General admission, standing event. Happy hour from 10pm to 11pm.

AUKTYON – the unique phenomenon on the contemporary music scene of Russia: in contrast to the majority of genre-challenged and as a rule stylistically within the framework of contemporary canons, this group draws its inspiration from such remote sources as ska, reggae, new-jazz, ethnic music of North Africa and Middle East, beat- and pop-music of the 60’s; in spite of the eternally present messianic idea in Russian rock and its inherited didacticism, this group did not teach as much as it entertained, which apparently resulted in it being the only representative of Russia on the European club scene.

In different forms and under different names, the group exists approximately since 1978, however, its current name, AUKTYON received only in May of 1983, when it was granted a membership in the Leningrad Rock Club, and its present appearance, style, and core musicians were formed in spring of 1986, when the group was triumphant on the stage of the 4th Leningrad Rock Club Festival in the following line up: Leonid Fedorov (guitar, vocal), Oleg Garkusha (dance, vocal), Sergei Rogozhin (vocal), Victor Bondarik (bass), Dmitriy Ozerskiy (keyboards, vocal), Nikolai Rubanov (saxophone, flutes), Nikolai Fedorovich (saxophone), and Igor Cheridnik (drums). In one year, AUKTYON was repeatedly successful in the 5th festival, after which Sergei Rogozhin left the group for the pop-band FORUM, while the percussionist Pavel Litvinov strengthened the rhythm section. The second guitarist – Dmitriy Matkovksiy from the cult band of the early 80’s MANUFAKTURA – joined AUKTYON that fall. During that period, the group attained acknowledgement on the scale of the whole country, performing at the rock-festivals in Kiev, Ekaterinburg, Vilnyus (“Lituanika-8”), and taking part in the cultural program of Moscow International Film Festival.

In 1988 AUKTYON recorded an album “Return to Sorrento”, which has not been professionally released until now; Igor Cherednik, who left for IGRY, was replaced by a hard-rock drummer Boris Shaveinikov; and the visual image of the group had acquired a new quality, when a gifted dancer Vladimir Veselkin joined the group. A significant role in formation of the image of AUKTYON during this period was played by a famous avant-garde artist from St. Petersburg Kirill Miller, who was responsible for the covers of the first albums: in particular “How I Became a Traitor” (1989), released in France by Voyla Productions, and “All Quiet in Baghdad” (1990), recorded in Russia at “Melodiya”.

In 1990 AUKTYON took part in grandiose ecological action “Rock of Clear Water”, and along with other participants went down the river Volga, giving concerts in Volga cities.

From the late 80’s AUKTYON began to regularly travel to Europe: in the last ten years they have had several hundred concerts in France, Germany, Denmark, Switzerland, Austria, Holland, and Check Republic. In the 90’s new work continues to appear: “Asshole” (Erio, 1990), “Hangover” (SNC, 1991), “Bird” (Dyadyushka Records, 1994), “Best Of” (SNC, 1996). Furthermore, AUKTYON discography also contains two collaborations with the Parisian artist, poet, and bard Aleksey Khvostenko: “Teapot of Wine” (1992) and “Mountaintop Dweller” (SNC, 1995 – based on the verses of the poet and language reformer Velemir Khlebnikov).

After the period of relative stability, in May of 1992, Vladimir Veselkin left AUKTYON, who began a relatively successful solo career (in 1991 his album “Impossible Love” was released by FeeLee), and in November of 1995, Dmitriy Matkovskiy has played his last concert with the group. Almost at the same time AUKTYON has invited a tuba player Mikhail Kolovskiy. The main creative force of the group – guitarist and singer Leonid Fedorov. His songs (which are usually written to the lyrics of the colleagues – Dmitriy Ozerskiy and Oleg Garkusha) have a characteristic melodic language, in which jazz and ethnic intonations neighbor with a straightforward “hit”-like key phrases, and where the rhythm allows you to stretch the most “unfit for the voice” phases.

For the extent of its biography, the group appeared in various films and documentaries: “Burglar” (Lenfilm, 1986), “Half-Official”(Germany, 1987), “Rock” (LSDF, 1987), “Let’s rock-n-roll!”(Germany, 1988). The main movie star of AUKTYON is Oleg Garkusha, who played in “Presumption of Innocence” (1998), and “Khrustalev! Get the car!” (1996). He regularly appears and reads his poetry and is an author of two collections of poems.

