Both are members of the splendid Billy Hart Quartet; Mark Turner, an influential contemporary jazz saxophonist originally from LA, has his roots in the much maligned cool-school, while duo partner Ethan Iverson, formerly the pianist from The Bad Plus, is someone who has a passion for the marginal, more underappreciated elements of the post-bop lineage and new music repertoire. Temporary Kings partly pays tribute to the seriously underrated Lenny Tristano-school saxophonist Warne Marsh (Turner is one of his few prominent disciples on the horn) but crosses over into the chamber-improv modern classical music field note, the two are in no way mutually exclusive. Aside from originals, the pair explore the Marsh legacy with his 1956 'Dixie's Dilemma’ (based on ‘All the Things You Are’), with Iverson ‘Thingin’ on a walking bass, and Turner taking a zigzagging bopfired route into remote tonalities before finally establishing the tune's theme. The saxophonist's ‘Chamber of Unlikely Delights’ is an airy pastoral jazz duet with Turner closer to early Lee Konitz, his lithe, bittersweet tenor peppered with enigmatic twists and turns. As is Iverson's piano on his stealthily Monk-ish piece ‘Unclaimed Freight’, contrasting with the piano's sparse hypnotic chime on ‘Seven Points’. ‘Myron's World’, from Turner's influential 2001 recording Dharma Days, might be warm, even lush in comparison, but is no less intriguing.