Man, did I make a journeyman mistake. You are absolutely correct.@JOv2 , I don't see how this (at least all of it) could have been recorded in 1969, as "El Condor Pasa", "So Long, Frank Lloyd Wright", "Cecilia" and "Bridge Over Troubled Water" weren't released by Simon and Garfunkel themselves until their BRIDGE OVER TROUBLED WATER album in the first week of February, 1970.
Using hit singles as a benchmark, you are once again spot-on with your scenario.Given that three of those four cuts were hit singles, I'm gonna hazard a guess that the album wasn't recorded (or finished, anyway) until August, 1970, when "El Condor Pasa" was released as the third single from the Simon and Garfunkel album---which would be outside the window of Creed's involvement.
...and the hat trick.As for why A&M instead of the new CTI, it was probably contractual. Paul didn't surface on the new CTI for four more years (with SKYLARK and PURE DESMOND), so maybe his deal was with A&M or maybe he only had a two-record deal with Creed and went with A&M for the third (either of those scenarios could explain Quincy Jones, as well).
You've sold me, Mike. (I edited the wikipedia entry in response.)
The engineer/studio issue remains the only aspect up for grabs...at this point, I'll further conjecture that while RVG was most likely penciled in, once Creed was fully out of the picture, Jerry probably had the new producer relocate the session to a studio that was more aligned with A&M's economic interests at the time (e.g., "Big Al's Discount 16-Track Pro Studio" -- where the first 5 test pressings are "on the house"!)
Excellent observation.And apart from Antonio Carlos Jobim, new CTI stayed away from A&M/CTi artists for a long time---it wasn't until May of 1971 that George Benson's BEYOND THE BLUE HORIZON was released. Was that part of the legal wrangling that tied up I GOT A WOMAN AND SOME BLUES for 15 years? I'm sure Benson and his management didn't want to go two years between albums