When its jazz and realbooks, first thing for the pianist or other chord comping instrumentalist to learn is to drop the 5th out of any chord forms.

Second thing to learn is the simple Tritone for each of the 12 Dom7 chords. This one is cool and there really are only 6 tritone two-noters that cover all 12 chords, since one Tritone reverses for its sister key. Ex: Tritone of C7 chord is E and Bb, the 3 and b7, but the same two notes are the Tritone for the flatted fifth note of the C scale, F#, only their number positions are now reversed, E is the b7 and Bb is now the 3.

Practice your 2-5-1 drills using only Tritone comping in the LH whenever there's a dom7, then practice adding the 9 quickly to all two-note Tritone patterns.

Also very important to work those chords in both "open" as well as the closed positions. That can get even less fingers involved, but the yield can sound like more piano. For example, try playing two of the notes of a chord with LH and two an octave or more above with RH.

And avoid that rock 'n roll 5th like the plague.

The reason to avoid the 5th is that playing the root and the 5th together creates a tone exactly one octave lower than the root but at half amplitude. "Power Chord" may be cool when playing alone, not so cool when playing jazz, for the most part.

It is important to not think that you've "got it" when you can grab those triads in any of the three inversions, then.

The concept involves only playing the most important notes that give a certain chord its character and identity, throw away all others.

Save the triads for the autoaccompaniment keyboardist stuff. Those keyboards only need 'em to identify the chord, the chosen style controls the used notes vs the throw-aways.

--Mac

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