ben monder tour

SPLIT BILL: George Winstone Trio ft. Ben Monder | Modulus Now: Anatomy Avant Garde

‍ George Winstone Trio ft. Ben Monder : The young saxophonist’s latest effort, Odysseus, is a striking duo improvisation with the iconic guitarist Ben Monder. Spontaneously composed from beginning to end, it juxtaposes an entire journey’s-worth of Winstone’s darting melodies against Monder’s haunting glacial soundscapes.

Modulus Now: Anatomy Avant Garde is a new trio composed of saxophonist Peyton Pleninger , guitarist/violist/electronic manipulator Samuel Claiborne , and drummer Bryan Kopchak . They perform at the intersection of ancient ritual, ambient music and jazz improvisation. Their long form improvisations move through many distinct sonic scenes, evoking images of past and future.

George Winstone Trio ft. Ben Monder

George Winstone (saxophone):

Born in London, the rising star saxophonist George Winstone relocated to New York City in March 2019, bolstered by the endorsements of music legends Chick Corea, Jacob Collier, Ben Monder, and Chris Potter.

An artist whose technical prowess serves a decidedly spiritual commitment, Winstone is a powerful player and composer whose ensembles have been featured at London hotspots Ronnie Scott’s, Jazz in the Round at the Cockpit Theatre, the Verdict, and the Vortex, as well as in New York at the esteemed ShapeShifter Lab and Ornithology Jazz Club. After releasing his first EP in 2018, Outer Spaces, Winstone’s work met critical acclaim, with All About Jazz calling him a “future star in the making” and Bebop Spoken Here praising his “floating, ephemeral sound that drifts like a cloud.”

The young saxophonist’s latest effort, Odysseus, is a striking duo improvisation with the iconic guitarist Ben Monder. Spontaneously composed from beginning to end, it juxtaposes an entire journey’s-worth of Winstone’s darting melodies against Monder’s haunting glacial soundscapes

Ben Monder (guitar):

A musician in the New York City area for over 30 years, Ben Monder has performed with a wide variety of artists, including Jack McDuff, Marc Johnson, Lee Konitz, Billy Childs, Andrew Cyrille, George Garzone, Paul Motian, Maria Schneider, and Marshall Crenshaw. He also contributed guitar parts to the last David Bowie album, "Blackstar". Ben conducts clinics and workshops around the world, and has served on the faculties of the New England Conservatory, NYU and the New School. He was the recipient of a Doris Duke Impact Award in 2014, and a Shifting Foundation grant in 2013. Ben continues to perform original music internationally in solo and trio settings, and in a long standing duo project with vocalist Theo Bleckmann. He has appeared on over 200 CDs as a sideman, and has released 6 as a leader: Amorphae (ECM, 2015), Hydra (Sunnyside, 2013), Oceana (Sunnyside, 2005), Excavation (Arabesque, 2000), Dust (Arabesque, 1997), and Flux (Songlines,1995).

Chris Carroll (drums):

Drummer/ Composer (BMI) Chris Carroll is a New York City based drummer and tabla player, specializing in improvisational music and sharing creativity with other musicians.  He is an honest, emotional, self-aware and adaptable person who has been captivated by music from other cultures.  His energetic life force comes from influences absorbed from all over the world, and as he points out, “I would not have it any other way.”  Mr. Carroll’s drumming blends curiosity for different cultures and musical genres transforming them into future music.

Modulus Now: Anatomy Avant Garde

Anatomy Avant Garde is a new multidisciplinary performance developed by Pleninger at his art research center, The Tavern. A special guest will be positioned on stage with an electronic stethoscope attached, pumping their heartbeat through the speakers, while Modulus Now performs an improvised set to the sound of the heart. An acrylic board will be hung above the heartbeating guest, which John Ackerman will live paint during the set. Music, art, biology and metaphysics all come together in this unique experience.

New Directions

Ben monder w/ tony malaby & tom rainey, mar 3-6 | guitar week, mar 03, 2022, joe henderson lab.

