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 stressesnot the least of which were caused both by its limited capacity and the numbers that were turning upand 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 workincluding having its own drains dugand 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 evenand 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.