Okay, I understand. This perhaps isn't too far removed from the general criticisms against 'west coast'. Here it clarifies for me that the harmonic language may have more to do with the distinction between hot/cool than simply the degree of improvisation or arrangement, which seems obvious in some ways but I don't know that it was as clear to me before given some of the arguments/discussions I've read. Which isn't to say that passionate improvisation doesn't provide a lot of 'heat,' but I've had trouble reconciling it with the exceptions afforded to what seemed to me very controlling composers like Mingus, or even that Davis can at times be so introverted and still escape the same fate of labeling (I recognize the diversity of his recordings plays a part, and that works like Sketches of Spain still have plenty of detractors).

It's a bit tangential, but I'm able to be excited by these various strands (hot/cool) simultaneously and so find the divide disheartening, so deeply ingrained as to sometimes appear like an inherited bias - although I don't necessarily get this impression from you given your recognition of the influence.