The many-sided and experienced musicians, the members of AUKTYON regularly participate in recordings and multiple projects – Rubanov and Litvinov together and separately played in JUNGLE, ADDIS-ABEBA, MARKSCHEIDER KUNST; Rubanov played in BEES AND THE HELICOPTER, TIME TO LOVE, and METAMORPHOSIS; Kolovskiy and Rubanov play in Z-ENSEMBLE and UNION OF COMMERCIAL AVANTGARDE; Fedorov played and recorded with Nizhniy-Novgorod bard Aleksey “Colonel” Khrynov; Shaveinikov played with Yuri Naumov, TIME TO LOVE, and METAMORPHOSIS; Matkovskiy recorded a series of albums of his minimalist experiments called “Hunting of …”
John Medeski
John Medeski’s mother taught him to read before he even started school, and his father taught him to play blues and jazz standards on the piano before he learned to walk. So it is only fitting that today John is completely dedicated to the piano, cross-pollinating diverse musical disciplines, and immersed in inventive musical conversation.

John may be best known as one-third of Medeski Martin & Wood, but his full body of work goes far beyond that ground-breaking trio.

As of late, John can be found performing solo piano recitals, where he explores classical music, lounge songs, and jazz standards in intimate concert venues such as the Chicago Symphony Center and New York City’s Merkin Hall, in addition to select dates in Mexico City and Guadalajara.
Marc Ribot
Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 – 1989, of John Lurie’s Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.

Ribot’s recording credits include Tom Waits, Soloman Burke, Elvis Costello, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, Susana Baca, McCoy Tyner, The Jazz Passengers, John Lurie’s The Lounge Lizards, Jamaaladeen Tacuma, Cibo Matto, Medeski Martin & Wood, James Carter, Vinicio Capposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Joe Henry, Allen Toussaint, Marisa Monte, Allen Ginsburg, Madeleine Peyroux, Sam Phillips, and more recently Norah Jones, Akiko Yano, The Black Keys, Jakob Dylan, Jolie Holland, Elton John/Leon Russell, John Mellancamp and many others. Ribot frequently collaborates with producer T Bone Burnett, most notably on Alison Krauss and Robert Plant’s Grammy Award winning “Raising Sand” and regularly works with composer John Zorn.

Ribot’s own recording projects have included the bands Rootless Cosmopolitans (Island Antilles), Shrek (Tzadik), and Los Cubanos Postizos (Atlantic), Spiritual Unity (Pi Recordings), and his latest band Marc Ribot’s Ceramic Dog (Pi Recordings). Marc’s solo recordings include “Marc Ribot Plays The Complete Works of Frantz Casseus” (Les Disques Du Crepuscule), “John Zorn’s The Book of Heads” (Tzadik), “Don’t Blame Me” (DIW), “Saints” (Atlantic), “Exercises in Futility” (Tzadik), and his latest “Silent Movies” released Sept 2010 on Pi Recordings was described as a “down-in-mouth-near master piece” by the Village Voice and has landed on several Best of 2010 lists including the LA Times and critical praise across the board.

Marc has performed on scores such as “The Kids Are All Right,” “Where the Wild Things Are,” “Walk The Line (Mangold),” “Everything is Illuminated,” and “The Departed” (Scorcese).” Marc has also recently composed original scores for the PBS documentary “Revolucion: Cinco Miradas,” and the film “Drunkboat,” starring John Malkovich and John Goodman. Past scoring project include Yoshiko Chuma’s “Altogether Different” dance piece, a documentary film by Greg Feldman titled “Joe Schmoe,” a feature film by director Joe Brewster titled “The Killing Zone”, and “In as Much as Life is Borrowed”, a dance piece by famed Belgian choreographer, Wim Vandekeybus.

In 2009, Marc was named curator and musical director for the year’s Century of Song Festival, part of the Ruhr Triennale in Germany. The sold-out concerts included collaborations with Iggy Pop, Marianne Faithfull, David Hidalgo of Los Lobos, master cajon player Juan Medrano Cotito, Carla Bozulich and Tine Kindermann.

Marc’s talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.

Marc is currently touring with several projects including the Albert Ayler tribute project “Spiritual Unity” (Pi Recordings), featuring original Ayler bassist Henry Grimes, his power trio Ceramic Dog with bassist Shahzad Ismaily and drummer Ches Smith, and a new group Sun Ship featuring guitarist Mary Halvorson named after the posthumously released album by John Coltrane. In promoting his latest solo guitar release “Silent Movies”, Marc is also currently touring his live film score to Charlie Chaplin’s “The Kid”, which was commissioned and premiered Jan 2010 at Merkin Hall by the NY Guitar Festival.

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