Possibly my favourite change from the longer cut is the edit from Danny's first vision to the 'closing day' title card and subsequent drive to the hotel. By dropping the conventional and nonessential paediatrician scene, Kubrick creates a haunting transition that allows the bloody premonition to linger in a quite brilliant and disturbing way, whereas the impact is curiously muted by cutting to banal and talky exposition. I find it interesting that Kubrick's next film, Full Metal Jacket, is edited in a crisp fashion synonymous with the shorter Shining, and the longer version conforms closely to the elongated rhythm of the appropriately epic Barry Lyndon.
Perhaps SK rediscovered the power of economy during the process of trimming The Shining for a second (technically third) time.
I also like the change of focus from the family unit to Jack's own experience; we are strangely with him as the film progresses, and that's both more entertaining and pretty scary (in a darkly comic way).