It's E7b9.
Probably the most known substitute of a dominant chord is a tritone substitution, where e.g. Db7 (Db F Ab Cb), which shares the third (Cb = B enharmonically), and the seventh (F) of the original chord G7 (G B D F).
But if you add b9 to G7, making it G7b9 (G B D F Ab), two more potential substitutes appear: E7b9 (E G#=Ab B D F) and Bb7b9 (Bb D F Ab Cb=B).
Edit: Following the discussion in the comments, as piiperi points, enharmonic substitution of Ab with G# is against the traditional harmony rules. In G chord, the note Ab is b9, and it resolves downwards, to the note G (fifth of the chord C). So one could try to call the chord "G7b9(13) no root". Now, G7b9(13) chord symbol isn't too exotic, but "no root" is. E7b9 is a way more straight forward symbol to describe these notes.
The controversy is that in E, the note G# resolves upwards, to A, not downwards. But in jazz, the classical voice leading rules are not always strictly followed... Though actually the consecutive chord is C6, thus including the note A! So maybe writing G# isn't that stupid?
Edit2: note that in the recording linked by the OP, all notes are a whole tone up w.r.t. this discussion.