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The final number, “Alap,” is a repeat from the previous collaboration.

Esmail and Oak are both interested in the confluence between Indian classical and Western classical music, and Esmail started toying around with the Hindustani vocal tradition of alap — which is “so beautiful, and it’s so complex,” said Esmail.

After what amounts to a slow “alap” development section familiar from some raga styles, we get a climactic whirlwind tour through Greenwood’s overarching melodic design.

The 27-minute opener Raga Bhimpalasi features Shankar solo, taking his time with the free-form alap intro before moving into the deeper register of his sitar and percussively plucking to the intricate crescendo of the closing jhala.

Projects currently under consideration include some of their work together in the Just Alap Raga Ensemble, as well as a collective performance of one of Ms. Choi’s compositions, heard last fall at the Church Street Dream House.