Left-hand shells, Bud Powell style, anticipated — the two-note voicings (root and 7th, or root and 3rd) a bebop pianist plays under a right-hand line, placed the way Levine shows in fig. 21-4: each new chord comes in a half beat before its beat and holds, so the changes on 1 and 3 are struck on the and-of-4 and the and-of-2. Fig. 21-3 is the same progression played a half beat late; play both and you hear why the late version "drags".
The right-hand staff is left empty on purpose — that is where your line goes. Shells are deliberately thin: a bassist has the root, so two notes name the chord without clutter — the classic Powell/Silver left hand.
Listen for the shell changing before the bass does; the harmony "leans" into every bar line. At fast tempos many players drop to one shell per bar.
Practice: walk the bass line in your head, play only the shells, then add a scale in the right hand and keep the shells exactly where they are. Voicings and bass line are standard practice; the rhythm is Levine's.