AN EXPLOSION OF R&B; AT AMPHITHEATRE

If you heard any jazz during Sunday’s Jazz Explosion at the Universal Amphitheatre, you either got there early and caught Ramsey Lewis’ brief opening set, you noticed that Phyllis Hyman dropped a three-tune Ellington medley into the middle of her set or you slept through the show and went to a jazz concert in your dreams.

Like some festivals that have used jazz in the title, the affair was, save the above exceptions, an out-and-out R&B; bash, and one that spotlighted headliner Hyman in a set that, while full of energy, enthusiasm and professionalism, seemed overly long, since it was mostly on one emotional level.

Hyman, who possesses a warm, distinctive voice capable of hitting the back rows, went from sugary cooing to all-out belting in her deliveries of such tunes as “Our First Time Together” and “What You Won’t Do for Love,” but she made the transitions from these extremes smoothly, always landing musically on her feet.

The singer emphasized phrases by striking a simple pose: She bent her knees, tilted her her hatted-head to one side, closed her eyes and wailed like a hungry baby. This ploy was emotionally moving occasionally, as on “Living All Alone” and “I Don’t Want to Lose You,” but for the most part it was just solid showmanship, and the crowd applauded her efforts vociferously.

Singer Jean Carne’s set, which included “Everything Must Change” and “Closer Than Close,” was marked by curious patchwork vocals. She vacillated from an attractive, flowing tone to a scratchy, swallowed-note voice that sounded like she was being strangled to a resounding, stage-shaking shout. She often ended her phrases abruptly, like she was snapping the stems of flowers, or she added high-pitched squeals, as if she were taking three very fast breaths.

Lewis--preceding saxman Stanley Turrentine, who played three tunes perfunctorily--opened the concert with his trademark tasteful jazz/funk piano on such favorites as “Sun Goddess” and “Reasons.” The back-up players, especially keyboardist Terry Bures, who worked with all the performers, added unobtrusive yet firm support throughout.