Immersed in the controversial, but rewarding, 1970s Miles

The early to mid-1970s were almost without question the most controversial period of MILES DAVIS' landmark -- unparalleled -- career.
I'm reading about the period today in Richard Cook's excellent "IT'S ABOUT THAT TIME: MILES DAVIS ON AND OFF RECORD," which could best be described as a "biography" of the trumpeter's discography.
I have been listening to albums from the period, too, including "A TRIBUTE TO JACK JOHNSON" (one of my favorites), "ON THE CORNER" (definitely what I would call a "grower") and "GET UP WITH IT" (a varied collection I need to spend more time exploring).
Many jazz purists hated this period of Davis' career, especially those contemporary fans who had followed the trumpeter's work throughout the 1950s and 60s. These purists must have felt Davis had abandoned them, as he disregarded much of what we associate with jazz (including recognizable song structures).
I take a different view. Davis hadn't abandoned the fans. The problem was the fans were unable to keep up with him.
As I listened to the dense sound scape of "Mr. Freedom X," from "On the Corner," I envision Davis' music as a jetliner on a runway. Gaining speed throughout the late 1960s, the jet soared by the early 1970s, leaving the fans running along on the tarmac in my analogy.
I imagine not many of the fans who worshiped Davis for songs such as "My Funny Valentine" were going to warm as immediately to his poly-rhythmic funk workouts of the 1970s.
Much of the 1970s Davis work is alien-sounding, but it also boasts a remarkable beauty to the open-minded listener.
Besides, there are passages on "A Tribute to Jack Johnson" that rock as hard as any metal.
Is it really jazz? Who cares? It's definitely Miles.