The rising jazz vocalist talks about his whirlwind new album, lessons from legends, and the freedom of trusting the creative process.
Some artists walk, some artists run—but Michael Mayo flies. His latest album, Fly (Mack Avenue Music Group), isn’t just a title—it’s a philosophy. It’s about soaring past self-doubt, catching the updraft of creativity, and trusting that the music will take you exactly where you need to go. Raised in the rarefied air of music royalty—his mother, a powerhouse vocalist for Luther Vandross and Beyoncé, his father a multi-instrumentalist and at one time Sérgio Mendes’ musical director—Mayo grew up with his feet barely touching the ground, swept up in a world of sound that would shape his own journey.
Now, with Fly, he’s reached his own altitude. Created at lightning speed—written, recorded, and pressed in what felt like the blink of an eye—the album captures the exhilaration of letting go and allowing the music to take to the sky. In this conversation, Mayo shares how he assembled an all-star crew to navigate this sonic adventure. He talks about the freedom of composing, the discipline of performing, and the lessons he learned from legends like Herbie Hancock and Wayne Shorter.
But just as important as the music itself is the journey—the travel, the late nights, the discipline required to sustain a career in jazz. Mayo opens up about life on the road, the reality of touring as a vocalist, and the balance between artistic freedom and the rigorous demands of performance. With wisdom passed down from both his parents and his mentors, he shares how he’s learned to protect his instrument—his voice—while still embracing the thrill of the ride.
So fasten your seatbelts and get ready for takeoff—because Michael Mayo is here, and he’s soaring.
Evan Toth: Michael, welcome. Number one, it's a really enjoyable record to listen to. You made a beautiful album here.
Michael Mayo: Thank you so much. I appreciate that.
ezt: You're very welcome. Number two is, it's a great pressing. Are you a vinyl person? Did you have a chance to listen to any test pressings or anything here? Folks should know it's a beautiful-- what are we calling this? Do we have a name? Sometimes these have fun color names.
mm: I forget the exact name, but it's a limited edition...
ezt: It's on the label. It's orange citrus.
mm: Orange citrus. That's what it is. Orange citrus.
ezt: [laughter] Cool. Are you a vinyl person? Did you listen to this at all?
mm: I'm now a vinyl person. I never had a record player before, so I always-- or rather, I had one, but then when I moved, it got lost, and so I wasn't really able to appreciate the the few vinyl records that I had. Then in the process of making Fly, I was like, "You know what? Let's make this happen." We got a new record player. The first thing I did when it came in was play it. I'm so happy with how it turned out.
ezt: How exciting. It's a really clean pressing. It's really no noise. It's just something that I was enjoying playing over and over in a loop. It's a beautiful album. Of course, we're going to talk about it. Why don't we talk a little bit about the title of the album. As you just said, it is called Fly. You're flying, man. What was the impetus for that title?
mm: I chose to call it Fly for a couple different reasons. The first reason is because I was looking at the titles of the songs and trying to figure out which of them could possibly describe the project well. When I got to the song titled Fly, the whole concept of that song is it's supposed to feel very familial and a party that never really wants to end, and the song is ongoing, so that was part of it.
Another part of it is the process of putting the album together flew by. By comparison, my first album, Bones was basically in the making for about five years roughly. This one, I started writing and arranging the music in October of 2023. We recorded it in January of 2024. Mixed it in February and March. Mastered by April. Vinyl by July. Out in October. I knew just because of the nature of what we were doing, that we weren't going to have a lot of time.
It actually really helped inform my creative process as I was writing and arranging for it because you don't actually have the time to do too much self editing. I really wanted this project to be an experiment, and learning how to let go, learning how to let yourself fly. Let your ideas come out and let yourself just see where that takes you.
ezt: Now, I read a little bit on your press there about you were trying to avoid the overthinking process not to think about it too much. I know a few people like that, maybe myself included, but is that something that you really worked hard to set aside some of those perfectionist tendencies?
