greg foat tour

“Greg Foat takes jazz to places where genres cease to matter and the music soars for the sake of it.”

Ian rankin, author.

Greg Foat  is one of the UK’s leading jazz pianists, composers and music producers.

Greg’s worked with a diverse selection of musicians, including Bob Lind, Moses Boyd, Curtis Lundy, Rita Ora, Wendy James, Questlove and The Kooks. In recent years he’s recorded for Jazzman Records, Athens Of The North and Strut.

Dive into Greg Foat’s latest album, a fusion of Analog Electronic Sci-Fi Library Grooves inspired by the 70s and 80s Sonoton catalogue. Featuring Ayo Salawu’s dynamic drums and Foat’s vintage synthesizers. Available on Blue Crystal Records .

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United Kingdom

Netherlands

Heist-op-den-Berg

Live at Villa Maximus, Mykonos

Sunset Part 2

Live at Can Rudayla, Ibiza, February 2024

Greg Foat – Synthesisers (Moog Matriarch, Kawai K1R Sasha Galperin – Electric Guitar/Bass Ash Robinson – Drum Machine (TR9)

Door Into Summer

Performed by Greg Foat & DR Big Band Conductor: Miho Hazama

Recorded in DR Koncerthuset, Copenhagen, March 2022

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The Greg Foat Group

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• FEATURED RELEASES

Greg Foat Group returns with an incredible cosmic jazz full-length ‘Blue Lotus’

Over the last several years, there haven’t been many artists that have been able to release the sheer number of quality releases as composer and pianist Greg Foat. The London-based artist returns with his longstanding Greg Foat Group for the ensemble’s first full-length album in 6 years, titled Blue Lotus .

Blending together many elements that have been present on many of Foat’s most recent solo albums and more ambient collaborative efforts, this incredible nine track recording fuses together jazz-funk, synth laden cosmic grooves, cinematic spacey tones, and electronic-based modulated melodies. As with many of Foat’s recordings, there is a heavy dose of Fender Rhodes, Moog, and analog based synths present throughout each track. From start to finish, Blue Lotus takes listeners on an orbiting journey through a sonic trip that no one will be in a rush to get off of.

The session also features GFG members tenor saxophonist Rob March , flugelhorn player Trevor Walker , and bassist Phil Achille , along with special guests legendary British soprano saxophonist Art Themen , percussionist Eric Young , Morgan Simpson (Black Midi) on drums, James Thorpe on bass (who Greg Foat collaborated with on 2019’s Photosynthesis ), and vocalist Kat Bernard on “Lullaby For Leo”.

Overall, this is another brilliant release for Greg Foat and his long-established group, continuing to build off the foundation of their other great recordings. This album should well-deservingly find it’s way to the top of many year-end “best of” lists. Highly recommended!

The Greg Foat Group — ‘Blue Lotus’ (Blue Crystal Records)

• Unconditional Love
• The Bull Leap
• Sinister Undertones
• Electric Dreams, Pt. 1
• Electric Dreams, Pt. 2
• Lullaby for Leo
• Spiritual Jazz

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Olindo Records releases brilliant futuristic Latin funk album ‘Bichos’ from Raúl Monsalve y Los Forajidos

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Latest Release

• MAR 15, 2024
• Live at Can Rudayla, Ibiza
• London Nights
• Dolphin · 2023
• Symphonie Pacifique
• Symphonie Pacifique · 2020
• Viento Calido
• Pointe Vénus
• Island Life
• Tropical Love
• Psychosynthesis · 2022
• Man vs Machine
• Snake Plant Shuffle
• Snake Plant Shuffle - Single · 2024

Music Videos

Singles & eps, live albums, about greg foat.

