Saxophonist Roy Nathanson and pianist Arturo O’Farrill are part and parcel of New York. O’Farrill is one of the world’s great big band leaders, composers and pianists, has shifted plenty of paradigms in latin jazz and has never backed away from a fearlessly populist political stance. Nathanson was a pillar of the downtown jazz world before John Zorn’s ascendancy and eventual embrace by the mainstream, served as a crucial piece of punk jazz – and then noir jazz – pioneers the Lounge Lizards and since then has done the same with the Jazz Passengers who’ve had a long association with Deborah Harry.

While neither have much of an association with free jazz, they’re both great improvisers, so it was a treat to see them fly completely without a net, spar, banter and pull away from each other, only to reconverge as if nothing wild or crazy had just happened. The two opened with a brooding jazz poetry number contemplating what home means in an age in New York when even the right wing media admits that two thirds of the population are either homeless or a paycheck away. The two traced an austere, chromatically charged minor-key blues direction, Nathanson intoning wordlessly and ominously when his sax wasn’t veering away from the center into flurries of hard bop. O’Farrill echoed him with his own spirals at the end, up to a frenetic, jackhammer coda where Nathanson went bounding through O’Farrill’s hailstones. Then they made uneasy fun out of stairstepping polyrhythms, again picking up the pace with an icepick intensity.

The pair edged their way slowly toward swinging barrelhouse blues, but without the striding lefthand, hit a pantingly rhythmic interlude, then Nathanson blew smoky, moody phrases as O’Farrill backed into the shadows, elegant and melancholic. The next number found the two pairing off wry, leaping staccato accents as O’Farrill built stygian, resonant ambience, pedaling way down at the bottom of the keys with his left as Nathanson drew him further and further into a duel, eventually hitting his octave pedal for an almost Balkan accordion effect. They edged back toward the original gritty, bluesy theme from there, O’Farrill finally hitting a semblance of a stroll with the rhythm.

As the stroll became a brisk stomp, Nathanson rose to O’Farrill’s intensity, finally signaling the relentless pianist onto a siding and then a long, slow, decline that picked up when Nathanson went to the mic again. “All hands on deck are going down,” he explained coldly. Then he flipped the script with a cozy wee-hours melody as O’Farrill gave the vehicle a more-or-less steady, enigmatic chassis.

From there, Nathanson went for the saxophone equivalent of bluesmetal as O’Farrill rippled and sprinted through cluster after cluster in the upper registers before hitting a dancing, insistent pasage. By now, it was clear that they weren’t about to follow much of any straight-ahead rhythm and were teasing both each other as well as the crowd, no matter how much New Orleans congeniality Nathanson might send wafting through the room.