In 1994, he was awarded the prestigious Danish Jazzpar prize, and in 1996 the French government recognized Haynes as a knight, decorating him with the prestigious "Chevalier de l'Ordre des Arts et des Lettres," France's top literary and artistic honor. Haynes received honorary doctorates from the Berklee College of Music (1991), and The New England Conservatory (2004), as well as a Peabody Medal, the highest honor bestowed by the Peabody Institute of The Johns Hopkins University, in 2012. He was inducted into the Down Beat Magazine Hall of Fame in 2004. On October 9, 2010, Roy Haynes was awarded the Mid Atlantic Arts Foundation 's BNY Mellon Jazz Living Legacy Award at the Kennedy Center for the Performing Arts in Washington, DC . On December 22, 2010, Haynes was named a recipient of a Grammy Lifetime Achievement Award by the National Academy of Recording Arts and Sciences .  Haynes received the award at the Special Merit Awards Ceremony & Nominees Reception of the 53rd Annual Grammy Awards on February 12, 2011.
Maybe its time for a German guy to enter this discussion to bring a bit of light to the details.
Regarding the label: Spiegelei Records was a small imprint of Intercord in the 70s and 80s, covering the more progressive styles like Krautrock and Jazz. They did rarely use their own label name and design. Very in demand funk/groove records are the ones of the band Mombasa (highly recommended).
Regarding the dish: What you describe is actually called “Strammer Max” which means something like “tight / sturdy Max”. Not something to be proud of in any culinary discussion. But…, well, I was raised on this stuff.
In the late ’60s, Roach contracted Jack DeJohnette to play drums with bassist Reggie Workman and pianist Cedar Walton in Abbey Lincoln’s trio. “Max was an architect,” DeJohnette remembered. “When he didn’t use piano, you could hear him comping, as if the piano were there, in the way he painted a contour behind the soloist. I listened and played to a lot of Max, which I still do sometimes, and I imitated his solos, just to study them, although I went in another direction. I loved Max and Clifford’s early records, the precision, the tight arrangements, like ‘I Get A Kick Out Of You,’ almost like big band arrangements in a small group, and executed with amazing professionalism. They took great pains to give the best presentation possible, because they wanted to be taken seriously.”