London-based keyboardist, composer, bandleader, and DJ Greg Foat is a musician completely of his time and somehow beyond it. His highly original "non-contemporary jazz" utilizes both conventional instruments and an exotic array of unorthodox ones, including harpsichord, tubular bells, and a 15-piece choir. Foat's music relies heavily on inspirations from library and soundtrack music, global folk traditions, psychedelia, hymnody, ambient music, and '60s and '70s pop, soul, and blues. Whether solo, as co-leader of Hampshire & Foat (with Bees' multi-instrumentalist Warren Hampshire), or leading the Greg Foat Group, he has quietly and purposefully dissolved artificial boundaries between musical genres and eras since GFG's 2011 debut Dark Is the Sun. He's also been a prolific recording artist, releasing an album per year, including the universally acclaimed 2015 outing Dancers at the Edge of Time and 2017's Galaxies Like Grains of Sand (with Hampshire), as well as a slew of singles and EPs. As a composer, he's heavily influenced by the lineage of British jazz pianists and composers, including Gordon Beck, Stan Tracey, Michael Garrick, Keith Tippett, and Graham Collier, in addition to European and American composers, arrangers, and soloists such as Ennio Morricone, Piero Piccioni, Michel Legrand, Vangelis, and John Klemmer. Foat was born in Ventnor on the Isle of Wight. He claims his life-long love/hate relationship with the piano began at age three when he fell off a piano stool at his aunt's house. At ten, he asked his parents for one. On the cheap upright his father procured, he taught himself to play Beethoven's "Moonlight Sonata" and received a few lessons from a proper piano teacher, who taught him a simple blues. He used that lesson to learn method, then taught himself to improvise and write; soon after, he quit taking lessons. A feverish record collector from age 11, he learned from recordings. A few years later, Jeff Clyne and Trevor Tomkins came to his school and gave a jazz workshop, after which he joined the Isle of Wight County Youth Jazz Orchestra. Clyne sent him cassettes of various jazz pianists. In a jazz encyclopedia, he learned that Clyne had recorded an album with pianist Gordon Beck called Experiments with Pops. He wrote Clyne asking him about it and was sent a tape with the albums Experiments with Pops and Gyroscope on it. Under the spell of Beck's formidable playing, he wore the tape out and absorbed its secrets. Foat cites the pianist as his biggest influence. He was bold enough to ask for Beck's telephone number and eventually took a few lessons from him. Other primary influences on Foat were musicians who resided on the Isle of Wight, home to a vibrant music scene and a healthy number of retired session and jazz players who worked on the cruise ships that passed through from the '60s to the '80s. Their catholic repertoire consisted of music they learned, then played all over the world. Foat sat in with these players, learned from them, and developed his own aesthetic vision. Given his by-now-expansive repertoire, Foat became a session player and touring sideman, which included recording sessions with QuestLove and a tour of Europe and Scandinavia with Wendy James. In addition to his musical career, Foat is also a writer. He published a regular column in a woman's magazine in the U.K., and in 2008 published a spoof novel entitled Gigolo, ghostwritten and edited by a female friend. Supposedly penned from personal experience, Foat made publicity tours in his novel's character, causing considerable controversy. The book was eventually translated and published in seven languages. In 2010, he played on Swedish-Finnish composer Anna Järvinen's third album, Anna Själv Tredje, issued by Stranded/Universal. By this time, the Greg Foat Group was in full swing; they released their debut long-player, Dark Is the Sun, on Jazzman in 2011 to critical acclaim. Utilizing a host of unusual arrangements and instruments -- including a small vocal chorus -- Foat's tunes reflected the influence of luminaries such as Bruno Nicolai, Michel Legrand, and Serge Gainsbourg, as well as the British jazz