mm: I'd say so. When left to my own devices, I can be a little bit of an overthinker or an over-analyzer. I do think that that has a place in the creative process. I'm not going to sit here and say that putting a lot of thought into something is bad because that's simply not true. What I try to do with this project is be a bit more reactive and interactive with my ideas as they came rather than trying to edit them immediately and then save the editing process for after I got the main ideas down because that's when we can start being a bit more nitpicky or being a little bit more craft-focused. At the beginning, I just wanted to let the ideas come out and flow.
ezt: You're in LA right now. Are you originally from New York? Did you grow up on the East Coast? I understand your parents are both musicians as well, this is how you got into this. Maybe just tell us a little bit about your childhood and growing up with two parents who were in the music biz and how you came upon jazz, the music that you are creating now.
mm: Sure. I'm actually an LA native. LA born and raised. I moved to New York after I finished school in 2016. I was in New York for about seven years and some change. I moved back in the fall of 2023, back to LA. It's been really great to be back here. It's great to get to see my parents regularly and hang out with them.
Growing up, you don't realize what isn't normal until you get older. [laughs] I grew up going with my mom to Luther Vandross rehearsals, or going with my dad to Earth, Wind, and Fire rehearsals, or going on tour with them, or seeing my mom sing with Beyoncé when I was in elementary school. There's so many random things that as a kid seem normal because that's you've ever known, but then now that I'm an adult, I'm like, "That was actually crazy." That was my upbringing. We always had a lot of music around the house. Both of my parents are musicians still to this day, both very active, and working, and traveling a lot still.
I was exposed to so many different kinds of music growing up. Gospel, R&B, Motown, soul, classical, country, the list goes on and on. When it came to jazz, there's an art school in LA called the LA County High School for the Arts. Gretchen Parlato went there, Joe Clayton went there, a lot of really awesome people went there. Chris Bowers went there.
In those days, the school had jazz for vocalists and they had jazz and opera. I didn't really feel much interest in opera, so I chose to go to the jazz department. When I decided to do that, that same summer, the summer before my freshman year of high school, my dad gave me a Miles Davis' Kind of Blue.
ezt: Oh, cool.
mm: He told me to listen to the whole thing. Then my granny, my mom's mom, gave me a
best of Ella Fitzgerald compilation of 200 songs. Suddenly, I went from not really knowing anything about jazz to having all of this music and getting started with this program, and my whole life changed when I started going to high school.
ezt: You were off to the races. You started to fly!
mm: Oh. [laughter] Full circle.
ezt: That was the beginning of your jazz flight, I guess. You have a unique approach here to the way that your musicality here and your composing there. Now, folks should know that the album's fairly a balance between cover songs and some originals. How do you feel with an instrument? You're vocally based from what I understand. Maybe this is a two-fold question. How did you choose the playlist for the album and how do you compose? What do you feel is your instrument more or less?
mm: Sure. To your first question, I basically had-- what's funny, I actually just erased it the other day. I have a whiteboard that I use for projects. For this album, I gathered a list of probably 40, 50 songs. Just any song I can imagine, any demo, or seed, or whether it's an original, or a standard, or a cover of some kind, it went on the list. There was no discernment with what went on the initial unsorted list.
From there, I knew I had to narrow it down to about 10 to 12 songs. I went by process of elimination. There was basically three rounds. First round was everything unsorted. Second round was the songs that I can do away with that don't feel totally necessary right now, those don't make the cut. Then we narrow it down to probably 20.
Then from there, it was like, "What are the musts?" For example, the opening track of the album "Bag of Bones", I knew that had to be on the album. I wrote that song in grad school. I would have been probably 22, 23 when I wrote that song. It was before I moved to New York. I'd been singing it for a really long time. It just felt very weird that I hadn't recorded it yet. I was like, "That definitely has to go on the album."
There were a few other songs like that that really felt like I had to go, but then that only gave me four songs total. What else goes on there? What are the criteria? I just had to figure out what it was that I wanted the album to say. Then I realized this idea of not wanting to do too much self editing and wanting to process to feel very organic. The songs that fit that bill were the ones that I ended up choosing for the project.
ezt: How do you really compose? How do you do this? Do you do it vocally? What's your process?
mm: My process varies. Sometimes, I'll write at the piano, other times, I'll be walking around and have an idea, and record a quick voice memo while I'm walking to Trader Joe's or something. Other times, I'll make a beat in Logic and create a loop. Other times, I'll use my looper pedal and create a loop on there. Then if I like something from there, then I'll maybe build it out into a more formal song form.