PLEASE NOTE: This page is an archive of a past production Please visit our calendar for all upcoming SFJAZZ shows.

Original show description below.

A visionary guitarist with virtuosic technical facility, an atmospheric, nearly cinematic approach and an inimitable, searching lyricism, New York native Ben Monder has carved an individual niche in modern jazz. Logging early experience with two of most exploratory large ensembles to emerge in the 1990s in the Maria Schneider Orchestra and Guillermo Klein y Los Guachos, Monder has flourished in settings that allow his pointillistic melodic signature and floating, cloud-like chords to shine through. He has contributed his singular sonic landscapes to his work with Paul Motian, Lee Konitz, Donny McCaslin, and vocalist Theo Bleckmann, and was a critical presence on David Bowie’s 2016 swan song Blackstar .

Monder has led eight sessions for the Sunnyside, Arabesque, and ECM labels that showcase his angular, densely harmonic original compositions, and his most recent, 2019’s Sunnyside 2-disc date Day After Day , is his first devoted entirely to covers. With half consisting of solo performance and half featuring a trio, Day After Day explores vast territory ranging from Mancini and Bacharach to Dylan, John Barry soundtracks, and George Harrison. Listeners can expect to hear some of these scintillating takes on classics during this, Monder’s SFJAZZ debut as a leader.

Listeners can expect to hear some of Monder's scintillating takes on classics during this, his SFJAZZ debut as a leader.  

Ben Monder has played nearly unsurpassable jazz guitar with any number of actual jazz groups. But what he plays with his own group comes from another planet.

The new york times.

Ben Monder guitar Tony Malaby tenor saxophone Tom Rainey drums

His arrangements and conceptions of the music are unique and brilliant.

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Ben Monder talks playing on David Bowie's Blackstar and the New York jazz world

The NYC guitarist reflects on a whirlwind year

Introduction

It’s a Cinderella story - you’re a jazz guitarist eking out a living in New York and then, one day, you’re invited to play on the new David Bowie album…

January 2016 saw the release of David Bowie’s final album, Blackstar . Typically anti-commercial in approach but as compelling as ever, Blackstar seems to hark back to what was arguably one of Bowie’s most creative periods, when the infamous ‘Berlin Trilogy’ - Low, Heroes and Lodger - turned rock music on its head and provided a formidable aftershock to what many considered to be the premature demise of the Ziggy era some years before.

For this new recording, Bowie had issued the edict that there were to be no rock musicians on the album. On Blackstar, he wanted to gather together the cream of the New York modern-jazz scene in order to summon a suitable musical landscape in which his new material could thrive. Enter Ben Monder, an NYC-based jazz guitarist with a track record for creating his own startlingly original music, very much on his own terms.

“I started playing when I was 11 and I’m 53. So there you go, do the math!” he laughs, in order to indicate that he’s no starry-eyed youngster who has been suddenly plunged into the twilight zone of musical adventuring. Quite the reverse, in fact. We thought that a little background information might be necessary before we ask the big question, however.

So what made you pick the guitar up in the first place?

In high school, a friend of mine played me [John Coltrane’s] A Love Supreme and that kind of blew my head wide open

“My first influences were, I guess, my parents’ Beatles records and various other types of pop music that was in the house or on the radio. I definitely started out as a rock player and I got interested in jazz, really, when I started taking lessons.

“The guitar teacher at the local music school was a jazz teacher, so kind of by default, I started learning jazz and that was at the age of 14, 15. But I’ve always had an interest and a love for playing rock, so that’s been a constant, even though I kind of immersed myself in learning jazz in my late teens, early 20s.”

Which jazz players have had the greatest influence on your playing?

“The first jazz record I ever bought was one of the first Joe Pass Virtuoso records and that was pretty mind-boggling for a neophyte like me - and I think there was a Barney Kessel record that I really liked… That was my entry into the jazz world. It was very straightahead type of music. And then, at some point in high school, a friend of mine played me [John Coltrane’s] A Love Supreme and that kind of blew my head wide open. But the early influences were definitely more the traditional stream of jazz playing.”

