A Loaf of Bread, a Jug of Wine, a Couple Saxophones and Some Keyboards

Live performances of what is essentially background music tend to be problematic. When the sounds audiences are used to hearing as an accompaniment to other activities--driving, eating, talking--suddenly take a foreground role, many find it difficult to really plug in and pay attention.

At least this was the case Friday at Hyatt Newporter’s outdoor amphitheater, when saxophonist Boney James and keyboardist Kevin Toney held forth. Looking around the overflow crowd, it seemed at least half of the attendees were there to quietly party, as they chatted, ate and sipped drinks rather than focus on some contemporary jazz.

Of course, when music is genuinely gripping, it moves, through both inventive melodic lines and harmonic variations--when chords that underpin songs keep shifting and changing. The songs that James and Toney offered were based on repeating cycles of, at most, a handful of chords, and these numbers tended to stand in one spot rather than take off.

To make this kind of music exciting, one has to resort to either virtuosic playing, or tricks and effects.

James--whose “Backbone” and “Trust” Warner Bros. albums have earned him some popularity--may be a wonderful and creative saxophonist who can play with a big, round sound. But he has yet to reveal that in his work, which, in his closing set Friday, was a mediocre mix.

Toney, on the other hand, has established a track record. He was a member of trumpeter Donald Byrd’s pop-jazz Blackbyrds in the ‘70s, and he is fine jazz piano player who can deliver riveting solos. In opening the show at the Hyatt, however, he rarely showcased this latter side of his artistry. But given the style of music he performed, it was understandable, though regrettable.

The keyboardist/composer has achieved a degree of success with albums such as “Lovescape” and the recently released “Pastel Moods” (both on the Ichiban International label), and these recordings are getting solid airplay on KTWV-FM (94.7 “The Wave”) and Orange County’s KSBR-FM (88.5).

Toney’s program drew on album selections such as “Kings,” “Odyssey” and “Aphrodisiac.” The medium-slow to medium-paced numbers were all cut from the same cloth, patched together with short bits of melody that led into extended improvisations by Toney, all delivered over heavy backbeat grooves provided by bassist Dale Atkins and drummer Trevor Lawrence. Vanessa Birch and Gail Johnson added atmospheric synthesizer textures.

Though he tried, the keyboardist, who mostly played a small electronic grand piano, had trouble making these numbers stand up and shout.

On “Aphrodisiac,” one of the better tunes, he dropped in fast and clean sweeps of the scale, pop-sounding lines, bits of melody that had a be-bop feel, and some chords so thickly textured they had the impact of a train passing nearby. This hearty work was undercut by the needless interjection of fast, repeating three- and four-note ideas, and perfunctory glissandi.

“Odyssey,” which boasted a throbbing rhythmic undercurrent, found Toney strapping on a portable synthesizer and issuing wispy swirls of sounds, then sitting at his keyboard and really cooking, playing rock-hard chords a la one of his idols, McCoy Tyner, though the volume level here became excessive.

Toney’s efforts were ultimately rewarded by the less-than-attentive crowd with a standing ovation.

In his closing set, James played songs with less-than-memorable melodies--though they did sometimes, as on “Trinidad,” have a pleasant rhythmic feel. His solos comprised mainly overly saccharine lines climaxed by a mixed bag of tricks, from holding one note out endlessly--this one always got applause--to repeating groups of three, four or five notes over and over.

The tenor and soprano saxophonist’s presentation was somewhat sparked by a band that included keyboardist Gregg Karukas, guitarist Ray Fuller, bassist “Smitty” Smith and drummer Donnell Spencer.