Nicole Henry performing at Jazz in Motown, presented by the Sunshine Jazz Organization at the Black Archives History Lyric Theater, Miami, Friday.

The heading Jazz in Motown for the concert of Sunshine Jazz Organization at the Black Archives – Historic Lyric Theater in Miami, Friday (part of its First Fridays Live at the Lyric series) suggested a jazz reimagining of some of the label’s classics, and that was intriguing enough.

It turned out to be a lot more than that.

Jazz in Motown was a celebration of Great American Black Music. It was Motown and jazz, yes, but also blues and gospel, all performed with a skill and passion that didn’t require special effects, dancers, or any other distractions. Featuring several vocalists and instrumental soloists, a solid band, four backup singers, and hosted by emcee and vocalist Ja’Nia Harden, Jazz in Motown evoked, at times, a classic old-time revue — with a home-cooking feel.

Highlights include LeNard Rutledge slyly revisiting Marvin Gaye’s invitation to “Let’s Get It On,” Lissa Donald giving Paul Simon’s “Bridge Over Troubled Water” a powerful gospel feel, Shamara Knowles’ high energy version of “What’s Love Got to Do With It,” and Nicole Henry bringing her trademark blend of elegance and power to a reading of “Ain’t That Peculiar.” The instrumentalists deservedly also had their say, most notably guitarist Mojo Ike Woods, who unleashed a scorching version of Jimmy Reed’s “Big Boss Man,” trombonist Waldron Dunkley, a busy soloist who doubled on vocals on “Do I Do,” and tenor saxophonist John Harden II, who by his sound and measured eloquence in “Another Star” seemed to be conjuring memories of the great Stanley Turrentine.

The program, the artists, the setting, and the audience made Jazz in Motown a worthy celebration of an extraordinary musical legacy — well beyond the label and the hits.