What form did your jazz studies take - did you work through transcriptions?

“I did some Pat Martino, some Wes solos, I soon got into John Scofield’s playing pretty heavily and I transcribed some of that. You know, I should probably say that my biggest overall jazz guitar influence would have to be Jim Hall, who I haven’t mentioned yet. Just because he’s such a complete musician on the guitar. He’s more than a guitarist, he’s the master of economy and treats the guitar like a little orchestra.”

So you were attracted to fusion players as well as the mainstream beboppers?

To my detriment, I was kind of a passive type of person and so I wasn’t really hustling to get jazz work

“Yeah, I love the Mahavishnu records, for sure. I guess, growing up, McLaughlin wasn’t as big an influence as someone like Allan Holdsworth or John Scofield, as much as I love his playing. Then I shifted over into being more interested in saxophone players. At the time, their harmonic sense was a little bit more interesting, more colourful, so I started transcribing a lot of sax solos, trying to figure out what they were doing. But guitar, at this point, has come a long way. There are people doing all kinds of amazing things. Back then, it was kind of the sax players’ domain - more harmonic explorations in a linear sense.”

When did you begin to play in the clubs?

“I didn’t really start playing in clubs until maybe the age of 20, 21. The drinking age was younger when I was that age. It used to be 18 and then they raised it to 21. I ended up going to college but I didn’t finish, I dropped out at the age of 22. I was then going part-time and I was playing a lot of weddings and a lot of R&B gigs.

“Most of my gigs were with this funk band I had, so not too many professional jazz engagements until a few years later. To my detriment, I was kind of a passive type of person and so I wasn’t really hustling to get jazz work, I was just kind of playing with friends and trying to learn the language and studying. But the R&B stuff kind of fell into my lap, so I just went with that - and I was working enough. Then, eventually, I just dropped out of school.”

You’ve lived in New York all your life. What’s your impression of the current jazz scene there?

“It was challenging then to get work - I mean, playing creative music - and I’m thinking it’s probably 20 times more challenging now because there are so many more people vying for the same spots. But it was, and is, really, a fertile place and a place to just learn a lot and I was able to see some really amazing live music. Also, at that age, I caught the loft jazz scene and it was just great; you could just pay a five-dollar cover, bring your own drinks or whatever and just stay for three sets of some of the most energetic, striking jazz that there was, so that was great.”

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A new world

When did you begin writing and playing your own material?

“Let’s see, I’m kind of a late bloomer as far as that stuff goes. I had some kind of blockage against finishing a batch of original music. It just took me forever and so I didn’t end up making the first record under my name till I was about 32.

I listened to David Bowie’s records when I was growing up and my roots are in rock and pop, so it felt pretty natural to fit into that

“I had tried before that; all my friends made records before me and I thought, ‘It’s time for me to make a record,’ and I made a couple of demo tapes. I think my first demo tape, I sent 70 cassettes to various labels. I wrote an eloquent-sounding cover letter and just tried to talk myself up, which was very uncomfortable for me. I got about 35 rejections and 35 silences, so it was kind of discouraging.

“At the moment, I’m a little bit in between projects. I do trio gigs under my name, but I don’t have regular personnel at this point. We get together and I’ve been playing a lot of covers going back to my pop roots, but improvising over them and some standards and some of the easier originals that I’ve written. The closest thing to an original project is the duo I have with the singer Theo Bleckmann. We do a lot of my tunes. I’ve also been doing more and more solo gigs and so that’s something I’m probably going to pursue more than I used to.”

How did you come to be invited to play on the new David Bowie album?

“The Bowie thing started with his project with [jazz composer and band leader] Maria Schneider, who I’d played with for about 20 years. As you probably know, they collaborated on a single [Sue (Or In A Season Of Crime) from Nothing Has Changed] and so he met [saxophonist] Donny McCaslin through that band and then, I guess, Maria took him to see Donny play. He decided to hire Donny’s band and I used to play with them, when Donny had guitar instead of keyboards, so he thought it might not be the worst idea to hire me for the Bowie project, which I was very grateful for!”

