Smalls club was big influence on local jazz scene

By Sean Fitzell

The jazz world, and the Village, sadly said farewell to a favored establishment this May when Smalls Jazz club closed its doors. Since it opened in 1994, Smalls had become a home for jazz musicians and fans alike. The vision and commitment of owner Mitchell Borden set Smalls apart from other jazz clubs, as he was more dedicated to the music than the profits.

Located at the corner of Tenth St. and Seventh Ave., Smalls did not have a drink minimum. In fact, it didn’t even have a bar or liquor license, unlike most jazz clubs. Instead, patrons paid a single cover charge of $10, most of which went to pay the musicians, and could bring their own refreshments. People could stay as long as they liked — music began nightly at 10 p.m. with four different scheduled sets lasting until 2 a.m. But it was the after-hours jams, which sometimes lasted until 6 a.m., that made Smalls special.

After-hours jam sessions are a vital tradition in jazz. In the past, side musicians got together after their “steady gigs” to play their own music and experiment. These jams helped create the be-bop and avant-garde movements — both of which extended the jazz forms of the time.

In recent years, Smalls was one of the only venues that consistently supported younger, unseasoned musicians and after-hours playing. Impulse Records recorded the compilation “Jazz Underground: Live at Smalls” there, which featured the musicians associated with the club. Artists such as Jason Lindner, Kurt Rosenwinkel and Avishai Cohen held weekly gigs at Smalls to hone their sound, as Borden believed that the best way to develop music was to play more.

But Smalls was more than just a place to play. Borden provided musicians rooms to rehearse and sometimes to sleep if they needed to. And he was always more concerned about the music than the money, and took out loans to keep the club going. Even near the end, when friends suggested he start selling food, drinks or merchandise to help raise revenue to pay the ever-increasing rent, Borden refused to compromise.

His disinterest in profit is an anachronism in the music world, where, increasingly, all that matters is the bottom line. Sales figures from the Recording Industry Association of America showed that in 2002 jazz accounted for less than three percent of total music sales. Although small sales are not new, the continuing decline has led to significant changes. Major record labels including Columbia and Atlantic Records stopped recording new jazz artists. And reissues of classic jazz records are outpacing the release of new material by a ratio of close to 10 to 1. Even trumpeter Wynton Marsalis, perhaps the most recognizable figure in jazz today, was dropped from his label.

The closing of Smalls was another setback for the jazz world that surprised many people. Lines for admission used to stretch down the sidewalk and the club was full on many nights. But unfortunately for Smalls, rising property values and taxes in Manhattan resulted in a rental increase from $2,650 to $8,000, according to the New York Times. Borden looked for a new location with cheaper rent, but he could not find a suitable spot. And even if Smalls was packed every night, he would not have been able to pay the rent and maintain his commitment to fostering new talent without changing his noncommercial stance.

In the meantime, Borden continues to book music at the Fat Cat club at 75 Christopher St. Thursday through Saturday each week. Shows begin at 10 p.m. and end at 2 a.m. on weekdays and 4 a.m. on weekends. Fat Cat is primarily a pool hall, but the performance room holds more people than Smalls did. The cover charge is $15.

Several musicians, including Lindner, followed Borden to the new location and will continue to play weekly engagements there. Borden is focused on paying off remaining debts from Smalls and programming the music at Fat Cat, which he has done for three years, before he considers opening a new location.

For now, Smalls lives on with the people who frequented its dark, semi-subterranean room. And the musicians, who were able to cultivate their craft with Borden’s support, will be a reminder of Smalls as they continue to push the boundaries of jazz. For that, we should thank Smalls even as we say goodbye.