Some mega-bands from the 1960s have remarkable staying power, but very few have achieved the long-term success of Blood, Sweat & Tears.

The venerable group pioneered jazz-rock back in the late 1960s and has managed to endure, despite being a veritable revolving door (or “Spinning Wheel,” if you will) of personnel changes.

BS&T’s website lists 130 different people who have played with the band at one time or another, including such luminaries as Randy Brecker, Jeff Lorber, Jaco Pastorius and co-founders Al Kooper and Bobby Colomby.

The current BS& T lineup played The Canyon last Sunday night, and, despite the constant overhaul of personnel, the band has somehow retained the spirit and verve that caused such a sensation more than 40 years ago and established a spinoff genre that would give birth to other brass-dominated rock groups such as Chicago and Tower of Power.

Blood, Sweat & Tears made its mark with two essential ingredients: a top-flight brass section and David Clayton-Thomas’s vocals.

Although the group has retained the horn ensemble sound that made it famous, the elephant in the room is the absence of Clayton-Thomas, who left the group for the last time in 2004.

This is not to suggest that the group’s current lead singer, the eminently talented Jason Paige, is inadequate. Far from it. It’s just that when the band lost Clayton- Thomas, it lost its soul and its heart.

Clayton-Thomas’ husky, virile, rounded rasp is what sold songs like the power ballad “You’ve Made Me So Very Happy,” Laura Nyro’s soulful “And When I Die” and Gerry Goffin and Carole King’s spiritual-like masterpiece “Hi De Ho.”

Paige is a jack-of-all-trades with a resume a mile long. He’s done scores of commercials, starred in Broadway rock musicals like “Hair,” “Tommy” and “Godspell,” and, if that isn’t enough, sings the “Pokemon” theme song.

As BS&T’s front man, Paige exhibits a powerfully charismatic stage presence with an energy level that reeks enriched uranium, bounding across the stage, exhorting the musicians, strutting on tables and kissing the hands of women in the audience.

The problem is that Paige’s energy level never subsides. When he attempted singing the exquisite “Sometimes in Winter” or Billie Holiday’s “God Bless the Child” with his strangled, high-pitched voice, he was unable to downshift his engine, continuing to play the relatively intimate Canyon as if it were an arena filled with 10,000 screaming fans.

In the end, the effect is as if Jackie Wilson sang “Jumpin’ Jack Flash” with the Rolling Stones. It’s like a jigsaw puzzle with one giant piece missing in the center of it, replaced by an identically shaped piece from an entirely different puzzle. The picture cannot be completed.

We miss David Clayton-Thomas, who can never be replaced. But Jason Paige gets an A+ for effort.

On the other hand, the quartet of horns in the group was given ample opportunity to stretch out, each one featured during a procession of BS&T’s greatest hits.

Teddy Mulet, who has played lead trumpet with the group for 28 years, contributed the familiar searing high-note trumpet solo in “Spinning Wheel.”

An extended jam by sax man Ken Gioffre and flugelhorn specialist Steve Jankowski highlighted a powerhouse version of “Lucretia MacEvil,” and trombonist Jens Wendelboe contributed a testosterone soaked solo for a surprise encore, the Talking Heads’ “Burn- ing Down the House.”

Not to be forgotten are longtime veterans Dave Gellis (28 years on guitar) and Gary Foote (21 years on bass).

The horn section’s upfront prominence saved the group from sounding like a tribute band. And that made this fan “so very happy.”