how to choose activities that work multiple aspects of my playing at once. I'm thinking about this in an "80/20 principle" kind of way, and I'm willing to sacrifice thoroughness for efficiency.
Lets see if I am interpreting 80/20 correctly in this context. This "heuristic" only makes sense if you frame it in certain ways. It seems to conclude that you could cut down on your 'effective drumming practice' time by up to 80%, if only you knew which of your exercises were the "most" efficient use of the time (i.e. for just 30 to 60 minutes per session).
Another way to frame it is that "generally speaking", 80% of the practice you already do is less efficient than the other 20%. So these "20% exercises" are the mystery meta-exercises that are "perfect' use of your time?

For a point of reference I just listened to a short podcast about the 80/20 method relating to jazz guitar. This particular player said that each person needs to identify "their own 20%", and then he proceeded to break it down further and further like a math equation. It became rather complicated, and at the end of it, it felt like mostly a thought exercise, or a circular logic game.
An analogous concept here would be exercising with compound movements that work multiple muscle groups at once.
while I would probably get faster at single strokes if I set aside an hour to just focus on it, I'm trying to think of ways to work on single strokes alongside other goals like movement around the kit and soloing. So, for me, that would mean like finding a Max Roach solo with a bunch of singles around the kit and making that my practice focus.
Depending on how you frame it, it sounds perfectly rational. It may be that there are some busy hobbyist drummers out there who really have figured out how to work those "compound muscle groups" and get real gains on 60 minutes a day. You have done a clear and respectable job of expressing why you seek the "perfectly efficient" practice routine. You could even say that you have asked the million dollar question here.
It's a reasonable question to ask on a drum forum. And insofar as it has been asked many times in many different forms, it's almost become a meme among more experienced drummers. What I'm referring to is all the "non-hobbyist" amount of time that it usually takes to get truly solid at something like jazz. That's the other "inefficient" 80% that doesn't feel wasteful to us because we've already scheduled a lot more than 30-60 minutes per day to practice. I know it's a paradox, as you said you don't have that much extra time in the day.
I'm not trying to derail your question. As I said, it's the King of Questions for busy intermediate and beginner drummers. My Two Cents here is just that
80% is a hell of a lot of trimming to do to what might otherwise be considered a "normal" healthy drumming practice routine. The reason why the whole formula makes my head hurt is that the constant re-framing makes it feel like another feel-good formula to "cheat" the process. To be fair, it's rational. Maybe not like cheating but more like "solving". But even if you "solve" for the perfect practice routine, it's still a steep and tedious accomplishment, like solving an algebra equation that literally everybody has been trying to solve forever. I'd rather just clear my schedule and practice till dark, than try to create a functioning homemade jazz practice cold fusion reactor out of a ratio between a couple of numbers.
about orienting practice toward a specific goal, rather than having a set plan..
FWIW, the way I conquered proggy jazz drumming was to spend as much time as it took to truly internalize the feel of jazz. Even more than their command of the "rudimental stickings of jazz", good jazz drummers are known by their
feel. So I spent a few years focused on perfecting my swing feel, and solid hours of triplet singles and triplet paradiddles. I was not thinking in terms of 80% vs 20%, but I was very
goal oriented about what exercises I spent "most of my time" on.
Instead of transcribing drum solos, I
memorized them by listening.
Internalizing the vocabulary "by heart", so to speak. Eventually I became able to emulate the exact strokes of some of my favorite proggy jazz drummers. This may just be the difference between right-brain learning and left-brain learning. I just know that for me I was able to command fluency in deep jazz while skipping the step of writing it down. Normal caveat here, I believe every drummer benefits from being at least literate in drumset notation. It comes in handy, even if you aren't practicing to read charts on the fly.
So as I type this it is coming to me what my "20% focus" must have been for jazz playing. It's basically two things, re-iterated:

Can I strike the bow of the ride cymbal in such a way that it sounds both sweet and authoritative? (every stroke)

Can I lead a whole jazz band with just the sound of my stick on the ride and my left foot on the hat clutch?

Can I pull tasty note after tasty note out of a variety of challenging ride cymbal sizes, weights and finishes?

Does my left-foot "chic" sound like it's welded tight to my ride cymbal note, and does it pierce through the pocket like a knife?
At least one other person in the band is listening for and benefiting from the clear reliable sound of your left foot bringing those hats together. Don't let them down.

Notice how all those points were just about how I sound holding down the swing pocket. Not a mention of sticking patterns, fills, or "classic drum solos". Of course I was able to fill in all those cool, necessary elements. But I always made sure that my swing feel, my groove, was always a little ahead of my "cool licks". To keep my priorities straight.
I mean literally you could argue anything should be practiced more than anything else. Well, maybe not anything, but you see how this theory could be kind of confusing and polarizing among people who want to help. My personal approach is just one of many, but my advice is always
more, more, more time spent practicing. You can become efficient with your time as you go. But to start out trying to be "perfectly efficient" with the intent of utilizing the shortest amount of time available seems a little nuts, lol. Indeed as I said it's the Holy Grail of hobbyist drumming equations: Can you solve for
T and
D, where
D represents a good jazz
Drummer, and
T represents all the
Time that
D didn't have to spend practicing, lol.
So the bottom line of my reply may as well be that I am unqualified to help the OP, because it's too late for me to embark on the kind of regimen being described. Before hearing about the 80/20 theory I always just assumed only drum prodigies got mad gains in short sessions, lol. I wasn't sure if I was a slow learner, but certainly slow enough that I lost track of my practice time long before I started getting really "good". So much for solving for
T, in my case anyway. I've grown fond of the lonely shed cat lifestyle though...
You maybe should try to find a jazz cat who did it real big on maybe 5 to 7 hours a week practice. A 'proof of concept' to make it worth investing your own time and faith that this particular formula will get you where you want to be.
There are already a handful of drumming/music teachers and creators online who are using the "80/20" method as their main teaching theme. So I'm sure there's plenty of further discussion to be discovered on the matter.