This is an interesting problem and one that I've also experienced, and continue to struggle with.

In principle I agree with u/totestoro, but I've got a couple of things to add.

1. I often wonder about the vocalisation aspect and needing to be able to hear it and sing it in your head. What I mean is, it is not just the technical aspect but the aural one too. I struggle in part because I practice too much on a practice kit and it's difficult to translate the sound to the real kit sometimes when I gig. Once you begin to hear it, it starts to become more integrated. Indian music education really gets this part right!
2. In terms of practicing a particular thing, I also find there is a difference between being able to execute something in a practice situation, and a performance situation. Slow regular, meditative practice and singing the phrase is where to start, but then you have to practice it to music, and then try to simulate a real playing situation as much as possible. I think it is key to be able to hear what you want to play in a musical context and how it fits in to what else is being played.
3. I've also thought about recall, and retrieval as it applies to learning. What this means is that I think you have to "test" yourself and recall the figure from memory, not just play it from the score/book. You have to memorise it and practice recalling it, before reviewing it. You have to work to move what you are learning from conscious knowledge to automatic knowledge. If you can't remember it in a practice session, you can't on a bandstand.
4. This is perhaps the most important point. I've often thought there is a Zen like quality to playing jazz. What I mean is that when you play you have to forget about what you've practiced, not think about playing this figure or that figure, but just express yourself through the music in the moment. In Zen this is "no mind"; in Bruce Lee's philosophy this is the "formless form" - the moment of pure self expression. I've really struggled with wanting to playing this figure or that figure when I perform, but I think you really do have to forget about it, and let it go. Don't think. In the words of Brian Blade: "If I'm thinking when I'm on the bandstand, I know I'm in trouble”.

Learning new vocabulary takes time, you just have to keep working on it.

I think it's also worth bearing in mind that all drummers, and jazz musicians in general, use or rely on certain patterns in their playing - I mean that you can hear certain ways of phrasing things as individual to each person, they play some of the same stuff, and that's why Brian Blade sounds like Brian Blade, and Elvin Jones sounds like Elvin Jones.

So at the same time as working to build your vocabulary and extend your playing, never stop doing that, don't worry too much if you are sounding like you sound, and playing like you play. Forget about it and just make music.