Feldman's Music of the Ottoman Court goes into the history of the hijaz mode. The pitch of its third has slowly drifted up over the centuries, from nearly minor to nearly major: which can because in Middle Eastern theory it isn't a relative of anything else, it's a stacked pentachord mode.

Freygish is different because its lower seventh is sharpened by a semitone.

Kurdilihijazkar (the mode of Misirlou) hasn't changed in 3000 years as far as I know. The third has always been solidly major. But in Misirlou the sixth is usually flattened in descent - something that doesn't happen in bhairavi.