Did you experience a kind of culture shock, commuting from the jazz world to the higher reaches of rock?

“Well, you know, not so much, because like I said, I started out listening to that stuff. I mean, I certainly listened to David Bowie’s records when I was growing up and my roots are in rock and pop, so it felt pretty natural to fit into that. I didn’t think I’d have to adapt or change my aesthetic too much - and I had an excuse to bring my S-type guitar, which I play maybe once every couple of years. It’s got a Fernandes body and an ESP neck. It’s had some old pre-CBS Fender pickups put on it and so it sounds really good, I really like it.”

Players who have worked with Bowie in the past says that he tended not to direct the musicians too strongly - some, in fact, have said that he could be vague on occasion…

“I wouldn’t use the term ‘vague’. I had a lot of freedom to create parts and to add what I thought was appropriate. So yeah, he was not dictatorial at all; he definitely had a clear vision of what he wanted. When something wasn’t working he would say so, but he was also really open to our contributions, and so it was a really nice supportive and creative environment.”

How long did the sessions run?

“The rest of the band did a total of three weeks - separate weeks, spaced apart - and I joined them for the final week. I guess we were all there for four days, then I did the last day by myself, just doing overdubs and basically just trying to come up with parts, trying to invent stuff over some of the tunes that had been laid down already.”

You’ve already mentioned your S-type hybrid guitar. What other gear did you use for the sessions?

I would leave the studio every day in a state of elation. I certainly had no idea I would be participating in his final project

“I went stereo through two amps that I own: a ’65 Deluxe amp and a ’68 Princeton. They work pretty well in stereo, they complement each other. Then I have an Ernie Ball volume pedal, my reverb is a modified [Lexicon] LXP-1, I have an MXR Carbon Copy Analog Delay, a couple of nice Walrus Audio pedals - I have a Deep Six compressor and a distortion called the Mayflower, they make some great stuff. I also have a modified RAT, so two different distortions. Sometimes I use them both together and sometimes separately. I also have a [Fulltone] DejáVibe and a [Strymon] Blue Sky reverb pedal. It has this cool shimmer effect, so I occasionally use that, but try not to overdo it.”

Was the whole experience like some kind of weird dream for you?

“I wouldn’t say that. Of course, in a way, it was kind of a dream come true! It was such a great opportunity to do it and I really loved the material. I thought the songs were all really strong. I know they recorded 12 of them and seven are on the record and I think the songs are great. But, you know, you’re in the studio and you just go in with the mindset of a professional just trying to do a good job and so I wasn’t too weirded out by the situation.”

How does it feel to have played a part in Bowie’s final album?

“The experience of working on Blackstar was a great one. David was such a joy to work with, a really great guy, and of course I loved the songs he was bringing in. I would leave the studio every day in a state of elation. I certainly had no idea I would be participating in his final project. There was a darkness to some of the material but I never read anything too dire into it. The news of his passing has come as a total shock to me. He was unquestionably one of the most brilliant creative minds of our time, whose music has meant a great deal to me since I was a kid.”

For information on Ben Monder’s latest solo studio album, Hydra, head to the official Ben Monder website .

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Home » Jazz Musicians » Ben Monder

• Has Influenced

Sunny Kim, Vardan Ovsepian, Ben Monder: Liminal Silence

by Alberto Bazzurro April 5, 2024

Un felice cocktail acustico/elettr(on)ico con sostanziosa e significativa presenza vocale (quindi triplice) è quanto ci giunge da questo album, inciso nella primavera 2023 da una cantante coreana trapiantata in Australia, un pianista estone e un chitarrista statunitense (il più noto dei tre). Un ventaglio geografico così composito, evidentemente, non poteva non dar vita a un progetto altrettanto composito, per quanto, come si diceva, assolutamente coeso nei percorsi e negli esiti. Nella vocalità di Sunny Kim c'è addirittura ...

