Later, Turre presented a new piece dedicated to his former employer, “I’m Thinking of You.” Here, the burly brass man showcased his more ruminative side, emulating Charles’ unmistakable vocal style through his proficient use of horn mutes. As significant as they may have been, the Ray Charles connections during Saturday’s performance were eclipsed by Steve Turre’s own far-ranging musical vision, arrived at after many years of careful study and apprenticeships.

He’s assimilated various Latin, rock and jazz styles into his sound, and has performed on hundreds of recordings, including 13 of his own. He has worked in the “Saturday Night Live” house band since 1984. Turre and company shared fresh perspectives on standards ranging from “The Nearness of You” to “Cherokee.” The latter served as the chordal basis for “Blackfoot,” a trailblazing sprint beyond the bebop changes of a bygone era.

Houston native Billy Harper cut loose with his most intense solo of the concert, guided by the scintillating rhythms of drummer Dion Parson. Even at these lightning-speed tempos, the quintet never stumbled. Turre told the audience that he’d first worked with Harper in 1973 when they were members of the Thad Jones-Mel Lewis Orchestra. Although their paths have crossed infrequently over the years, the two engaged in several highly interactive musical conversations on Saturday.

Each of those exchanges ranked among the concert’s highlights. Bassist Curtis Lundy, another infrequent Turre associate, had no trouble finding his groove with this ensemble. His note-bending prowess, impeccable time and skilled use of space proved a great asset to the music during both sets. The quintet played two selections from Turre’s most recent release, “Keep Searchin’,” issued last year on HighNote Records.