I'm not 100% sure if I understand your meaning, but:
Setting aside the vintage drumming thing.... There is a difference between being somone a great jazz drummer where the ride cymbal is literally the centre of your musical technique and vocabulary, and having an interest in making it work with an acoustic guitarist.
The problem is, you need someone who can do both.
In my experience, I've found drummers with a classical background can be useful here because they view the instrument more orchestrationally and in situations with acoustic instruments... But they also need to be able to improvise and swing. I know one or two such drummers.
Instruments help. Swing era cymbals were smaller and quieter. For instance:
'Gene Krupa used 8" and 13" thin cymbals, 13" and 14" mediums, and a pair of 11" hi-hats in his (1930s) big band. '
http://drummagazine.com/5000-years-in-3000-words-cymbal-history/
Even a modest bebop 22" ride cymbal has twice the vibrating area of a 16" cymbal for instance, 4 times that of a 11". Swing era drummers did ride the cymbal, they just had smaller cymbals.... Oftentimes/always it was the open hi-hat... And of course, swing drummers weren't
always riding the cymbal at all because it wasn't the basis of jazz time keeping at that time... But techniques and styles of that era are a specialist area...
Really, modern jazz time keeping on a specific ride cymbal and rhythm guitar on unamplified acoustic guitar didn't really overlap. I think by the 50s Freddie Green was playing miked (might want to check that.)
Also horns got bigger and louder. From Selmer Balanced Action to Mark VI. Trombones got louder too... Probs trumpets as well. Steel strings replaced gut on bass. Hide heads on drums have given way to louder synthetic heads.
In any case, check out Jonathan's drummer(s.) Where do you get them, man?
Grant Green, What is This Thing
Yesterday, 01:59 PM in Ear Training, Transcribing & Reading