Can't get MMW "The Lover" out of my head.

I'm completely obsessed now with the tune Medeski and the boys broke down for us on the first full day of camp: "The Lover." It's the one where he's playing C blues scale in the right hand over an alternating left-hand vamp of C minor 7 to E Major 7. I know a lot of pianists who can credibly go "outside" the changes of a tune from time to time and make it work, but this usually involves taking the RIGHT HAND improvised line far away from the steady chord progression. It works especially nicely on changes that are very well known...."All the Things You Are," for example, which is one song John M. played during his talk on "The Ins of Taking It Out." But what I DON'T hear often is this concept of keeping the RH line playing the same scale (in this case, C blues) idea while the LH works alternatively "with it" (C minor) or "against it" (E Major). If I get a chance, I'll have to ask John whether he knows of other artists who've done that kind of thing, or if it's his own concoction. Maybe it's an organist's way of thinking? Please weigh in if you happen to know....