George Winstone: Odysseus

by Neil Duggan March 7, 2024

Surprisingly, George Winstone's album Odysseus has no connection with Greek Mythology, the Trojan War or Homer's epic poem. For Winstone, the title just seemed to fit. Indeed, it does seem apt; the soundscapes and moods that Winstone, together with guitarist Ben Monder, create would be suitable for the arc of many a journey narrative. London-born saxophonist Winstone released his first EP in 2018. The following year, to move his career forward, he relocated to New York City. Monder ...

Benjamin Boone: Caught in the Rhythm

by Paul Rauch September 28, 2023

The connection between poetry and jazz music is a delicate one. It has been documented so infrequently, in performance and recordings, that one still conjures the flicker of an image of Jack Kerouac reading in some dark Greenwich Village cafe with Steve Allen or Zoot Sims, surrounded by beret-wearing, cappuccino-sipping beatniks. The work of Fresno-based saxophonist Benjamin Boone has assisted in widening that view through four albums recorded for the Origin Records label, including the fourth, Caught in the Rhythm ...

Yelena Eckemoff: I Am a Stranger in This World

by Mark Sullivan January 22, 2023

Russian-born pianist/composer Yelena Eckemoff began setting verses from the Bible's Book of Psalms shortly after her conversion to Christianity, even before her emigration to the United States. But she waited until she had considerable experience working with jazz musicians before producing her jazz arrangements. They were first recorded on her album Better Than Gold and Silver [L&H Production, 2018], which presented ten Psalm settings in both vocal and instrumental versions. The detailed story of how Yelena Eckemoff came to set ...

Ben Monder / Tony Malaby / Tom Rainey: Live In Lisbon

by Mark Corroto November 30, 2022

Although we mourn the millions (estimated 6.5 million) of lives lost in the the great pandemic of the 21st century, some good things have survived. For our purposes, great expressions in music making. Live In Lisbon is a perfect example. Guitarist Ben Monder assembled a trio with saxophonist Tony Malaby and drummer Tom Rainey at the cusp of the pandemic in March of 2020 to perform at his Tuesday gig in New York. Eschewing written composition for an all improvised ...

Dave Liebman: Trust And Honesty

by Chris May November 21, 2022

Dave Liebman's Trust And Honesty is the third release in Newvelle Records' limited edition audiophile-vinyl autumn 2022 Renewal Collection. It follows Elan Mehler's There Is A Dance and Michael Blake's Combobulate, both previously reviewed on these pages. Liebman's album is an unassuming little gem. It takes a master musician to take a selection of familiar ballads, give them simple, straightforward readings with an average duration of around four minutes, and come up with something so lovely and ...

Randal Despommier: A Midsummer Odyssey

by Jerome Wilson October 24, 2022

Lars Gullin was a Swedish baritone saxophonist active mainly in the Fifties and Sixties and known for his work on his native jazz scene as well as playing with American stars such as Chet Baker and Lee Konitz. His compositions were an early example of a European musician mixing the sounds of his home country with American jazz, bringing a thoughtful Nordic calm into the cool jazz realm. Alto saxophonist Randal Despommier is a long-time Gullin fan and, on this ...

Songlines Recordings Will Celebrate Its 20th Anniversary With Guitar/Oud Night At New York's Shapeshifter Lab On June 14

Source: Cary Goldberg May 22, 2012

Triple Bill Will Feature Ben Monder Trio, Brad Shepik Quartet and Gordon Grdina/Mark Helias To help celebrate Songlines Recordings’ 20th anniversary, three string players with deep connections to the label will perform at ShapeShifter Lab on June 14,co-presented by Songlines and Search and Restore. Ben Monder is reviving his original trio with the personnel from its first recording, Flux (Songlines 1995) – Drew Gress on bass and Jim Black on drums. In fact it's this particular formation's first gig anywhere ... read more

Alternative Guitar Summit brings together Nels Cline, Mary Halvorson, Ben Monder, Thurston Moore: Jan. 13-15, plus many more

