All About Jazz

Home » Articles » Jazzin' Around Europe


The 606 Jazz Club in London

Rob Adams By

Sign in to view read count
Ronnie Scott used to joke that the food his jazz club in Soho, London served was delicious because "fifty thousand flies can't be wrong." Four miles west, at the 606 Club in Chelsea where Steve Rubie oversees a business that's one of the biggest employers of jazz musicians in the UK, with a programme that features ten bands a week, a gastronomic theme also emerges.

Rubie and "the Six," as it's affectionately known, have a working history that dates back to the early 1970s when, as a student who had decided that playing the flute had more appeal than studying dentistry, Rubie needed a job. He'd been going to the club since he was still at school and knew about its emergence in the 1950s as a small jazz club that swam with the folk music tide in the 1960s before becoming the sort of basement where jazz musicians were encouraged to hang out rather than hired. And when its then proprietor told him he was looking for a chef, Rubie said, "I can do that."

He got the job, trained himself as he went along, working in the kitchen from 10:30pm into the early hours while studying at Trinity College of Music during the day, and as he says, "I never poisoned anyone."

Rubie had been playing music since he took up the recorder at the age of seven and tried to play the Benny Goodman tunes and Ella Fitzgerald songs that his parents listened to at home in Dorset. After he'd switched to clarinet he heard Django Reinhardt and Joe Pass courtesy of his guitar playing older brother and he moved to guitar also. Flute and eventually saxophone followed as he became a working musician, which he continues to be and which gives him the benchmark that he uses to gauge prospective guests at the Six.

As much as he loved the music, however, running a jazz club had never been in his plans and when, in 1976, the Six's then-proprietor asked if he fancied taking it off his hands, Rubie replied, "Not a chance."

In those days the Six was actually situated at 606 Kings Road. It was licensed to accommodate thirty customers, had an open fire that burned logs in the autumn and winter months and would have been nobody's idea of a potential goldmine. Rubie's predecessor's powers of persuasion prevailed, though, and with a deal that involved Rubie covering the outgoing licensee's alimony payments for three years, he became mine host.

And a popular host he became too. The premises didn't take much filling, especially on weekend nights, but under Rubie's management the Six thrived. Musicians loved it. They'd go there to socialise after gigs even when they weren't playing there and it became a regular after hours rendezvous point. It wasn't without its stresses—not the least of which were caused both by its limited capacity and the numbers that were turning up—and Rubie was actually thinking about moving to somewhere bigger when, in 1987, the owners served notice that they were going to redevelop the building.

"I looked at a couple of places, one of which I actually bought and quickly sold on, which gave us some working capital," says Rubie. "Then a friend of mine, who was in the property business, said he'd come across this basement in Lots Road. It was literally round the corner from where I lived and I could almost see it from my window."

A former rehearsal room that had latterly been a recording studio but had been allowed to become derelict, the basement was in an ideal location but needed a lot of work—including having its own drains dug—and had no gas or electricity. It took nine months to fit it up and in May 1987 the Six reopened in its current premises. Initially it was licensed to hold seventy but gradual expansion into offices on site that were originally let out to bring in income has seen its capacity rise to 175."

"The first ten, twelve years after we reopened were a struggle," says Rubie. "Nobody gets into running a jazz club to make a fortune but we were losing money and I wasn't a trained business person. So I took a course in business management and we got the club into a position where it more or less breaks even—and that's essentially the aim still."

The main thrust of the club is to support local musicians although the programming policy has expanded to include American players including Boston saxophone guru Jerry Bergonzi, who is a regular visitor, and guitarist Pat Martino, whom Rubie, as a former jazz guitarist himself, describes as "delightful, a huge thrill" to promote. The Six also operates an exchange scheme that sees musicians from Hungary (Rubie has developed strong links with Budapest Jazz Club), France and Romania visit the club in return for London-based musicians playing in the corresponding countries.


comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Related Articles

Read The Slovenian Experience: Jazz Festival Ljubljana 2017 Jazzin' Around Europe
The Slovenian Experience: Jazz Festival Ljubljana 2017
by Henning Bolte
Published: September 18, 2017
Read WDR Jazzfest 2017 Jazzin' Around Europe
WDR Jazzfest 2017
by Phillip Woolever
Published: April 8, 2017
Read Bergamo Jazz 2016 Jazzin' Around Europe
Bergamo Jazz 2016
by Francesco Martinelli
Published: April 18, 2016
Read Kit Downes and Tom Challenger: Organ Crawling Jazzin' Around Europe
Kit Downes and Tom Challenger: Organ Crawling
by Duncan Heining
Published: March 23, 2016
Read Ensemble Denada in Pisa Jazzin' Around Europe
Ensemble Denada in Pisa
by Francesco Martinelli
Published: December 29, 2015
Read North Sea Jazz Festival 2015:   The Roller Coaster Has Taken Off Jazzin' Around Europe
North Sea Jazz Festival 2015: The Roller Coaster Has...
by Joan Gannij
Published: July 11, 2015
Read "TD Ottawa Jazz Festival 2018" Live Reviews TD Ottawa Jazz Festival 2018
by John Kelman
Published: June 29, 2018
Read "Take Five with Wataru Uchida" Take Five With... Take Five with Wataru Uchida
by Wataru Uchida
Published: September 26, 2018
Read "Harold Lopez-Nussa: from Havana to Indianapolis" Catching Up With Harold Lopez-Nussa: from Havana to Indianapolis
by Fernando Rodriguez
Published: September 2, 2018
Read "Where Fusion and Tradition Meet" Multiple Reviews Where Fusion and Tradition Meet
by Doug Collette
Published: October 5, 2018
Read "Reykjavik Jazz Festival 2018" Live Reviews Reykjavik Jazz Festival 2018
by Luca Vitali
Published: October 8, 2018
Read ""It's Only a Paper Moon" by Harold Arlen, Yip Harburg and Billy Rose" Anatomy of a Standard "It's Only a Paper Moon" by Harold Arlen,...
by Tish Oney
Published: March 6, 2018