and library musicians Keith Mansfield and Alan Hawkshaw. That same year, he played piano on Jonathan Jeremiah's Island release, A Solitary Man, in the company of the J.B.'s Fred Wesley, Pee Wee Ellis, and acid jazz trumpet legend Graeme Flowers. The following year, GFG released Girl and Robot with Flowers, that featured acclaimed trumpeter Matthew Halsall in the line-up. The set, a wildly diverse collection of styles, inspired remixes. In January of 2014, Live at the Playboy Club, London was recorded in concert direct to analog tape; it captured the band in full flight running through Foat's rangy compositions. In 2015, he and his band got international attention with the full-length Dancers at the Edge of Time; classified by some critics as "psychedelic modal jazz," it was inspired by the title of a collection of stories and novels by polymath author Michael Moorcock (Foat is a big fan of new wave science fiction). The set featured a much larger ensemble of 15 players. From then on, the Greg Foat Group was an octet rather than a quintet. The sessions included Warren "Woz" Hampshire on guitar, church organ, and glockenspiel. To date, it is the group's most acclaimed outing. 2016 saw the issue of a pair of 10" EPs, Cityscapes and Landscapes, which were eventually combined as a single release. It was the band's final effort before Hampshire & Foat began their own recording project with Galaxies Like Grains of Sand on Edinburgh's Athens of the North label. It was titled after Brian Aldiss' classic collection of connected sci-fi short stories. In addition to the two principals, members of the Greg Foat Group were in the line-up with additional strings and winds, with liner notes by American folk and pop singer/songwriter Bob Lind. Two more full-lengths from Hampshire & Foat appeared in 2018. The first, Honey Bear, was a "concept album based on a fictional children's book." Each track acted as a chapter, with hypnotic folk pieces mixed in with ambient field recordings that the pair collected around the beaches, cliffs, and gardens of the island. The latter, Nightshade, was adorned with a cover designed to look like a '60s sound library album, and was structured like one. Side one comprised tracks that could quite easily be used as film cues, while the second was formatted as a sound library suite with a recurrent theme and variations on its motifs. In 2019, the pair issued their fourth album, Saint Lawrence. It was captured over two sunny afternoons during the fall of 2017. It was recorded live sans overdubs in two churches situated in Saint Lawrence on the south coast of the Isle of Wight, then mixed live, direct onto a vintage stereo Nagra IV-S reel to reel. They were joined by longtime musical partners Phil Achille and Eric Young, plus a cadre of local musicians and friends. Together they captured the ambience of the churches and the surrounding landscape. Tracks were titled after local landmarks, hidden beaches, and rural paths. Foat followed this with The Mage in May. It married British jazz past and future in his own compositions interpreted by the talents of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell, and Clark Tracey, alongside contemporary drummers Moses Boyd and the Heliocentrics' Malcolm Catto. A set highlight is a reading of the Caribbean Christian hymn "Of My Hands," sung by Kathleen Garcia, who first recorded it as a young girl some 45 years earlier; behind her is a backing vocal chorus directed by Simon Ljungman. Foat's other compositions and charts on the set seamlessly meld downtempo folk-scapes, modal jazz, hip-hop, and soul. Foat fulfilled a long-held desire when he assembled the full GFG to work at Catto's storied all-analog studio, Quatermass Sound Lab. The band was joined by tenor saxophonist Binker Golding, guitarist Hugh Harris (the Kooks) on guitar, and Catto as a second drummer. The Dreaming Jewels, released in November by Athens of the North, was the realization of those sessions. It juxtaposed jazz-funk tunes written by GFG and its guests and included a pair of Foat's more spacious and aetheric compositions in the title track and "Lake Kussharo." ~ Thom Jurek

