Home » Jazz Musicians » Hilary Jeffery
Hilary Jeffery
Hilary was born in 1971 in Surbiton, England. Following studies at Dartington College of Arts, University of York and with James Fulkerson at the European Dance Development Centre in Arnhem, Hilary embarked on a colourful musical journey playing throughout the world in many settings including theatres, jazz clubs, cathedrals, night clubs, festivals, dance studios, bars, cinemas, galleries, streets, forests and mountains.
As well as composing Hilary plays trumpet, trombone, tuba, euphonium, piano and electronics. He is currently based in Berlin where he works with Eleni Poulou at Berlintune Studio and plays in many groups including Etude (Ensemble Treffen Um Die Ecke), Mullet, Organza Ray, The Kilimanjaro Darkjazz Ensemble and Zinc & Copper. He has played with Apa Ini, Chicks On Speed, Chora(s)san Time-Court Mirage, Germ, Jimi Tenor (Big) Band, Inconsolable Ghost, Lysn, Mouse On Mars, Sand, Tonaliens, zeitkratzer and has composed music for David Kweksilber Big Band (Amsterdam), Slagwerk Den Haag, the Acousmonium (GRM Paris), Zagreb Experimental Ensemble and for his own ensembles.
The sense of silent space he experienced during a journey to the Sahara Desert in 1990 is a central and sustaining influence on his work.
Gear
trombone, trumpet, euphonium, tuba, piano, electronics, computer, m88 microphone
Tags
The Pentland/Bergonzi Quartet, Paul Hecht, Hilary Jeffery, Shunzo Ohno
by Cheryl K.
During this week's two-hour program of jazz and improvised music--The Pentland/Bergonzi Quartet; vocalist Eve Cornelious; pianist Paul Hecht; the James McGowan Ensemble; vocalist Hilary Jeffery; the trio Tonnen von Hall; trumpeter Shunzo Ohno; and trombonist Conrad Herwig.Playlist Paul Gonsalves It's Something You Ought to Know" from Ellingtonia Moods & Blues (RCA Victor/BMG Classics) 4:14 Smithsonian Jazz Masterworks Orchestra Sheperd" from Ellington Masterworks (MCG Jazz) 7:49 Rosino Serrano Orquesta Moderna Concierto Para Piano y Big Band Escenas de una ...
Continue Reading“Green Prism” is a recording that will not only engross anyone already familiar with Keith Tippett’s music; it will hopefully bring him to the attention of a new generation of those with mind’s open enough to appreciate the best of contemporary composition.
Martin Phillips
There never was any pretence about Keith Tippett’s intentions and Hilary Jeffrey’s curve on Green Prism is such a satisfying tribute to the sensitivity of these scorings.
Steve Day

