Example 2 uses the technique of doubling the bass notes. You can do this even when your bass player plays only one note per beat.
In Rock & Roll and Jump music, you’ll often use this in a straight time feel, i.e. every note gets an equal amount of time.
In Swing you’ll play this accompaniment in a shuffle feel.

Instead of using just the major pentatonic scale, you can add the minor third to the bass line.
This becomes a guiding tone to the major third of the scale and sounds great in blues.
Bars 1, 3, 5 and 11 add the Bb to the G7 bass line and in bar 5 the Eb is added to the C7 bassline.

Note: Alternate progression
In this example, the bass line in bars 9-11 uses a different chord progression that often substitutes for the V-IV-I progression.
Here you play a so-called II-V-I progression instead.

The II chord is actually a minor chord (see Chords/Scales). It works as a guiding chord to the V.

When you get to the V, you can add two other notes to the bassline. You add the third and seventh of the chord to the tonic and form a full dominant seventh chord. In this case you precede the D7 with a C#7, a guiding chord from below.
In bar 12 you approach the D7 from above with an Eb7.