The first lick focuses on making the quick change from Bb to Eb and back in the first three bars of the form. It starts with a simple outline of the tonic triad before quickly moving down the neck to hit the chord tones of Eb9 (G-Eb-F-Db) and Bb9 (D-Bb-C-Ab). This is an simple and effective way to play over dominant chords and it is something I often hear Peter Bernstein, a master of the jazz blues, use in his playing.
The second lick is all about hitting the ii-V (in particular the V) that leads to the IV chord. The line is a Bb7#5#9 arpeggio which functions as a V of the IV chord and this provides a lot of motion to setup the new chord.
The third lick is a real fun one to play and gets you into using the diminished scale over the E diminished chord in bar 6. In this one the note choice does most of the work as the line is just picked and is then capped off by a bluesy series of hammer-ons/pull-offs.
The fourth lick is a more traditional jazz lick that outlines the ii-V going back to the tonic. The use of the b9 (Gb) over the V (F7) helps to add more tension before resolving back to the I chord (Bb7).
The fifth and final lick is dominant blues line and can be used as a nice ending to your jazz blues solo or song. As an ending, I like grabbing the low Bb, either with my finger or thumb, to give more weight to the last chord especially if the ending is going to be short.