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Greg Foat is one of the UK’s leading jazz pianists, composers and music producers.

Greg’s worked with a diverse selection of musicians, including Bob more...

• Fri Apr 26 Apr 28 Sun London, Various Venues Brick Lane Jazz Festival 2024 Oscar Jerome, Ojerime, Ego Ella May, OKVSHO, anaiis… View Tickets

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Symphonie Pacifique

By Piotr Orlov

July 9, 2020

British pianist-keyboardist-composer Greg Foat has long been pigeonholed as a jazz musician, yet he fits the tradition sideways, at best. Though he studied with UK jazz luminaries like pianist Gordon Beck, and his Greg Foat Group came to renown by tapping into Britain’s late-’60s jazz-rock heyday of bands like Soft Machine and Nucleus, his work’s preoccupation with texture, melody, and narrative had long placed him outside that music’s jam-oriented solo expressions. Since 2017, when Foat committed himself to a way of working more centered on place, partnership and circumstance than predetermined style, the peculiarities in his music have become more pronounced, and his creative output has mushroomed. It’s hard not to hear Symphony Pacifique , Foat’s ninth album in the past four years, as a summation of this period.

Symphonie Pacifique also speaks to another reconsideration of the genre-nonspecific, mixed-use sound space where, for over 60 years, improvisation, composition, and sonic investigation have blended to no uncertain purpose. The album echoes this artful testing ground for recordings—a tradition-free mix of film scores, radiophonic library sounds, percussion records, hi-fi experimentalism, space-age pop, and far beyond. Heady, outwardly beautiful, aesthetically lush, and self-aware enough to avoid devolving into pap, it fits in with music often championed for its wealth of taste and knowledge—and just as often dismissed for its middlebrow pretension. Yet such experiments can also be a well for mental and creative resets—which is how they have seemingly served Foat.

While the Greg Foat Group (2009-2016) was based in electric jazz-meets-rock playing, it was primarily a vehicle for Foat’s dreamy pieces, often reflecting fantasy narratives (2011’s Dark Is the Sun is based on a Philip José Farmer sci-fi novel, 2015’s The Dancers at the Edge of Time on one of Michael Moorcock’s) and filled with an array of synthesizers and studio-centric arrangements. More than a glimmer of Britain’s prog-rock heritage and accompanying largess was on display, though Foat’s tunes also regularly served a soft and pastoral solitude, reflecting the rural and naturalist influences of the Isle of Wight, where he’s lived since boyhood.

In 2017, Foat and Warren Hampshire, another Isle resident and multi-instrumentalist with indie-psych-funk group A Band of Bees , released Galaxies Like Grains of Sand , a new-age-folk meditation about tides. Like a dam bursting, Galaxies heralded not only a new way of working and a flood of recordings, but a diversity in Foat’s music he’d mostly kept in check. Ensuing collaborations—with Hampshire, with studio engineer and Isle resident James Thorpe, with Edinburgh deep house producer Linkwood —were interspersed with “solo” albums featuring Isle locals, old Group members (bassist Phil Achille, conguero Eric Young), low-key Brit jazz legends (saxophonist Art Themen, drummer Clark Tracey), and a set of prodigious boldface players (saxophonist Binker Golding , Kooks guitarist Hugh Harris, drummer Moses Boyd ). The records were united not by a specific sound but by an immediacy, a project-to-project fluency, and the sense that, as each moved from groove to texture to rumination, the musicians were there to serve the ensemble.

Symphonie Pacifique spotlights those elements magnificently. It’s not incorrect to generalize the album as a soul-jazz session full of symphonic and studio-built asides—a smaller-scale take on, say, David Axelrod ’s kaleidoscopic fantasias that spotlights the personalities of Foat’s compositions and his broad cast of players. Occasionally Symphonie does get reductive, the too-bright tone of Foat’s Steinway driving its more linear pieces from the front, and the album can sound smooth and lightweight, a facile version of the music Foat has mostly abandoned. Yet these moments rarely last long. The handful of string interludes hint at grander ambitions, and the plethora of balearic fusions repeatedly return Pacifique towards a more complex light.

Fusions like “Anticipation,” built on dubbed keyboard chords straight out of Underworld ’s rave smash “ Born Slippy ,” a sweeping mix of strings, synths and wordless choir, Boyd’s rolling drums, and dueling saxophones, which sounds like an update on a Mizell Brothers/Donald Byrd collaboration. Or “Man Vs. Machine,” featuring Young’s percussion elbowing into Foat and Boyd’s analog synth-drums duet, and robo-funking like Kraftwerkian commentary. Co-written with Hampshire and spotlighting a trio of Foat’s piano, Heather Wrighton’s harp, and Achille’s bass, “After the Storm” has the environmental new age majesty of a Steve Roach piece—and is narratively book-ended by Thomas Frank’s almost-solo “Meditation on a Pedal Steel,” which soundtracks its last drops. An epilogue titled “Three Tenors,” featuring the unaccompanied yet effects-laden (and psychedelically mixed) conversation between Themen, David Bitelli, and Rob Mach’s saxophones, is Pacifique ’s capstone, simultaneously referencing multiple directions in sound—beatless free jazz, dub, ambient—while choosing none.

