I'm curious about the development of modern (post-bop-ish) jazz harmony. In Mark Levine's Jazz Theory Book, he shows how modes of the melodic minor scale can be used to form and improvise over chords with various types of alterations and functions. This would most famously include alt chords and their association with the seventh mode of the melodic minor, but also the Lydian dominant chord (fourth mode) used on a tritone sub, Lydian Augmented (third mode) subbed for a tonic chord, and playing melodic minor over a minor ii-V-i (sixth, seventh and first mode). These sounds have become closely associated with "straight-ahead" jazz as it's currently practiced. It's clear that Levine's approach was developed in hindsight from listening to (among others) Miles' and Coltrane's groups from the early sixties.
It's clear though that those groups were building on techniques that had been developed during and since the development of Bebop and even earlier (I've certainly heard sharp 5s and flat 9s played all over in swing-era recordings). I'm guessing the chord alterations were being used well before the associations with particular scales. I'd also guess that the "altered scale" (seventh mode) was "discovered" first, since it can be used over both the dominant and it's tritone substitution.
How did melodic minor harmony develop in jazz, and when did it start being thought of as such in jazz pedagogy?
Can anyone suggest a source that provides a detailed account of this history?