In his 30s, George Cables established himself as one of the leading neobebop pianists, and he was a major force in the comebacks of two aging saxophone legends, Dexter Gordon and Art Pepper. A quarter-century later, Mr. Cables is making a concerted effort to establish himself as a leader and a composer, and it’s not surprising that he has forged a fruitful collaboration with one of the outstanding saxophonists of our era, Gary Bartz.

Both Mr. Cables and Mr. Bartz, now in their 60s, have spent the bulk of their careers playing in the shadow of more celebrated bandmates. But their 2003 album, “Looking for the Light” (Muse FX 1005), gave every reason to expect that together they would attract the attention they deserve.

Indeed, the George Cables Project, which features Mr. Bartz, Eric Revis (bass), and Jeff “Tain” Watts (drums), was the subject of more buzz than any other group in New York this summer following the group’s appearance at Jazz Standard. The Project’s performances at Dizzy’s this week are providing more evidence that Mr. Cables combines composition and conception – not to mention keyboard chops – on a level comparable with any pianist-bandleader-composer currently working in jazz.

Wednesday night’s late set pivoted around two first-rate compositions by Mr. Cables: “Senorita de Aranjuez,” a Latinate item that sounds like a counter melody to “Besame Mucho,” and the Halloween-styled “Spookarella.” Both are driven by unique grooves, strong melody, and distinct rhythm patterns; neither tune was content to rest in the comfort zone of 4/4 time or traditional major (or even minor) chords. “Spookarella” opened with a free-jazz interlude and then was driven by a vamp that seemed to shift tonality with every bar, while Mr. Cables soloed in octaves laced with spiky dissonances. Both tunes featured Mr. Bartz on the curved B-flat soprano saxophone, as opposed to his customary alto. He gets a big, fat sound with a wide range of expression on this tiny horn – serious noise from what seems like a toy instrument.

The quartet also played one songbook standard, “Smoke Gets Your Eyes,” during which Mr. Bartz played a deep, soulful solo (on alto), of which only the composer, the notoriously staid Jerome Kern, would have disapproved. The set climaxed with an extended foray into two Thelonious Monk classics, a rhapsodic, virtuoso solo piano treatment of “Round Midnight,” which changed tempos and styles almost faster than I could comprehend, and led into a loose jam on “I Mean You.”

I also caught most of the quartet’s late show on Tuesday (which included Mr. Cables’s catchy, boppish “Klimo”), having strolled over, both nights, from the New York Cabaret Convention at Rose Theater across the hall. That’s two sets by George Cables and Gary Bartz so far, and the week is still young.

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Speaking of the Cabaret Convention, the annual weeklong event is in its 16th year (its first at Rose Hall) and continues to offer its patented buffet style evenings. The organizers describe it as “the most important cabaret event of the year,” but I’d say it’s more like speed dating: With roughly 12 performers a night doing seven minutes each, you will inevitably discover someone you like.

For me, this year’s find is Rosalyn McClore, an exceptional singer-pianist from Memphis. She juxtaposed Nina Simone’s cheerful “My Baby Just Cares for Me” and a heartfelt and soulful version of Stephen Sondheim’s “Not While I’m Around,” which I have rarely heard done with a beat. She was warm and swinging and true to both songs – without overdoing any of these characteristics.

Otherwise, the major talents, as always, stood out. Pianist-singer Daryl Sherman and tenor saxophonist Loren Schoenberg chased each other around in waltz time; Eric Comstock performed two classic show tunes leavened by a touch of jazz; Allan Harris delivered a hardcore jazz reading of “Softly, as in a Morning Sunrise,” followed by an excerpt from his cowboy opera; and Baby Jane Dexter surprised me by not blasting through “Some of These Days,” showing how powerful she can be when she exercises restraint.

Pianist Barbara Carroll, who was honored Tuesday night with the first Mabel Mercer Award for lifetime achievement in cabaret, is the highlight of any all-star event that’s lucky enough to get her. I don’t know of any other musician capable of making the Bach Dminor Prelude and Sonny Rollins’s calypso “St. Thomas” sound congruous with each other. That’s just what she did at Rose Theater.

There were other surprises: I usually attend the Cabaret Convention expecting to hear tribute shows for long-deceased legends, but this year, I noticed an increasing number of performers channeling the living. Among others, Marcus Simeone declared his devotion to Johnny Mathis; Barbara Fasano summoned the high style, if not quite the chops of Lena Horne; and Laurel Masse, a founding member of Manhattan Transfer, sang an arrangement of “Fascinating Rhythm” that seemed lifted from Maureen McGovern. Shawn Ryan, meanwhile, seemed unaware that he was coming off like an echo of Barry Manilow.

Cables until October 23 at Dizzy’s Club Coca-Cola; Cabaret Convention until October 23 at Rose Theater (Jazz at Lincoln Center, 212-258-9800).