My process very much depends. I'd say mostly for the songs on this album, it was mostly written at the piano. By contrast, my previous album, I mostly wrote all those into music software on the computer. This album was mostly writing at the piano. Really trying to focus on melody, and song forms, and creating sonic universes. I'm a big fan of finding a sound that feels really nice. Even if I don't know what the song is going to be about, I like to find what feelings I associate with that sound, with that sonic universe, and then reverse engineering a song idea or a lyric idea out of that. This album was a lot of that.
ezt: Going backwards a little bit; I see on the record you play a little bit of guitar, but even though you composed a lot of piano, you left the instrumental playing to some other folks. Tell us a little bit about that decision and the people that you did end up with on the record.
mm: I play guitar for probably like 10 seconds on the album at the very beginning of one song.
ezt: What a great 10 seconds it was.
mm: [laughter] Thank you. The best 10 seconds.
ezt: The best 10 seconds. Quality, not quantity.
mm: Sure. [laughs] I wanted the band to really shine. I want the ensemble to really shine. In the ensemble for this record, we have Shai Maestro on piano and keys, Linda May Han Oh on bass, and Nate Smith on drums. I've been such a huge fan of each of theirs individually for a really long time.
I've been fortunate enough to get to make music with each of them before and gotten to experience their mastery. Who knew what it could be when we put them all together in a room? I didn't have any doubts, but it's also like you don't know until you experience it what it's going to be. They truly brought this music to life in a way that I could not have foreseen. It just was such an honor to get to have those guys on this project.
ezt: How about the recording side, production, and recording, and the studio? Why don't you just tell us a little bit about how you captured the sound? I think it was only two days of recording. Is that what I read somewhere?
mm: Yes.
ezt: That's pretty fast.
mm: Yes, it was crazy fast. We were flying. We recorded at the-- We were at the Bunker Studio in Brooklyn. The project was engineered by John Davis at The Bunker. The recording process was very organic. Everyone is such a pro. We all have a lot of experience being in the recording studio together. There wasn't really no ego, no bad vibes, no unprofessionalism. Everybody was just such a good vibe. The music felt so good right away. Everybody locked in.
There's a shorthand that people develop, whether or not they played together before. I think each of them had played with each other before, but never in that exact grouping. It just felt so immediate, the connection between everyone. My general rule of thumb when organizing a studio session is you start with something easy to get everybody warmed up, and then you go to the hardest song.
We started with "Just Friends" because that song, it doesn't really have very much to worry about. We were still drinking our morning coffee when we were recording that song. Then I think after that, we went to probably either "Fly" or "Bag of Bones" or something. Doing it that way is a nice way to get everybody into the day. It was so great. It was really seamless and truly no headaches at all.
ezt: As I said, the record does sound very good. A few months ago I interviewed your label mate, Joey Alexander, whose album Continuance he also recorded at The Bunker. I guess it was the same producer. I'm not sure if it was the same fella, but that record also sounds great. Mack Avenue is really releasing some beautiful-sounding jazz albums lately.
mm: The Bunker is great too. I've recorded there a handful of times, and it's just such a great space.
ezt: In your past and in your formative musical education life, you worked and trained with a lot of different interesting luminaries and people. Maybe you could talk a little bit about some of those influences and how they came out on the album.
mm: I've been privileged to study with a lot of the greats and have had a lot of really amazing teachers. It's hard to pinpoint exactly what is coming from what person coming from what influence. For example, I had the privilege of working with Herbie Hancock while I was in school, and also getting a chance to tour with him in 2018. Both he and Wayne Shorter whom before I ever got a chance to meet them or work with them, their music had already had a humongous impact on my musicality, and would have continued to whether or not I had met them. Beyond that, getting the chance to actually meet them and interact with them was such a privilege.