Source: Fully Altered Media January 3, 2012

Joel Harrison presents the Alternative Guitar Summit Co-sponsored by the New York Guitar Festival Featuring Nels Cline, Mary Halvorson, Vic Juris, Ben Monder, Thurston Moore and many more! January 13, 14 and 15, 2012 Rockwood Music Hall 196 Allen Street New York, NY 10002 (212) 477-4155 The guitar these days is a kind of magic wand, a poly-theistic blow torch, lovely, raging, gentle, noisy, intimate, voluminous, hallucinogenic, funky, juvenile, ageless. More than ... read more

Ben Monder & Bill McHenry Release "Bloom" on BlueMusicGroup.com

Source: All About Jazz February 11, 2009

Julie Hardy @ La Lanterna / Bar Next Door With Ben Monder, guitar and Matt Clohesy, bass

Source: All About Jazz April 17, 2006

On Monday, April 24th (8:00-11:30pm) at La Lanterna / Bar Next Door, vocalist and composer Julie Hardy will perform with guitarist Ben Monder and bassist Matt Clohesy. Both Monder and Clohesy will be featured on her next CD release on Fresh Sound New Talent records. A vast array of material will be presented including standards, original compositions and modern pieces from Hardy's latest CD release, “A Moment's Glance". La Lanterna / Bar Next Door is located at 129 Macdougal Street, ... read more

Ben Monder at Philadelphia Museum of Art

Source: All About Jazz November 24, 2005

Fresh off the release Oceana, his fourth CD as a bandleader, jazz guitarist Ben Monder will perform at the Philadelphia Museum of Art on Friday evening, Nov. 25, as part of the Museum's “Art After 5" series. Monder, a musician in the New York area for over 20 years, has performed with a variety of artists, including Jack McDuff, Marc Johnson, and Lee Konitz, and has appeared on over 90 CDs as a sideman. He has also appeared with the ... read more

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Trains Moscow to Elektrostal: Times, Prices and Tickets

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Moscow to Elektrostal by train

The journey from Moscow to Elektrostal by train is 32.44 mi and takes 2 hr 7 min. There are 71 connections per day, with the first departure at 12:15 AM and the last at 11:46 PM. It is possible to travel from Moscow to Elektrostal by train for as little as or as much as . The best price for this journey is .

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How can I find the cheapest train tickets to get from Moscow to Elektrostal?

Prices will vary when you travel from Moscow to Elektrostal. On average, though, you'll pay about for a train ticket. You can find train tickets for prices as low as , but it may require some flexibility with your travel plans. If you're looking for a low price, you may need to prepare to spend more time in transit. You can also often find cheaper train tickets at particular times of day, or on certain days of the week. Of course, ticket prices often change during the year, too; expect to pay more in peak season. For the lowest prices, it's usually best to make your reservation in advance. Be careful, though, as many providers do not offer refunds or exchanges on their cheapest train tickets. Unfortunately, no price was found for your trip from Moscow to Elektrostal. Selecting a new departure or arrival city, without dramatically changing your itinerary could help you find price results. Prices will vary when you travel from Moscow to Elektrostal. On average, though, you'll pay about for a train ticket. If you're looking for a low price, you may need to prepare to spend more time in transit. You can also often find cheaper train tickets at particular times of day, or on certain days of the week. Of course, ticket prices often change during the year, too; expect to pay more in peak season. For the lowest prices, it's usually best to make your reservation in advance. Be careful, though, as many providers do not offer refunds or exchanges on their cheapest train tickets.

How long does it take to get from Moscow to Elektrostal by train?

The journey between Moscow and Elektrostal by train is approximately 32.44 mi. It will take you more or less 2 hr 7 min to complete this journey. This average figure does not take into account any delays that might arise on your route in exceptional circumstances. If you are planning to make a connection or operating on a tight schedule, give yourself plenty of time. The distance between Moscow and Elektrostal is around 32.44 mi. Depending on the exact route and provider you travel with, your journey time can vary. On average, this journey will take approximately 2 hr 7 min. However, the fastest routes between Moscow and Elektrostal take 1 hr 3 min. If a fast journey is a priority for you when traveling, look out for express services that may get you there faster. Some flexibility may be necessary when booking. Often, these services only leave at particular times of day - or even on certain days of the week. You may also find a faster journey by taking an indirect route and connecting in another station along the way.

