The Charleston — the oldest comping rhythm in jazz and still the most useful: a chord on beat 1 (held a dotted quarter) and a short chord on the and-of-2, then nothing until the next bar. Named after the 1920s dance tune, it is the default rhythm a pianist falls back on behind a soloist.
Why it works: the and-of-2 is an anticipation of beat 3, so the rhythm pushes forward without being busy, and the empty second half of the bar leaves the soloist room — Levine's first rule of comping is to get out of the way. Compare his fig. 21-2: chords anticipated by a half beat have "much more energy" than chords dragged behind the beat.
Listen for swing: the eighths are notated straight but the and-of-2 sits late, on the third triplet. The bass walks; the right hand plays rootless voicings over left-hand shells.
Practice: play it on a I–VI–II–V for a chorus, then displace it (beat 2 + and-of-3, or and-of-1 + 3) every other bar — the Red Garland pattern in this set is one such displacement. Voicings and bass line are standard practice.