Former G-Men Take Their Cues From Genre’s A-List

With a trio of alumni from saxophonist Kenny G’s tours on the bandstand, you’d expect to hear “Songbird” or some other G favorite emanating from the stage. But bassist Vail Johnson, the G-man leading his own combo at Kikuya last Wednesday, opened with “Tutu,” the title tune from one of Miles Davis’ last albums.

Written for Davis by bassist Marcus Miller, “Tutu” was the perfect vehicle for Johnson to introduce his talents to the Kikuya crowd. It also made the statement that, outside of the G band, Johnson is his own man.

Based on a smooth, ascending bass riff that shared the lead with a synthesizer aping Davis’ original trumpet sound, the tune allowed Johnson to show a considered, lyrical side before heating up the place with some driving, thumb-pounded, low-end sound in later numbers.

And despite the fact that Johnson, his keyboardist Frankie Crawford and percussionist Ron Powell have all traveled with the popular Mr. G, there was little here that resembled one of G’s happy-faced concerts. Johnson and company took a looser, leaner, grittier tack, letting strong rhythms dominate in what was basically a jam session built around different song forms.

Not until the second set opened with John Lennon’s “Come Together” did the group again play a specific tune. Instead, Johnson would establish a riff--a mid-tempo groove, a salsa pace, some straight-out funk--and let his bandmates follow. This method put drummer Lance Lee and Johnson at the center of the presentation, as they established each jam’s structure. Decoration came from keyboardist Crawford and percussionist Powell.

Throughout the evening, Johnson moved easily between roles as lead soloist and background anchor. When he did solo, the bassist mixed up the dynamics of his presentation, following loud, deliberate tones with softer-plucked, sometimes chordal passages that rang quietly like bells. Johnson often paused between phrases, allowing the tones to echo a moment before moving on.

These sections of contrasting volumes worked toward climax as Johnson played fast, circular lines or pounded out the peak of his effort with solid thumb play. Though the solos didn’t always dissolve naturally back to a theme, they at least were delivered with purpose.

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Crawford’s keyboard work played second fiddle to the lead of the bass. But the keyboardist, who along with drummer Lee has appeared frequently with Diana Ross (including her recent Super Bowl halftime show), generated some fine R&B-inspired; moments and chordal passages reminiscent of Herbie Hancock.

Powell supplied a palette of sounds from a variety of bells, shakers and hand-held frame drums. He played congas on the Latin-paced number, and shekere and timbales on a funk number. The interplay between Powell and Lee provided some of the evening’s most rewarding listening.

After nine years of touring with Kenny G, Johnson has recently decided to pursue his own career. It seems a smart move, considering the popularity of electric bassists Stan Clarke, Nathan East and others who are plowing the same beat-driven territory Johnson favors. All Johnson lacks is a collection of original material, tunes that will be readily identified as his in the same way that “School Daze” belongs to Clarke and “Tutu” belongs to Miller. Until then, Johnson can move audiences just on the strength of his aggressive play.

* Vail Johnson plays again Sunday at Kikuya restaurant, 8052 Adams Ave., Huntington Beach. 7:30 p.m. No cover, $10 minimum. (714) 536-6665.