Fly Michael Mayo

• 1 Bag of Bones 05:08
• 2 Just Friends 05:15
• 3 I Wish 03:28
• 4 Silence 03:38
• 5 Fly 04:12
• 6 I Didn't Know What Time It Was 02:20
• 7 Frenzy 02:36
• 8 It Could Happen to You 04:13
• 9 Spring Can Really Hang You Up the Most 06:53
• 10 Four 03:23
• 11 Speak No Evil 02:05
• Total Runtime 43:11

Info for Fly

Fly, Michael Mayo's highly anticipated follow-up to his critically-acclaimed debut album, delves deeply into the genre of jazz, allowing his prior collaborations with mentor Herbie Hancock, producer Eli Wolf and Scary Pockets (among others) to flourish on a mix of familiar takes of jazz classics and bold, adventurous originals. Showcasing his remarkable versatility and exceptional talent while backed by an all-star band including pianist Shai Maestro, bassist Linda May Han Oh and drummer Nate Smith, Fly solidifies his prowess within the jazz realm, allowing his unique artistry to truly shine.

Michael Mayo, lead vocals (all tracks), backing vocals (all tracks except 8, 9, 10), chorale (track 4), claps (track 5), shaker (track 6), snaps (track 6), vocal percussion (track 6), guitar (track 7)
Shai Maestro, piano (all tracks except 6), Rhodes (tracks 1, 2, 4, 11), synthesizer (tracks 2, 5, 7, 11), snaps (track 2), claps (track 5)
Linda May Han Oh, upright bass (all tracks except 2, 6, 7, 11), electric bass (tracks 2, 7, 11), claps (track 5)
Nate Smith, drums (all tracks except 6, 11), shaker (track 5), tambourine (tracks 5, 10), snaps (tracks 2, 10), claps (track 5), hand drums (track 10), clap stack (track 10)
Scott Mayo, backing vocals (track 5), alto saxophone (track 5), soprano saxophone (track 11)
Valerie Pinkston, backing vocals (track 5)

Co-produced by Tom Korkidis
Produced by Michael Mayo

Michael Mayo
When you trust your gut, you give in to your most natural inclinations. By doing so, you have no choice but to be honest.

Michael Mayo leans on his intuition as a vocalist, composer, songwriter, and arranger. Much like molding and shaping a sculpture out of clay, he stretches his voice through layers of heavenly harmonizing, hard-hitting beatboxing, and heartfelt crooning.

The Los Angeles-based phenomenon creates from the heart without filter or pretense, allowing his voice to transmit raw emotion above an ever-evolving backdrop of jazz, neo-soul, and R&B on his second full-length LP, FLY [Mack Avenue Records/Artistry Music].

Born and raised in Los Angeles, music quite literally surrounded him. As a sought-after background vocalist, mom shined alongside Beyoncé, Diana Ross, Luther Vandross, and Whitney Houston. Meanwhile, dad not only sang, but also performed saxophone for Earth, Wind & Fire and horns for the likes of Sérgio Mendes. Among his most formative memories, Michael recalls “being backstage, watching Mom and Dad perform, and seeing them in their element.”

Unlocking the power of his voice, he eventually attended the New England Conservatory of Music and at The Thelonious Monk Institute at UCLA (now the Hancock Institute of Jazz). 2018 saw him make waves with the single “No More” [with Amber Navran]. Following his graduation, he unveiled his full-length debut, Bones, in 2021 and cumulatively generated millions of streams accelerated by “The Way” and “You and You.” Earning critical acclaim, Jazzwise rated it “4-stars,” and JAZZIZ raved, “Michael Mayo has developed his own lush, neo-soul sound that adroitly showcases his clear tenor, which glides over luxuriant clouds of his multi-tracked vocals.” He captivated audiences worldwide, headlining his own gigs and touring with the likes of Herbie Hancock. Not to mention, he even garnered the German Jazz Pride award.

In October 2023, he relocated from Brooklyn back to L.A. Getting into a groove, he wrote the majority of what would become FLY at home. During January 2024, he retreated to Bunker Studio in Brooklyn, recording the album in just two days with pianist Shai Maestro as well as Linda May Han Oh on upright and electric bass, and in-demand drummer extraordinaire Nate Smith. Together, the musicians collectively harnessed their incredible chemistry during the sessions, giving the music gravity, muscle, and soul anchored by their performances.

Now, he introduces FLY with the single “Four.” On the track, he delivers a lively arrangement of the original Miles Davis melody of the same name. Opening up this world, jazzy piano gives way to steady claps. Michael alternates between fluttering vocals and a buoyant bebop-style harmony bouncing and surging with flare and finesse. A loose bassline propels the bridge, and his words strike a deep chord, “Of the wonderful things that you get out of life, there are four.”

He also breathes new life into the genre standard “Just Friends.” His warm delivery practically hovers over finger-snaps and soft keys. Piano twinkles, bass thumps, and an anthemic chorus takes flight. Originally, Michael intended for this take of “Just Friends” to be a rehearsal to warm everybody up, but the heat couldn’t be contained…

Composed by Michael, the title track “Fly” evokes a breezy energy. Horns and piano attempt to catch up to Michael’s sunny humming, speeding towards a bright crescendo teeming with light. “I care a lot about songwriting and arrangements,” he says. “I also wanted it to feel more free, open, and maybe cheerful. Those elements of lightness, flight, and freedom were important throughout the whole album, but you can especially hear them on ‘Fly.’”

For the first time, he picked up a guitar in the studio for “Frenzy,” adding another shade to his sonic palette. “It started as a riff during the pandemic,” he recalls. “When I listen to it, I see beautiful images of nature. You feel the shift of the landscape as the song progresses. For me, it's about the imagery passing by and how it can shift.”

Snaps and harmonies set the tempo for the a cappella “I Didn’t Know What Time It Was.” He flexes his range, balancing laidback verses with a stunning high register. The song captures the moment love strikes lightning, “I didn’t know what time it was, then I met you.”

The ride concludes with a frenetic drum-fueled reimagining of Wayne Shorter’s “Speak No Evil.” Michael’s voice weaves in and out of the beat as Shai Maestro’s fleet-fingered piano playing mirrors the dynamics of Nate Smith’s drum groove. It offers a worthy homage to a legend gone-too-soon.

Ultimately, Michael trusted his gut and delivered a definitive body of work.

This album contains no booklet.