my take..

the term "fusion" is just a few notes away from this approach of using .. basically..the chromatic scale against any and all chord voicings

consider the well worn 7#9 chord--in the most common form Eb7#9--Eb G Db Gb and the sudden realization of the tri-tone option -- A13 voicing built
in it..and the easy flip..A13/Eb..

thinking symmetric harmony..all forms of dominant A C Eb Gb chords

this gives us quite an array of choices to play over .. all the melodic minor scales and modes..diminished and augmented scales and chords
embedded in them..and then .. yes all the .. (stacks and stacks of music books)

Now..as mentioned..and is the key to using this kind of stuff..you HAVE to believe it..yeppers..you have to know what your doing..

yes this is impressive to be able to play this stuff at brisk tempos and have bandmates (hopefully paying listeners) nod their heads in approval..but not to forget to include melodic and rhythmic concerns while traveling at MACH 4 past the VanAllen belt.

I love this stuff..but when it gets quiet and Im in a intrspective mood .. Blue in Green makes me thankful for the years of practice and love
of the music and my ability to play it