Brian Forbes is a producer/mixer/engineer and multi-instrumentalist. He is the co-owner of The Gallery Recording Studio. He graduated from the University of Miami Coral Gables, FL with a degree in Jazz Guitar/Studio Performance. He has more than 20 years of engineering and production experience and has recorded in numerous environments ranging from remote recordings out in the Arizona desert, to DIY Lo-Fi/Hi-Fi set-ups to state-of-the-art million dollar studios containing NEVE and SSL consoles.
Over the past 7 years at the Gallery he has worked with great artists such as We Are Augustines (Amnesty International), Bilal (Interscope), Grammy nominee Emily King (J Records), Sonya Kitchell (Velour), and Soul Khan. In the past Brian has worked closely alongside many top notch producers including Jimmy Lenner (John Lennon, Pink Floyd, Donna Summer), Disco D (50 Cent), and Megahertz (Jay-Z, Busta Rhymes, P. Diddy.) He has recently produced records for Dorie Colangelo, Jodie Levinson, Kat Spina, Aabaraki and many others. He has also done extensive Soundtrack work including Recordist, Music Producer & Mixer for the feature film “Sedona: The Movie”, Composer for the Documentary “Meditation Makeover”, and Composer/recordist for a number of smaller films.
Brian is also a performer/composer currently very active in the New York City music scene. He is the guitar player and producer for Aabaraki (Rockwood Music), Harder/Softer, and HeyMIster!
Since co-founding the Gallery in 2006, Keith has engineered and produced releases for Clean Feed, Triple Crown, Psi, I and Ear, AUM Fidelity, Porter, Hot Cup and other labels. Keith has worked extensively on the NYC music scene, primarily splitting his engineering skills between jazz/improvised music and “Brooklyn bands”. He has worked with artists such as William Parker, Joe Morris, Peter Evans , Mary Halvorson, Steve Swell, Nate Wooley and also bands such as Skeletons, As Tall As Lions, PC Worship, Motel Motel, Jive Grave, Afuche and Puttin’ On The Ritz.
Keith graduated from Bard College where he studied music performance and the recording arts. He also worked as an assistant at the Clubhouse Recording studio in Rhinebeck, NY. For the last 5 years Keith has been a recording engineer for the Vision Festival, an annual avant-garde jazz festival held in downtown Manhattan. Keith continues his involvement with music in performance as well, playing improvised music as well as being a member of a number of “Brooklyn bands”.
Selected Album Credit List:
William Parker Organ Qt.
Peter Evans: Nature/Culture
(recording/mixing on disc 1)
Puttin On The Ritz: White Light / White Heat
Katherine Young: Further Secret Origins
Peter Evans Quartet: Live in Lisbon
As Tall As Lions: You Can’t Take It With You
(engineering on bonus material)
Jon Markson is a producer/engineer/musician. He has worked and performed on a number of records of wide variety and unique character by artists including but not limited to: Such Gold (Razor & Tie), George Watsky, Shake The Baron (super duper records), Taking Meds (Broken World Media), J57, Time Crisis (fameless fam) and many more. His time is split between touring the world in various vans and chiseling away at your next project at The Gallery Recording Studio. He once filled in on bass for seminal 90′s Fat Wreck Chords skate punk band “Strung Out” for a full US tour. Though they were all 20+ years his senior, they often referred to him as a “cool ass dude” or “the wolf” and insisted on feeding him tequila on stage almost every night.
Hailing from Allentown, PA – Jon bought an electric guitar at age 12, following his fixation on skateboarding and Green Day. Mere months later, he convinced his father of the virtues of buying an 8-track recorder. Thus a life long passion for noise-making and its subsequent capture were born, at first to his parent’s chagrin.
Markson has spent the subsequent years tumbling around local, national, and international music scenes, composing and performing in several different outfits, learning about the technical and social function of what we know as “music”, and skateboarding. A passion for sound has allowed him to use these projects as vessels to improve his skills as an engineer and further his creative voice. He has been lucky enough to connect with patient mentors along the way, who helped foster a critical mind and sensitive ears, in and out of the studio.