It’s hard to think of a jazz career that matches Joe Henderson’s. The great tenor saxophonist, who died in 2001 at age 64, is equally remembered for the work he did in his late 20s and in his late 50s.When he made his first record date (for Blue Note) at 26, Henderson was a big-sounding tenor player in the vein of John Coltrane, but by the time he became a star again near the end of his life, his tenor sound had evolved into something completely different, an introverted, cerebral, personal timbre.

The five albums Henderson cut for Blue Note with the trumpeter-composer Kenny Dorham in 1963 and ’64 are among my all-time favorites; the two players were also sidemen on Andrew Hill’s “Point of Departure” (1964), a staple of any jazz fan’s top 10 list. The young Henderson made his mark as a composer, but in his latter period he constructed brilliant concept projects based on the music of others, including Billy Strayhorn, George Gershwin, and Antonio Carlos Jobim.

The pianist Renee Rosnes, who worked with Henderson in the 1980s and ’90s, is celebrating the great tenor player this week at Dizzy’s Club Coca-Cola with a program of his compositions. She is emulating the quintet format favored by Henderson and Dorham on their famous five albums, playing alongside tenor saxophonist Jimmy Greene, trumpeter Eddie Henderson (no relation), and the standout rhythm section of drummer Lewis Nash and bassist Peter Washington.

Mr. Henderson is probably the only trumpeter from the generation of Freddie Hubbard, Donald Byrd, Woody Shaw, Lee Morgan, et al. who is still playing at the top of his form. As such, he tends to get the call whenever someone is putting together a historically oriented program of music from the hard-bop era.

On Tuesday, Ms. Rosnes got the band started with one of Henderson’s most conventional compositions, “Homestretch,” a fast and basic 12-bar blues that represents, as Dorham once wrote, the kind of thing “jazzmen play when coming off the stand.”The band took it faster than the original recording (from Henderson’s first album, “Page One”), but Ms. Rosnes slowed down the next piece, “Serenity,” into a ballad; Mr. Henderson had to dash backstage to retrieve his harmon mute. At this sweeter, more relaxed tempo, it became clear in a way that never came through on the original album (“In ‘n Out”) that “Serenity” is a variation on Dave Brubeck’s “In Your Own Sweet Way.”

One of the great delights of the Henderson-Dorham albums was the way the two co-leaders expanded bebop’s vocabulary with ideas from both Latin and modal jazz. Indeed, “Page One” contained what many feel are the two most successful compositions in the Latin-modal-jazz idiom: Henderson’s “Recorda-Me” and Dorham’s “Blue Bossa” (which, to me, are musically superior to anything by Jobim).

“Recorda-Me,” which Henderson once told Ms. Rosnes was his first composition, was the highlight of the opening set. Even so, Ms. Rosnes didn’t completely indulge the audience’s comfort zone.She had Mr.Greene start the piece with an improvisation, and waited for the last chorus before giving us what we wanted to hear – the melody essayed jointly by the two horns.

Ms. Rosnes briefly left the early ’60s for “Black Narcissus,” a 1969 ballad that Henderson later featured with his big band of the ’90s. Another point of departure was her transcription of Henderson’s imaginative and highly modal re-arrangement of “Night and Day.” Where Henderson’s 1964 recording used only tenor and rhythm, Ms. Rosnes added a trumpet part, further boiling down Cole Porter’s complex melody to two basic lines.

It seems hard to believe it’s been almost 10 years since Joe Henderson recorded his final studio album (“Porgy and Bess”), and five since he died. We can only speculate what music Henderson still had in him when emphysema took him, but it’s good to know the music he left us is well cared for.

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Speaking of adventurous American composers who draw on diverse influences, you can’t do much better than “Kismet,”which is being staged in a concert production this weekend at City Center Encores. For this classic 1955 show, songwriters Robert Wright and George Forrest took Russian classical music by Alexander Borodin, worked it into a story set it in the mythical East, and came up with Broadway at its absolute best. The show’s three standards – “Stranger in Paradise,” “And This Is My Beloved,” and “Baubles, Bangles and Beads” – are the best-known moments in one of the richest scores in Broadway history, which is sure to be lusciously sung by Marin Mazzie and Brian Stokes-Mitchell.

The Renee Rosnes Quintet performs until February 12 at Dizzy’s (Broadway at 60th Street, fifth floor, 212-258-9595). “Kismet” until February 12 at City Center (131 W. 55th Street, between Sixth and Seventh Avenues, 212-581-1212).