Everything in this solo is so great it all should be learned. It was so hard to take one selection but here it is. So again, everything going on here and in this album is a combination of hexatonic, meaning 6 note patterns, or pentatonic, meaning 5 note patters. McCoy will take these 5 and 6 note scale and create 4 note patterns from the pentatonic scale or hexatonic scale to derive different sounds.
In this first measure he is getting a minor type of sound over the Bb7 chord using a Db pentatonic. The third grouping of sixteenth notes comes from a B- or B-7 chord which then leads into the Bb7. Once McCoy resolves into the Bb7 chord with his line it appears as if he is using a combination of a Bb triad and a C- triad which gives a sus sound over the Bb7.
From here he uses the root to 5th, to b7 twice then resolves into the 3rd of the Eb7. Crazy line but once you get use to seeing the patterns it becomes a lot easier.
Practice improvising while thinking about triads, try combining two triads to form improvisation scales. Also try transposing the piece by a half step to contrast and build.