Importantly, Greg Foat is nowhere to be heard on “Three Tenors,” yet philosophically he is still in command from the production room, letting the players he put in place magnify its roar. Such low-key involvement marks the best parts of Symphonie Pacifique , and the bright recent chapter of his long career: unencumbered by rules and definitions, in love with the freedoms of sound, guiding from the back. A leading jazz player has abandoned ambition for more unexpected, idiosyncratic visions.

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Greg Foat and Art Themen team up for collaborative album, Off Piste

‘Off Piste’ is the new collaborative project from the immensely creative minds of Greg Foat and Art Themen . Last year, the pair worked together for the first time as Foat performed live at Vinyl Sessions – a series from The Vinyl Factory and Soho Radio, where artists record direct-to-dubplate, captured in a single take. ‘Four Sides to Every Story’ featured four spontaneous, improvised compositions from Foat, Themen, Baldo Verdu and Moses Boyd.

Building on their previous work together, ‘Off Piste’ continues their scintillating exploration of their union’s possibilities, with the artists revelling in its creative freedom. Alongside Foat and Themen, the new album features guitarist Gavin Sutherland, harpist Amanda Whiting, electric bassist Philip Achille, and drummer Nadav Schneerson.

Opening with ‘Fresh Snow, the track is light like snowflakes dancing in the gentle breeze. ‘La Partida’ is a lovely lilting cut that sounds like the theme tune to a 60’s detective series. The title track is an atmospheric saxophone and synth affair that creates a tranquil vibe. Every note is carefully chosen to create a unique soundscape. The result is a beautiful, heartfelt piece. The album closes with ‘Apres Ski’, a dreamy track that takes you on a journey to paradise.

The pair has created a timeless and unique sound using the renowned Edinburgh-based Chamber Studio and its stunning Neve desk to capture the session. This music celebrates the spontaneous energy of the live performance while maintaining a strong focus on composition, texture and atmosphere.

One of the standout elements of the album is the beautiful tone of Themen’s saxophone, which Foat has cited as one of his all-time favourites – a truly remarkable album.

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Greg Foat & Gigi Masin

Dolphin — uk premiere.

• EFG London Jazz Festival

On June 16th Strut Records released Dolphin, the first collaborative LP between Venetian maestro Gigi Masin and esteemed pianist/composer/producer Greg Foat. For EFG London Jazz Festival 2023, we are delighted to present the UK live premiere of this sublime collaboration, featuring very special guests on drums and bass.

Born from a mutual admiration, with Foat praising Gigi ’s Wind LP and Masin citing Foat’s Symphonie Pacifique as influences, together these heroes in their respective fields have created something more than the sum of its parts. An exquisitely crafted, silky blend of kosmische, jazz, vintage soundtrack vibes and ambient, Dolphin  takes you to a balmy sundown place of peace.

Utilizing “an electric piano, sounds from my digital library and an old iPad2” (Masin) and “grand Piano, Vibraphone and lots of vintage synthesisers” (Foat), the former’s melancholy melodies meet the latter’s laid back, slo-mo grooves, which pour out like honey. Herbert’s huge unfurling basslines, and taught Pistorius-style fretless are paired with Boyd’s sturdy but swinging drums, whilst warm synths create pastel-colour clouds, through which emerge smokey keys, flute and piano.

Both artist’s signature styles are here, but blended with such smooth liquidity that the pairing seems like the most natural no-brainer ever.

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Greg Foat – “Symphonie Pacifique”

2020 may be a horrible year all around so far, but the music is amazing. greg foat ‘s symphonie pacifique makes no exception as one of the finer jazz albums out there..

