This duo spends their 66 minutes documenting the flavor of gestures and photographing the inside edges of space. Most of the time, Iyer plays the ovoid to Smith’s X-Y axis, using piano and Rhodes and electronics to fill in the untouched corners while also leaving space for Smith’s trumpet pins. They manage to churn through a dozen approaches without too much burn, invoking Miles and Monk along the way but also turning the canon into a learning moment. Their lack of obvious signposts isn’t an imposition but the clearing away of anything unnecessary.