What do you mean by directly comparable, I wonder? One is made up of selfcontained segments and the other isn't. Also there are numerous important features of CT's playing which have no direct connection to any written music - the very rapid single lines played by alternating hands, often in clusters, for example. For these and other reasons I never thought of a connection there. But when I have a chance I'll listen to both in turn and see if I can work this out for myself.
A good comparison is probably Erzulie Maketh Scent, Book IV of TBOE and something like Messiaen's Le Traquet Strapazin. I might do that later this evening.
Andrew Hill and Mal Waldron are two serious gaps in my jazz listening experience. I find Bill Evans' sense of harmony highly fascinating but I can't say I know his work very well either. I've liked most of the Paul Bley that I've heard, though I haven't really detected a particularly strong personal identity in what he does (as opposed for example to Taylor and Evans in their different ways).
It's Bley's elusiveness that I find his most prominent characteristic! Shades of Bill Hopkins? That's probably too far a stretch.
And I should have mentioned Marilyn Crispell and Irène Schweizer earlier - both phenomenal talents.
