O.C. JAZZ REVIEW : Stryk Lets Kei Akagi Play Up His Talent : Miles Davis keyboardist walks the non-electric side of the street in a featured role at the Studio Cafe in Corona del Mar.

Wally Stryk has great taste in keyboardists. The last time we checked in with his trio, Flight, he had former Mothers of Invention member and film composer Don Preston at the piano. Sunday at the Studio Cafe, drummer Stryk gave Kei Akagi a featured role in a program that highlighted the composing skills of saxophonist Wayne Shorter.

Those familiar with Akagi’s work with Miles Davis might be surprised to find him playing in an acoustic setting. But he’s no stranger to the non-electric side of the street. Akagi worked with Art Pepper near the end of the altoist’s career and was music director for the late saxophonist Joe Farrell, in addition to spending a number of years with percussionist Airto Moreira and singer Flora Purim. Since leaving Davis last year he’s been touring with saxophonist Stanley Turrentine and leading his own acoustic trio in gigs around Los Angeles.

One must conclude, after Sunday’s performance, that a lot of Akagi’s talents went unnoticed while he was riffing along with Davis’ hip-hop-minded, backbeat-heavy crew of youngsters. During the evening’s first two sets at the Studio, Akagi showed the kind of ability that makes one forget about his technical facility (he has plenty) and concentrate on what he’s saying. There’s plenty of beauty in his playing to be sure. But, like Preston, the keyboardist doesn’t neglect life’s darker side in his narratives, displaying an intensity and depth of feeling that reflects the rigors of modern life.

The trio wasted no time getting serious, jumping in to Wayne Shorter’s “Ana Maria” (named for the saxophonist’s wife) that moves between moments of tropical breeziness and assertive minor-key moodiness. Akagi mined this contrast with long, involved lines from his right hand, balanced with tough chordal passages. Bassist Bruce Lett built on these airs with wonderfully quick, crisp tones from his black upright. Stryk’s polyrhythmic skills kept the tune hot while challenging the soloists with driving tom-tom rolls and cymbal color.

Shorter’s ballad, “Infant Eyes,” with Stryk opening on brushes, found Akagi in a more pensive mood, using shorter lines and quiet moments to establish a tender feel before he expanded his attack with warbling phrases that recalled a young Herbie Hancock. A delicate approach marked his solo on Shorter’s “Desert Flower,” emphasized by Stryk’s crystal-like cymbal work and Lett’s astute walk.

The group put similar, modern touches to old standbys, including “Old Devil Moon” and “Speak Low,” bringing a sophisticated, modern sound to their well-worn melodies. Akagi’s unaccompanied introduction to his own “Playroom” was lush with emotion, though warm and even-tempered.

Akagi also appears at the Studio Cafe with Wally Stryk on Sunday.