How many journeys from Moscow to Elektrostal are there every day?

On average, there are 71 daily departures from Moscow to Elektrostal. However, there may be more or less on different days. Providers' timetables can change on certain days of the week or public holidays, and many also vary at particular times of year. Some providers change their schedules during the summer season, for example. At very busy times, there may be up to departures each day. The providers that travel along this route include , and each operates according to their own specific schedules. As a traveler, you may prefer a direct journey, or you may not mind making changes and connections. If you have heavy suitcases, a direct journey could be best; otherwise, you might be able to save money and enjoy more flexibility by making a change along the way. Every day, there are an average of 18 departures from Moscow which travel directly to Elektrostal. There are 53 journeys with one change or more. Unfortunately, no connection was found for your trip from Moscow to Elektrostal. Selecting a new departure or arrival city, without dramatically changing your itinerary could help you find connections.

Book in advance and save

If you're looking for the best deal for your trip from Moscow to Elektrostal, booking train tickets in advance is a great way to save money, but keep in mind that advance tickets are usually not available until 3 months before your travel date.

Stay flexible with your travel time and explore off-peak journeys

Planning your trips around off-peak travel times not only means that you'll be able to avoid the crowds, but can also end up saving you money. Being flexible with your schedule and considering alternative routes or times will significantly impact the amount of money you spend on getting from Moscow to Elektrostal.

Always check special offers

Checking on the latest deals can help save a lot of money, making it worth taking the time to browse and compare prices. So make sure you get the best deal on your ticket and take advantage of special fares for children, youth and seniors as well as discounts for groups.

Unlock the potential of slower trains or connecting trains

If you're planning a trip with some flexible time, why not opt for the scenic route? Taking slower trains or connecting trains that make more stops may save you money on your ticket – definitely worth considering if it fits in your schedule.

Best time to book cheap train tickets from Moscow to Elektrostal

The cheapest Moscow - Elektrostal train tickets can be found for as low as $35.01 if you’re lucky, or $54.00 on average. The most expensive ticket can cost as much as $77.49.

Find the best day to travel to Elektrostal by train

When travelling to Elektrostal by train, if you want to avoid crowds you can check how frequently our customers are travelling in the next 30-days using the graph below. On average, the peak hours to travel are between 6:30am and 9am in the morning, or between 4pm and 7pm in the evening. Please keep this in mind when travelling to your point of departure as you may need some extra time to arrive, particularly in big cities!

Moscow to Elektrostal CO2 Emissions by Train

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Frequently Asked Questions

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• Preplanned tours
• Daytrips out of Moscow
• Themed tours
• Customized tours
• St. Petersburg

Moscow Metro

The Moscow Metro Tour is included in most guided tours’ itineraries. Opened in 1935, under Stalin’s regime, the metro was not only meant to solve transport problems, but also was hailed as “a people’s palace”. Every station you will see during your Moscow metro tour looks like a palace room. There are bright paintings, mosaics, stained glass, bronze statues… Our Moscow metro tour includes the most impressive stations best architects and designers worked at - Ploshchad Revolutsii, Mayakovskaya, Komsomolskaya, Kievskaya, Novoslobodskaya and some others.

What is the kremlin in russia?

The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.

Moscow Metro Tour

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Description

Moscow metro private tours.

• 2-hour tour $87:  10 Must-See Moscow Metro stations with hotel pick-up and drop-off
• 3-hour tour $137:  20 Must-See Moscow Metro stations with Russian lunch in beautifully-decorated Metro Diner + hotel pick-up and drop off. 
• Metro pass is included in the price of both tours.

