JAZZ REVIEW : Mallet Master Richards at P.O.V.

Let us now add the name of Emil Richards to a long list of musicians who, because much of their time is spent in anonymous studio work, tend to be ignored as creative artists.

The vibraphonist’s performance Wednesday at MK’s P.O.V. in Toluca Lake (formerly Alfonse’s) was startling. Within two minutes he had built up a head of improvisational steam that put him in a class with the jazz elite. Playing the “Flintstones” theme, he drove relentlessly through several choruses of long, undulating lines, with a hard, metallic sound well suited to his linear, boppish style.

Immediately apparent was the support given by his rhythm section, most notably a pianist Dave Mackay, an old friend who grew up with him in Hartford, Conn. and has worked in many of the same bands. Mackay’s sensitivity to Richards’ every move was a key factor.

Scarcely less effective were the bass work of Joel DiBartolo, best known as a member of “The Tonight Show” band, and the drummer Joe Porcaro. The group sound was particularly full on Freddie Hubbard’s “Little Sunflower,”--almost too full when Richards banged away at a tambourine during the piano and bass solos, though he redeemed himself with his brilliant four-mallet work in the closing passages.

A version of Fats Waller’s “Jitterbug Waltz” eased subliminally from 3/4 into 4/4 time and back. Next came an utterly charming Dave Mackay original, “Here,” written in 5/4 time and displaying the composer’s highly personal touch and use of chords.

Clifford Brown’s “Jordu” and Thelonious Monk’s “Well You Needn’t” rounded out this well-chosen set, during which the quartet’s mutual empathy and sophisticated rhythmic sense of values never let up for a moment. Richards should find more time in his schedule for these infrequent jazz gigs; he is too commanding a player to remain in the studio shadows.