Mike Greensill | Live at the Plush Room

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Live at the Plush Room

by Mike Greensill

Jazz Trio. A program of Great American Songs, Jazz Songs and originals from the pen of Mike Greensill. Recorded Live at the Plush Room in San Francisco.
Genre: Jazz: Bebop
Release Date: 

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  Song Share Time Download
1. I've Got Just About Everything (Dorough)
4:25 $0.99
2. Love For Sale (Porter)
6:44 $0.99
3. I Should Care (Weston/Cahn/Storhdal)
3:47 $0.99
4. A Dry Guy (Greensill) A Dry Guy (Greensill)
4:29 $0.99
5. Stella By Starlight (Young/Washington)
5:20 $0.99
6. I'll Never Stop Loving You (Brodzsky/Cahn)
5:38 $0.99
7. It Ain't Necessarily So (Gershwin's)
5:38 $0.99
8. Blues Noir (Greensill)
4:45 $0.99
9. A Time For Love (Mandel/Webster)
5:47 $0.99
10. Better Than Anything (Loughborough/Wheat)
5:06 $0.99
11. Wonder Why/Be My Love (Brodzsky/Cahn)
3:59 $0.99
12. I Thought About You (Van Heusen) 5:07 I Thought About You (Van
5:14 $0.99
13. Girl Of My Dreams (Sunny Clapp)
4:57 $0.99
14. Small Day Tomorrow (Landesman/Dorough)
6:04 $0.99
Downloads are available as MP3-320 files.


Album Notes
Mike Greensill Bio

After graduating from Leeds College of Music in England, Mike toured Europe and the Far East finally settling into his adopted home, San Francisco in1977. Well known in his role as musical director to Wesla Whitfield with whom he has recorded fifteen albums,
Mike is also resident piano player on Sedge Thompson's weekly radio show to the world, West Coast Live. He has performed at Carnegie Hall, Lincoln Center and the White House, and as an arranger has had the
opportunity to write for big bands and symphony orchestras including the Boston Pops and the San Francisco Symphony.

'Greensill is an accompanist in the great tradition of
Jimmy Rowles and Ellis Larkins. It's worth twice the
price of admission just to hear him!"
Terry Teachout - NY Daily News

"Greensill is a wonderful jazz pianist."
Phillip Elwood, jazz writer for the San Francisco Chronicle

Album Notes

I've happily spent my musical career as an accompanist to many fine singers, including the notable Wesla Whitfield. But I've been cajoled, finally into making a trio album of my own: very scary, and made even scarier by my decision to record live!
Why live? Well, some of the best musical experiences I've had are those gigs when, through the magic of the common language that all jazz musicians possess, one gets together with like minded folk and just play some tunes (Always a traumatic experience for the employer, "You mean you people have never even met before"). Also, in the studio I tend to be much too careful. I wanted risk and surprise just like a real jazz date. Don't get me wrong though we did have one rehearsal.

Of course success for such a venture depends on superb musicians and I'm lucky enough to have two of the finest on this record. John Wiitala is the dean of San Francisco bass players. As much at home playing those solid, swinging and harmonically interesting bass-lines as he his in his role of lyrical soloist. "Duck" Bailey is just one of the most creative drummers I know. He's played with everyone imaginable, and I was especially trying to channel his work with Jimmy Rowles, one of my heroes.

Regarding the tunes; I love melody. In fact, my favorite quote of all time is Paul Desmond's wonderful line, "Sometimes the best chorus I play is the melody". So there are some great tunes here especially the ballads. Having said that, the strange thing is that the tunes I write seem always to be blues. There's two of those. You just can't take the jazzer out of the boy. There're a couple of vocals; my first recorded work since I sang "O For the Wings of A Dove" in London's St. Pauls Cathedral many years ago at the age of eleven. Another of my heroe's, Mr. Bob Dorough, the hippest guy I know, so I plucked up the courage to sing two of his songs.

This is the spot where the interminable 'thank you's' usually appear, and I'll save you most of that. But I do want to thank the audience at the Plush Room that fateful night. Their warmth and enthusiasm almost made me forget the red light was on!

Mike Greensill



to write a review

Joan Spangler

Delicious! Lush arrangements, beautifully played, with delightful vocals!
The choices here are like the dessert extravaganza at Postrio - each more perfectly crafted and beautifully presented than the last, making it impossible to name a favorite. But I love Small Day.. who knew Mike had such a wonderful singing voice? And I love I Should Care - your performance is thoughtful, and like all my favorite songs about love, from a broken heart. This CD goes into my top 10 list.....I'm hooked. More, more, more!

Trudi Mann

Mike Greensill's LIVE AT THE PLUSH ROOM is a winner!
We so enjoyed LIVE AT THE PLUSH ROOM. The selection of tunes, tasty arrangements, and the terrific musicians all make for wonderful listening.

Ben J Gross

Live at the Plush Room
I first met Mike at Moose's and he blew me away. His excellent musical taste and technique are quite evident here. I'm sorry he doesn't have other CD's available. I would buy them all.

Live at the Plush room
We bought this CD when Mike was playing at Mooses. Liked it so much and bought a second one to send to our friends in Switzerland. We are waiting for a new one to come out. When will that happen? Thanks for great jazz!

San Francisco Chronicle Steven Winn

The wit and inventive bounty of jazz pianist Mike Greensill.
Mike Greensill Trio: "Live at the Plush Room"

by Steven Winn
San Francisco Chronicle, February 15, 2004

Among San Francisco's many musical blessings, count the sensitivity,
responsive wit and inventive bounty of jazz pianist Mike Greensill.
The accompanist-husband of local cabaret stalwart Wesla Whitfield,
Greensill is emerging as an estimable force in his own right, with
his Mike Greensill Trio (drummer Donald Bailey and bassist John
Wiitala). This "Live at the Plush Room" recording dresses up tunes by
Gershwin, Porter, Sunny Clapp and others with casual elegance.
Melodic variations, elastic rhythms, solo spinouts and sly harmonies
all serve the source. "Love for Sale" gets a slow, insouciant
vamp. "I'll Never Stop Loving You" floats by in a pillowy cloud. The
staccato pulse in "It Ain't Necessarily So" gives that Gershwin
standard a refreshing petulance. Greensill adds a few numbers of his
own, and also sings on several cuts -- in a cheery croak that knows
no imitators.

Gene Venzke

Great selection of tunes, beautifully done, wonderful listening. Album would be even better if other instrumentals were substituted for vocals.