Release date: July 3, 2020 | Strut Records | Facebook | Bandcamp | Website

I hadn’t even heard of Greg Foat until I picked up his latest album for this review. It is needless to say, yet worth underlining, that I regret not finding his music earlier. From what I gather, Greg Foat is basically at the top of the jazz food chain in the UK. Something that really made a lot of sense upon diving properly into the record at hand. There’s something ineffable about the modern British jazz scene that makes it vibrant in a very special way. I also gather that Symphonie Pacifique is merely the latest in a long line of Greg Foat ‘s musical repertoire. Unfortunately, I have not had the pleasure of reaching in and going   through past works to obtain that welcome insight into how sounds may or may not have shifted.

Whereas a great deal of the albums I do decide to take up for review leave me speechless and in something of a general confusion in terms of a write-up, Symphonie Pacifique  makes the words flow much like itself. That would be cursively, gently,   and colorfully (without too much flash). I’d like to begin with how I caught myself laughing heartily at the fact that, after five laps around the album, I realized I didn’t remember a single note or phrase, as if I had never heard it. Now how can something like that happen? It occurred to me a few laps later that I simply zoned out hard  because of the laid-back vibe. It’s something hypnotic, albeit not the kind of trait that immediately pops in the foreground. Naturally, I continued zoning out until I remembered I have a life to attend to and I just can’t keep doing this.

Of course, it’s not just the laid-back vibe that lends magic to the whole journey. The soft and mellow instrument tones and the apparent lack of timbral (or tonal) dynamics when paired with the consistent compositions keeps everything steady and focused, kind of like a mantra. I say apparent lack because at a glance there isn’t a lot of boom throughout, however there is plenty of nuance and engagement scattered throughout for fans of the genre and for the patient listener.

From a compositional standpoint, I can’t say that there’s anything revolutionary going on, although simultaneously I can’t find a single weak spot. From top to bottom, we’re looking at a very solid piece of work with the kind of consistency that doesn’t end up being monotonous, which is great considering that the album goes on for a proper hour. As mentioned previously, there is plenty of nuance to go around, in spite of no particular emotive cues being brought onstage. Obviously that isn’t anywhere near a reason to complain, however it would’ve been something nice to have. In that aspect I am reminded of We Like It Here by Snarky Puppy .

Similarly, the same level of top notch musicianship is present, like in Snarky Puppy . I also assume that besides these parallels, I have been tempted to make the comparison to Snarky Puppy because there are a lot of textures and vibes that feel like they share plenty of common ground, what with being mostly so lively and upbeat. What is, however, one of a kind is the production. On the tracks in the beginning we hear the percussion on the right, the bass on the left and the piano simply fills up the rest of the space. This reminds me strongly of Ryu Fukui ‘s Scenery.  I find that kind of panning oddly satisfying, reminiscent of how you would listen to a small jazz band playing in a tiny cafe. On other songs, such as “After the Storm”, we’re treated with a highly atmospheric type of delivery which feels almost out of character from the preceding tracks.

Instead of going for a track-by-track breakdown, I’ll leave it at this – there’s plenty to experience in this album and it would be a downright shame to spoil all of it right away. Symphonie Pacifique  has already been out for a while now, and some of you may have already heard it. For those of you that haven’t and are going through these lines, stop reading and start vibing out to this record. It’s a lovely sonic discourse that will surely make it to the end of the year lists.

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Robert Miklos

What can I say? I love slapping keys and listening to squiggly air.