One of the main takeaways I got from that was they both have this in common, this feeling of childlike wonder at the world around them, and at music, and sound. This idea of looking ahead into the future but also keeping a hand in the past as well. Always riding that line while trudging forward. That is one of the most important parts of my musical value system, if I can call it that, is we're moving forward but we're not forgetting where we came from. We also have to remember that the people who we admire came from somewhere as well, and they were where you are at any given moment. It's like this lineage, this legacy is ongoing. I really am just thankful to have gotten to learn from people like that.
ezt: It's interesting, I think about the musical influence that they had on your career and on your life. I'm also thinking about your parents, of course, with their own individual musical careers. Setting aside music for a second, did you get any nuts and bolts, just career advice about being on the road? It can be a difficult life, for sure, the life of a touring musician, and always thinking about those next jobs, and things like that. Have you talked about those things and worked through any of that stuff at your-- you've been doing this a while even though you're a young man, but have you experienced some of the ups and downs that the real biz offers to all musicians?
mm: Oh, absolutely. It can be very hard. It can be extremely tiring as well. That's one of the things that-- you mentioned touring. That's one of the hardest elements. Touring inherently brings with it a lot of highs and a lot of lows, both emotionally and energetically. When I say energetically, I mean literally the energy that you have left after a day of traveling and playing. One of the takeaways I got from my parents just as professional for musicians for a super long time, is you have to learn how to gauge what condition your body's in and really listen to that. Especially as a singer, because my instrument lives within me, there's certain things that you have to be strict about.
It's funny, because I think people who don't know often think that touring is this wonderful, glamorous, beautiful thing. In a lot of ways it is. Don't get me wrong. In other ways, it's extremely hard work. I have certain rules that I tend to try to follow on the road. I'm not usually going to hang super hard after gig unless we have a day off, because if I have to sing the next day, then it's really going to catch up with me. I try to do vocal rest in the daytime so that I still have voice left for the show during the evening. Little things like that can really accumulate in a positive way over time. It can be really hard, truly.
ezt: The rhythm section's like, "Come on, Michael. We're going to this place they told us to go. Come on."
mm: Literally, I've had to tell people, "Sorry, I can't." At this point, they know. At this point, if we're all walking from the hotel to the venue, they know that if I'm hanging back, I'm going to be making weird bird noises, warming up. That's just what I'm doing for the next 10 to 15 minutes, and that it's totally normal.
ezt: It's different for a singer too, because you have something that you really have to keep in good shape and not be raspy. It's a little different than pulling out a saxophone, or a trumpet, or something like that.
mm: Totally. It's very dependent on your physical condition. Having a practice of self-care, obviously, in general, but as it relates to what we're talking about is so important.
ezt: Your album straddles a line there between a neo-soul, I guess, we'll call it a neo-soul and jazz line. You float in between those two worlds very nicely, I think, in my opinion. How do you think about straddling those two worlds? How do you work to keep that sound fresh without really losing the essence of either genre?
mm: For me, it's all just about resonance. Whatever musical expression is resonating with me, and as long as it feels like a cohesive musical statement with the other songs that are on the project, then I try not to do any self-limiting when it comes to that. I'm not actively thinking about, "Okay, how do I make this more jazz, less jazz, more soul, less soul?" For me, that takes the spirit out of the music. I want to feel like I can just play and have a good time, have fun, or just express myself in an authentic way. I might do a general vibe idea for a project.
For example, my last project is a much more jazz forward project. I was deliberate. I ended up going in that's what I wanted to do. Once I made that decision, I didn't let it play into individual musical decisions within a song, if that makes sense. This is supposed to be a jazz project, therefore, letter C can't be there, or I have to change this time signature thing. It's less that and more of just here's the holistic idea, and once you get in there, you can do what you want.
ezt: How about feedback from your own team: they're trying to market this thing as a jazz album, or they're trying to market it as a neo-soul, or something like that. Does it ever become a tug of war where you're like, "Look, I really want to do this. This is really the direction I'm hoping to go in"?
mm: Honestly, not really. I haven't really gotten any of that. The people at Mack are super cool and have been very welcoming of all of my musical ideas. I also know at this point that they trust my musical thing. I never feel like I have to compromise myself. I also wouldn't if it came to that. I don't foresee coming to that because I've got no indication of that vibe. I'm very clear with myself and with the people around me that the music that I'm going to make is the music that I want to make.
