Jeffrey was surrounded by classical music growing up because his
father was a baritone in the U.S. Army Fourth Army Choir
that traveled all over western and eastern Europe, had studied with major choral directors like John Rutter and Robert Shaw, and was a section leader with conductor Maurice Abravanel. Of all the classical music that was played in the household, Jeffrey
particularly (and fondly) remembers Gustav Holst's Jupiter, the Bringer of Jollity (Die Planeten, Op. 32) and Sir Edward
Elgar's Variation IX (Adagio) "Nimrod" from the Enigma Variations. When living in Heidelberg, Germany, he played the
recorder, but lost interest due to the rigid
music pedagogy. Later, his mother took him to no more than three piano lessons before he quit, again citing the German pedantic teaching style as antithetical to the pleasure of music (for example, students were not allowed to touch the
black keys in beginner exercises). Years later, while in the seventh grade in Bangor, Maine, Jeffrey sang in a choir that performed another favorite, Gabriel
Fauré's Requiem, Op. 48. He would not pick up music again until he was in his early
Jeffrey's career as a film composer started in 1996 when he scored the music to his own
short film, a documentary called Isles in the Midst of the Great Green Sea,
filmed at the University of Utah by interviewing anthropologist and
archaeologist Richard Lyon Daly. Unbeknownst to the fledgling filmmaker, the very
same subject had been interviewed twenty years earlier by cult
director Trent Harris (Rubin & Ed, Plan 10). That score was later released
as Aegean: 1628 B.C. Later, he created temp music for a graduate film called Proteus Point directed by Michael J. Cox and created a minimalist score for a short film called Edge Running.
While attending Cambridge University, Jeffrey was asked to score the
short film, Monk, a film directed by writer/director Alkesh Vaja. The
film premiered at the Bafta Centre in Cymru, Cardiff, Wales and at the Sir Run Run
Shaw Theatre of the BAFTA Centre in Piccadilly, London. Later he scored the
music to a documentary short he wrote and produced called Children of the
Wind, which served as an informational video for the Cambridge University
Gliding Club. He interviewed at the prestigious London International Film
School (now London Film School), possibly with director Mike Leigh, and was
immediately accepted, but was unable to attend for financial reasons.
He became a mmeber of ASCAP in 1999, and was featured in the book, MP3: Music on the Internet by Nat Gertler and Rod Underhill.
After his return to the States, he became involved in a number of independent films in 2002, including Reach directed by Charles Bird, and created music for a feature film, The Racketeers, directed by Geoff Hansen. He also was the main contributing composer for the KUED (PBS) production of Promontory directed by Senior Producer Ken Verdoia. In 2003 he became involved as composer and associate producer in the feature film Abby SInger which went on to win the Fleur de Lis awards for Best Feature Film and Best Independent Film at the 2003 New Orleans Media Experience film festival. Subsequently, the score won the Jury Choice: Gold Medal for Excellence in the category of Original Music for a Feature Film at the 2004 Park City Film Music Festival, and was also a Semi-Finalist in the 2004 Moondance International Film Festival filmscoring competition. The film also went on to garner the Independent Spirit Award at the 2005 MassBay Film Festival. In 2006, he created music for a graduate film, Long Distance, directed by filmmaker Shu-Ling Hsieh, scored a short film called The Teacher directed by writer/director Nathan Rollins, and contributed music to a documentary called Eritrea: Living in a Border War produced by Mario DeAngelis. Later that year he won the Best of State Gold Medal for Original Music Composition.
Working on a number of projects in the intervening years, Jeffrey was the executive producer and music supervisor of the documentary, Pigweed Philosopher: The Untethered Zen of Kimball Johnson, directed by documentary filmmaker Gabriel Lakey. The documentary won numerous awards,including Winner of Best Feature Documentary (International) at the 2009 London Independent Film Festival, Winner of the Director's Choice: Gold Medal for Excellence at the 2009 Park City Film Music Festival, Winner of Best Feature Documentary (International) at the 2009 Toronto Independent Film Festival, and Winner in the 2009 Moab International Film Festival. In 2009, he contributed music to a short film called Given, which won the Audience Award at the 48 Hour Film Festival in 2009. Starting in 2010 through 2012, he was a writer and a producer on and created temp music for the feature musical, Nowhere Fast: The Forgotten Story of Approach Control, which won the Gold Remi Award at the 2013 WorldFest Houston. In 2011, he won the Audience Choice Silver Medal for Excellence in the category of Original Music in a Short Film for In the Company of Friends, directed by writer/director Thom Jensen, and created music for The Journey to Homeland directed by NY filmmaker Manuela Senatore. In 2012, he contributed music to the short documentaries Message from Mother Earth (III) and Message from Mother Earth (VI) working again with documentary filmmaker Gabriel Lakey, and later that year won the 2012 Best of State Gold Medal for Original Music Composition.
He won the Best of State Gold Medal for Original Music Composition again in 2013. His Elegy: Adagio for Strings was profiled in the book The Adagio of Samuel Barber (CMS Sourcebooks in American Music) by author Wayne C. Wentzel published in 2014. In 2015, he won the Akademia Music Award for Best Instrumental/Acoustic Song.
Jeffrey works and lives in Los Angeles.
Among many classical composers, his favorites are (in no particular order) Holst, Barber, Elgar, Beethoven, Boellmann, Widor, Bach, Vierne, Copland, Mahler, Debussy, Satie, Shostkovich, Tchaikovsky, Grieg, Sibelius, and more recently, Glass, Lauridsen, and Tavener.
Among film composers, the ones that speak to him melodically and harmonically, and may have influenced him, include (again, in no particular order) Williams, Morricone, Rota, Delerue, Zimmer, Gregson-Williams, Newman, Barry, Gabriel, Evangelos Papathanassiou, Preisner, Conti, Sivestri, Mann, and many, many others, including many composers he counts as friends and acquaintances. If it's film music, conveys a visual spirit, emotion, intellect, color, melody, and texture, chances are he will love it.