That's a pretty bitter and cynical attitude to have. Sure, there is absolutely a lot of flash with any given Snarky Puppy track and one could argue they get the attention they do primarily because of the slick video production and the sheer amount of people that perform on each track more than because it's necessarily groundbreaking. It is a perfect form of 'youtube music' that specifically slots into a niche of overly educated and skilled players who are a bit jaded out of the hits-based pop music world that doesn't care about them. But to write them off as 'just' derivative or unoriginal wholesale is a pretty weak-knee criticism.

One of the things SP brings to the table is their group dynamic. Usually in the jazz world when you add so many players it quickly becomes a stampede. SP has a knack for doubling or even tripling the amount of musicians on stage while still providing the sense of intimacy(musically and structurally) you'd find in a jazz combo. Building that alone is something that's outside the realm of a lot of players let alone sustaining it.

If we're going to talk about originality, SP/ Michael most reminds me of Don Ellis. Who was another hugely ambitious big band leader interested in exploring different formats and arrangements of the band concept while being interested in synthesizing and hybridizing world musics into more traditional big band fare back in the 60's and 70's primarily.

You mention Hiromi as a benchmark for originality and I agree she is a fantastic artist, I actually used to know her, but she also makes no bones about her influences(Chick Corea, Yellowjackets) and plenty of her compositions fall solidly into familiar territory just the same. (Though what makes her stand out so much is the sense of freedom she commands while skating over familiar territory)

But when you start dissecting it like this it just gets really pointless really quickly. They're all excellent musicians doing work that they believe in that they enjoy doing. There needn't be much more than that.