ezt: Back to your parents, again, I keep thinking of them thematically during this conversation a little bit. I imagine that they must have imbued within you a bit of confidence as it relates to music style, artistry, the way that you-- doing things the way that you want to do them, yet also fitting in with the other players in the overall project spot. Do you think they gave you that confidence, that strength to be like, "I'm an artist. This is what I do"?
mm: I'd say so. Definitely. We had a lot of conversations-- had and continue to have a lot of conversations about those things and career things. They have a lot of really valuable wisdom. That when you're 13, 14, it just sounds like your parents talking. Then when you actually get into the world, you're like, "Oh, actually, they really do know what they're talking about."
A lot of it too just comes from growing up in LA. It sounds cliché, but this is a very industry town. I got a lot of lessons on learning how to stand up for yourself, learning how to be professional, learning how to be punctual, learning how to be good to work with. Just literally growing up in LA, and singing, doing sessions as a kid, and being in children's choirs, and things like that. Thankfully, I got a lot of those lessons early. At this point, we're just tuning up as we go.
ezt: You're staying away from that rhythm section that wants to keep you out till 4:00 AM?
mm: Yes. Exactly.
ezt: By the way, what are the names of your folks? I imagine as people digest this interview, they may be like, "I want to look up who his parents are." You see my records behind me, and I was like, "They're probably back here somewhere." I was curious.
mm: Honestly, they probably are.
ezt: What are their names?
mm: My mom's name is Valerie Pinkston. She's sung with everyone. She sang with Whitney. She sang with Luther. She sings with Diana Ross. She's been with her for a super long time. My dad's name is Scott Mayo. Primarily a saxophonist, but multi-instrumentalist. Also a great singer. He was Sérgio Mendes' musical director for a very, very long time. He played with Earth, Wind and Fire. He was on The Voice. They both have been doing a lot of crazy things for a long time and playing with a lot of the greats.
ezt: Of course, Sérgio Mendes just passed away. I have a great number of Sérgio Mendes records. They're so good. I really was enjoying listening to them and seeing them after his death. Maybe dad's somewhere on one of those albums. I don't know.
mm: Probably. Yes. My dad put out an album last year, a Brazilian project that Sérgio played on as well.
ezt: Oh, really? You're kidding.
mm: Yes. He was the MD for him up until the end. They were extremely close friends. I met Sérgio several times. Just a really, really beautiful soul. It's sad that he's gone, but he left a really amazing legacy.
ezt: That's really cool that you've had connections with so many of these folks, and to imagine even some of the subliminal or unintended influences they must have had on your life as they've passed through.
mm: Yes. Again, it's hard to quantify and it's hard to know what comes from where and who, but the river's always flowing, and we're just getting in when we get in. That's how I see it.
ezt: Tell me about "Four". You take the Miles Davis classic and give it a different rhythmic life. What's your philosophy behind reinterpreting a jazz standard for a modern audience and your personal connection to that song, and how you do that?
mm: "Four" started as just a fun little exercise on my looper pedal. I made the rhythm because in the arrangement of "Four" from the record, there's this rhythmic pattern that happens that you hear in the accompaniment, where I'm singing the melody pretty straight on, and the rhythm is doing this in interesting rhythmic pattern. I had that rhythmic pattern before I knew what song it was going to be on. I had this rhythmic thing with the vocals, and I did some percussion stuff on the looper, and it was just going around and around in a cycle. I tried a few different songs, and none of them really felt like they matched the vibe. Just on a whim, I don't even know where it came from.
Sometimes you don't know where the ideas come from, but they just come and I was like, "I don't know. What about "Four"?" I got in there, [vocalizes]. I tried it over that rhythmic thing. It fit great. I'm like, "Oh, this might be a vibe." I had to build it out from there. In general, when it comes to re-imagining standards or old songs, whatever the case may be, I like to ask myself a couple of questions, one of which is what within this song feels necessary? Usually, that's going to include the melody. Oftentimes, that will include the harmony, but not always because people like to re harmonize things. Sometimes it might include the time field, but not always.
