his solo at precisely 3:22. Definitely tenor and, as you say, it flies. The transition to Freddie’s solo is interesting. If I’m not mistaken, the first thing one hears after the tenor solo sounds to me like a single note by Moncur on muted trombone (the exact same note that Shorter ends his solo with). After that single inflected note by Moncur, as if to say "you take it, Freddie", Hubbard starts his solo. Unusual sequence, but interesting. Freddie on trumpet not flugelhorn, btw. Great stuff! And great listening on your part.
Re Zappa/Varese: no doubt those guys were listening to a lot of the same music. Most prominent jazz players took classical music very seriously and listened to all the great composers; especially the modern composers. Bird loved Stravinsky, and one of his signature "Birdsms" (some might call it a Bird "cliche") is a quote, or melodic nugget, from Stravinsky’s "The Firebird".
http://www.npr.org/sections/deceptivecadence/2013/05/26/186486269/why-jazz-musicians-love-the-rite-o...
Re Zappa/Varese: no doubt those guys were listening to a lot of the same music. Most prominent jazz players took classical music very seriously and listened to all the great composers; especially the modern composers. Bird loved Stravinsky, and one of his signature "Birdsms" (some might call it a Bird "cliche") is a quote, or melodic nugget, from Stravinsky’s "The Firebird".
http://www.npr.org/sections/deceptivecadence/2013/05/26/186486269/why-jazz-musicians-love-the-rite-o...