To me, this is a really great example of a bebop style solo.  For the most part Sonny’s lines consist of chord/arpeggios mixed in with bebop scales.  A perfect example of this is measures 17 and 18 shown below.  He starts with an arpeggion on the extension of the C chord (7, 9, 11, 13) with the ‘A’ acting as an upper neighbor tone that resolves down to the ‘G.’  From there he plays down the scale adding in the chromatic passing note ‘F#.’

My favorite line from the entire solo is probably the one that starts at measure 29 as shown below.

For the purposes of this line, you can ignore the B7, so the progression is really just a I iii VI7 ii7 V7 progression which you will see all over the place.  I see measure 29 as a really embellished triad (E, G, B).  I really like how the B in the first measure (the 7 of C) resolves down to the Bb in the 2nd measure (b9 of A) as well as how the B falls on a strong beat and the Bb falls on an off-beat.  Just sounds so good to me!

There is plenty of really good language in this solo and I think it is very straight forward in terms of analysis.  I just wanted to point out those two specific lines as I think they are really good examples.