Krautrock or Kosmische Musik as connected to the Jazz-Rock Fusion movement

With the emergence of "progressive rock" and "jazz-rock fusion" in the UK and USA, the jazz scene in Germany certainly took notice; the German "engineering" mind definitely latched onto the sudden outburst of electronic sound modification occurring the 1950s and 1960s while also taking the lead with the sound recording and engineering advances that followed. Out of these phenomena there also sprouted in Germany three forms of musical expression that became very popular--forms that, in fact, became associated with their German participants due to the numbers of German participants and pioneers.

The Berlin School of Electronic Music - One of these forms involved the increasing reliance on experimental sound making using electronically-generated sounds and rhythms--often with sequencers and synthesizers dominating. It is a recognizable style that became known as Berlin School Electronica due to the presence of a number of Berlin-based or Berlin-recording artists pioneering and/or leading the way (Tangerine Dream, Klaus Schulze, Manuel Göttsching). 

Krautrock - Another musical style that became associated with Germany--and in fact prompted the creation of the name "Krautrock" (a seemingly derogatory term that was coined by English music critics but was, for reasons incomprehensible to me, quickly accepted by the native German artists)--is the often-rhythm-oriented avant (and often irreverently humorous) "non-rock" music that was being played around with by bands like Can, Neu, Faust, and Kraftwerk. 

Kosmische Musik - The other movement which rose out of Germany came from an element of the population that was exploring more spiritual-based aspirations--often using non-Christian religions or philosophies like Buddhism, Hinduism, Islam, Mayan, or pagan traditions. "Kosmische Musik" often involved the use of more ethnic and traditional folk instruments from other more spiritually-focused cultures (often from India, the Orient, or the Middle East, or, sometimes, South and MesoAmerica.) while also blending electronic instruments with all of the latest sound effect techniques in order to try to create of a trance-like performance experience, while also experimenting with recording and engineering techniques in the hopes of providing the listener with a mind-altering, psychedelic, even "transcendental," listening experience. With these bands, the use of mind-altering psychedelic drugs was often intended to accompany the concert or album-listening experience. Kosmische Musik is what came out of the hippie-commune scene from bands like Amon Düül II, Ash Ra Tempel, Popol Vuh, and Agitation Free.

Each of these three branches of German progressive rock music (more often referred to as "Krautrock") has its connections to the envelope-pushing artistry that was being explored in Jazz-Rock Fusion--especially in the improvisational aspect of their creation and performance--yet none of them, in my opinion, remain close enough to jazz to warrant inclusion under the "J-R Fusion" umbrella.

Some of the German Jazz-Rock Fusion bands that I have discovered in my exploration of the "Classic Era" of the sub-genre include: 

Klaus Doldinger/Passport

Out Of Focus

Embryo

Eberhard Weber

Kraan

Missus Beastly

Missing Link

Aera

Exmagma

Tetragon

Thirsty Moon

Tomorrow's Gift