I'd recommend transcribing individual licks that you like the sound of, especially over ii-V-I situations. This does mean that you'll have to either be able to identify ii-V-I's as they go by in the recording, or know the harmonic structure of the tune. Blues tunes are very common in the bebop era, and in the solos of the masters you should be able to find lots of great ideas in measures 4-5 (a quick ii-V-I going to the subdominant ie. IV) and measures 9-11, which are a long ii-V-I in the home key. When you find a lick you want to incorporate, learn it in all keys and on all string sets. The next step is to practice inserting it into your improvisations on tunes. As an exercise, you can try to use the lick in every possible place on a tune such as All the Things You Are, Cherokee, etc. (tunes with lots of ii-V-I's in different keys).
In addition to this sort of study and practice, you might find it to be an interesting exercise to play constant 8th notes (or quarter notes, half notes, 8th note triplets, etc.) on the changes of a tune that you're working on. I found this sort of thing very helpful.
In addition to the players already mentioned, I'd recommend checking out Hank Mobley, particularly the album Soul Station, and Grant Green. When starting out, I think players like Coltrane can, at times, provide a daunting challenge when trying to apply their lines to guitar. Hank Mobley's playing is very "transcribe-able" and rhythmically clear, while maintaining soul and interesting lines that sound great. Grant Green has a great feel and his melodic vocabulary is very clear, and his playing is a great entry point of learning bebop on guitar. One attractive element of his playing from a learning standpoint, is that it all lays out very logically on the guitar, so you generally are not going to have to spend a great deal of time figuring out how to physically play his material.
Finally, I'll add that when learning this style, don't ignore the blues! I made a point to not play blues-y ideas for a long time, thinking it would sound too "guitar-y", but eventually I realized that all the great horn and piano players use a lot of blues scale and bluesy mannerisms in their bebop playing.
Hope some of this helps!