Highlight of Metro Tour

• Visit 10 must-see stations of Moscow metro on 2-hr tour and 20 Metro stations on 3-hr tour, including grand Komsomolskaya station with its distinctive Baroque décor, aristocratic Mayakovskaya station with Soviet mosaics, legendary Revolution Square station with 72 bronze sculptures and more!
• Explore Museum of Moscow Metro and learn a ton of technical and historical facts;
• Listen to the secrets about the Metro-2, a secret line supposedly used by the government and KGB;
• Experience a selection of most striking features of Moscow Metro hidden from most tourists and even locals;
• Discover the underground treasure of Russian Soviet past – from mosaics to bronzes, paintings, marble arches, stained glass and even paleontological elements;
• Learn fun stories and myths about Coffee Ring, Zodiac signs of Moscow Metro and more;
• Admire Soviet-era architecture of pre- and post- World War II perious;
• Enjoy panoramic views of Sparrow Hills from Luzhniki Metro Bridge – MetroMost, the only station of Moscow Metro located over water and the highest station above ground level;
• If lucky, catch a unique «Aquarelle Train» – a wheeled picture gallery, brightly painted with images of peony, chrysanthemums, daisies, sunflowers and each car unit is unique;
• Become an expert at navigating the legendary Moscow Metro system;
• Have fun time with a very friendly local;
• + Atmospheric Metro lunch in Moscow’s the only Metro Diner (included in a 3-hr tour)

Hotel Pick-up

Metro stations:.

Komsomolskaya

Novoslobodskaya

Prospekt Mira

Belorusskaya

Mayakovskaya

Novokuznetskaya

Revolution Square

Sparrow Hills

+ for 3-hour tour

Victory Park

Slavic Boulevard

Vystavochnaya

Dostoevskaya

Elektrozavodskaya

Partizanskaya

Museum of Moscow Metro

• Drop-off  at your hotel, Novodevichy Convent, Sparrow Hills or any place you wish
• + Russian lunch  in Metro Diner with artistic metro-style interior for 3-hour tour

Fun facts from our Moscow Metro Tours:

From the very first days of its existence, the Moscow Metro was the object of civil defense, used as a bomb shelter, and designed as a defense for a possible attack on the Soviet Union.

At a depth of 50 to 120 meters lies the second, the coded system of Metro-2 of Moscow subway, which is equipped with everything you need, from food storage to the nuclear button.

According to some sources, the total length of Metro-2 reaches over 150 kilometers.

The Museum was opened on Sportivnaya metro station on November 6, 1967. It features the most interesting models of trains and stations.

Coffee Ring

The first scheme of Moscow Metro looked like a bunch of separate lines. Listen to a myth about Joseph Stalin and the main brown line of Moscow Metro.

Zodiac Metro

According to some astrologers, each of the 12 stops of the Moscow Ring Line corresponds to a particular sign of the zodiac and divides the city into astrological sector.

Astrologers believe that being in a particular zadiac sector of Moscow for a long time, you attract certain energy and events into your life.

Paleontological finds 

Red marble walls of some of the Metro stations hide in themselves petrified inhabitants of ancient seas. Try and find some!

• Every day each car in  Moscow metro passes  more than 600 km, which is the distance from Moscow to St. Petersburg.
• Moscow subway system is the  5th in the intensity  of use (after the subways of Beijing, Tokyo, Seoul and Shanghai).
• The interval in the movement of trains in rush hour is  90 seconds .

What you get:

• + A friend in Moscow.
• + Private & customized Moscow tour.
• + An exciting pastime, not just boring history lessons.
• + An authentic experience of local life.
• + Flexibility during the walking tour: changes can be made at any time to suit individual preferences.
• + Amazing deals for breakfast, lunch, and dinner in the very best cafes & restaurants. Discounts on weekdays (Mon-Fri).
• + A photo session amongst spectacular Moscow scenery that can be treasured for a lifetime.
• + Good value for souvenirs, taxis, and hotels.
• + Expert advice on what to do, where to go, and how to make the most of your time in Moscow.

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