Starting with this example, line 3 from page 6 (all references are to the print edition, not the e-book). In all cases we are reinterpreting the top line, stems-up part, and ignoring the stems-down part.
It's very simple: play the book rhythm on the bass drum, except the 1 of the second measure, which you play on the snare. Add quarter notes on any cymbal:
Using line 2 from page 18:
You would play this:
If you're copping the Natural Woman-type feel, the 8th notes will swing. There are many other instances of this type of feel where the 8ths should not swing.
On some exercises there is a rest or the end of a tied note on 1, like on line 3 of page 26:
You can either add the snare drum on 1:
Or displace the snare drum to match the book rhythm:
With all of the exercises, you can also play all of the second measure on the snare drum:
And then make a longer phrase out of it by playing all of measure 4 only on the snare drum:
Later you can change up the cymbal rhythm— here using line 1 from page 26 as the example groove:
This becomes a comprehensive way of working through triplet-feel grooves universally, while learning a challenging (though fairly rare) reading situation. I think there are other benefits to using this format, which are beyond the scope of this post. You should be aware of how these same grooves would be written in 6/8, 12/8, or as triplets in 4/4— the more usual ways this type of thing is written.