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• The City Tour along wooden and brick houses preserved from the time of the city’s founding will enable you to feel an unmistakable charm of Khabarovsk. The oldest Komsomolskaya Square houses the remarkable redbrick building dating 1901(now the Public Library). Splendid view of the St.Innokenty church – the first church built in the city. During the Stalin’s period, a well known GULAG Camp existed near the Ulakhan village which was located close the city.
• The Archaeological Museum contains over 40,000 artifacts; among them, there are the world famous petrogliphs of Sikachi Alyan and cultural heritage of the Golden Empire of the Jurchen People.
• The Art Museum possesses a unique collection of the Far Eastern aboriginal crafts and arts that includes fish skin outfits, beautiful carpets and bone engraved items. Some wonderful ancient Russian icons and paintings by famous Russian artists Ilya Repin, Ivan Shishkin and Isaac Levitan, as well as works by Western masters, such as Rembrandt, Rubens and Monet are exhibited in the Art Museum.
• The Cruise along the Amur River is might be a beautiful journey within a live archeological museum. The riverside rocks make an unusual display of man-made carvings – petrogliphs that are the images of ancient cultural heritage of local ethnic groups. The Bolshekhetsirsky State Nature Preserve has conifer-broadleaved forests rich in typically virgin nature and genetic stock of organic life. In 30 miles to the southwest of the city, there is the Khekhtsir State Nature Reserve, a unique place where southern lianas, Manchurian walnuts grow side by side with evergreen conifers. Bears, foxes, wolves, elks and tigers could be watched occasionally there. The Badjal Range – one of the most picturesque parts of the Russian Far East with unique flora and fauna is abundant in sable, musk deer and bears.

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Khabarovsk, Russia

You are here, about khabarovsk.

Khabarovsk is one of the most significant and beautiful cities of Russia's Far East. It stands on the right bank of the Amur River along the scenic Trans-Siberian railway and almost touches the Chinese border.

The city of Khabarovsk played a crucial role in East - Russian history and is famous for its historic sights, monuments of architecture of different eras, religious buildings, lovely parks, gardens, and artificial lakes which surprise its visitors with impressive fountain shows.

Khabarovsk History

Founded in 1858, the city is now loved by Chinese travelers and those who are going on iconic train journeys along the world's longest railway from Siberia. After days of relentless taiga, people reach this vibrant city with multiple attractions, plenty of historical sights from the tsarist-era, and a number of places to try traditional Russian cuisine. Khabarovsk is indeed a charming city that deserved to be on your travel itinerary. Especially, if you are the legendary Trans-Siberian is on your travel radar.

We suggest beginning your Khabarovsk tour from the famous monument erected in honor of Nikolay Muravyov - Amursky, one of the best-known explorer of East Siberia, a general, and the founder of the city.

Continue your Khabarovsk trip with a riverside walk along the picturesque Nevelsky Embankment and pass through the third tallest church (35 feet) in all Russia - Spaso-Transfiguration Cathedral standing on top of a hill. Take in the spectacular location and view of this Cathedral and its classic golden domes, dominating the city skyline and being visible from a large distance.

Your Trans-Siberian itinerary would become even better if you include a visit to the famous Khabarovsk Bridge as well. The railway bridge goes over the Amur River and is considered to be the longest bridge on the Trans-Siberian route.

Best Things to Do in Khabarovsk

• Stop by the Nikolay Muravyov - Amursky monument
• Visit the gorgeous Spaso-Transfiguration Cathedral
• Take a picture by the renown Khabarovsk Bridge over the Amur River

Top Attractions in Khabarovsk

The Kamchatka peninsula is perhaps one of the most beautiful locations in the world. With about 300 volcanoes, 29 of which are still active, the mountains dazzle visitors.

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Off​-​Piste

By greg foat & art themen.

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Greg Foat London, UK

Greg Foat is one of the UK’s leading jazz pianists and composers. He has recorded prolifically in recent years for Jazzman Records, Athens Of The North and, most recently, for Strut, switching effortlessly from soul-jazz fusions to cinematic, haunting compositions, pastoral acid folk and electronic soundscapes. ...   more

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• Experience Khabarovsk Tour

4-day Experience Khabarovsk Tour 4 Days | Khabarovsk

Discover the vibrant Far Eastern city of Khabarovsk and see how the region’s geography, climate, and unique ecology have shaped the city’s history and lifestyle. Our 4-day Experience Khabarovsk tour is a chance to see Khabarovsk’s historical and religious monuments, enjoy its riverside life, and experience the culture of its people. Highlights include learning how to make traditional fish dishes in an indigenous Nanai community and exploring the landscapes, flora, and fauna of the Bolshekhekhtsirsky Nature Reserve on a guided ecological walk.