Adding to a similar thing we did early this year, here are some more possibilities for filling in an ordinary right hand lead Reed method— that's the one where you play the book rhythm on the cymbal, with bass drum in unison, and fill any gaps in the rhythm with the left hand, to make a combined rhythm of running 8th notes.
Here we're filling in the longer gaps, where you play two or more 8th notes with the left hand, with 16th notes in a paradiddle inversion. This gives you a dense Dejohnette-like texture like you hear on Miles Davis's Live Evil, or on the CTI records Jack played on in the early 70s, and elsewhere.
Here's how you would fill spaces with two, three, and four 8th notes worth of space:
Notice the longer ones end with alternating singles— you could extend that as long as you need to for longer spaces you might find in another reading library— the Bellson book, or Chuck Kerrigan's excellent out of print book. Practicing out of Syncopation, most of the spaces are two or three eighths long.
To illustrate, here's how you would play a few excerpts from the famous p. 38 (formerly p. 37) exercise in Syncopation. The first two measures of line 3:
The last two measures of line 7— I would play the first six beats of this as a stand-alone exercise, in fact:
And the last two measures of line 6:
There aren't any places where you use four 8th notes worth of filler in the full page exercises in Reed, but here's line 40 on p. 37 (current edition):
See also this Dejohnette-like method from last year, and the filler options from a couple of weeks ago. They use different basic methods, but they all serve the same basic musical end.
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