For me, the main thing that I tend to stick to is the melody. Then if we keep something else, then whatever isn't on that list of necessary is something that can be changed. I think it's also just important to keep the why in mind. Why are you making this particular reasonable decision? I'm always trying to scan for self-indulgence, especially when it comes to arranging standards, because it's really easy to go there, especially in the modern age of social media and things. I'm trying to be as honest as possible when I'm making these decisions, but I also think a certain degree of irreverence is important.
I don't think that jazz at its core is supposed to be this staunchly stubborn, hardheaded music. I think the music is supposed to breathe, and change, and flow, and express, and grow. We always have to be writing the line between trying to be innovative, but also not taking away from the beauty that gave the song the reception that it had in the first place.
ezt: It's funny, I was driving home yesterday. I love Wes Montgomery. I love a lot of jazz guitar. I was grooving to this tune, and I'm like, "This is cool." I could tell it was Wes Montgomery, but I didn't quite know what it was. Something sounded familiar to me, and [vocalizes] It wasn't clicking. Then all of a sudden, it went to the bridge section in The Beatles, "A Day in the Life", "Woke up, fell out of bed, da, da, da." I was like, "Wait minute, this whole thing--" He was doing it in A minor he redid it in a minor key.
The verses were all in a minor key. I went, "Oh, it sounded cool." He was a genius jazz guitarist. Ultimately, however, I was like, "It kind of--" if I were in the studio, I'd go, "I don't know about this minor thing, guys."
mm: That's inner monologue when it comes to this sort of stuff. It's like, "I don't know if we really have to do that." Then other times it's like, "I don't know if I can avoid doing that. I think I have to do that."
ezt: Do you have a song on the album? Even as I look at the track listing, I keep looking at it, I say, "I think that's my favorite. That might be my favorite." It's that kind of a record where it's really fun to listen to on a loop and just enjoy all the different tracks that you put on there, but do you have one or two that came out, specifically made you very happy specifically?
mm: Yes. I have my first favorite and then my longest favorite. My first favorite was "Just Friends".
ezt: It was a beautiful rendition.
mm: Thank you so much. It was a rehearsal. Literally, that version of the song was a rehearsal. It was the first thing we recorded. I was like, "While they're still setting up--" while they're setting up the cameras, because we were filming a couple-- we were filming "Bag of Bones" and "Four" that day. I was like, "While they're doing that, let's just run through 'Just Friends', just so we can start playing and get the ball rolling." It felt so good that after I finished singing the melody-- and we took us off the record, but I asked John in the studio, I'm like, "John, please tell me we're recording." He's like, "We're recording."
ezt: Always record! Always record.
mm: Always record. We did a couple more takes, but none of them had that same magic, so we ended up keeping a rehearsal. The unmixed stems of it, just raw, sounded so good. I was like, "Okay, this album is going to be good."
That was what locked me into the project. That was my first favorite. I'd say my longest favorite, the one that held first place for the longest time was probably "Fly", the title track, because that one was a long time in the making because we did the live track in New York, the live track with the band. Then I came back to LA and we recorded all the background vocals. My mom did the background vocal arrangement for that song, and my dad is doubling the saxophone-- doubling the melody with me on saxophone. The three of us are all singing those background parts together.
When that was finally done, and I heard the final product, I swooned, I truly swooned. It's the one that I keep coming back to. For a while, I felt tied between that one, "Just Friends" and "I Didn't Know What Time it Was", really in first place for me.
ezt: Really cool. Hey, you know what I meant to ask, Miles Davis' "Four", it's one of these jazz standards that you've heard a hundred times. Then when you were singing the lyrics, I'm like, "I didn't know, really." Did Miles Davis-- did he write the lyrics to that?
mm: Jon Hendricks wrote the lyrics.
ezt: Oh, okay. I wasn't sure where they came from. Like I said, sometimes with these jazz standards, you find out that they have lyrics, and you always wonder where they came from.
mm: Totally. I actually hadn't heard the Lambert, Hendricks & Ross version of "Four", at least that wasn't the first place I heard the lyrics. My first exposure to the lyrics of "Four" was from a beautiful record, Nancy King and Fred Hersh Live at the Jazz Standard. Incredible record, very, very slept on. Every song on the album is absolutely dynamite, but they do a version of "Four".
I think I learned that lyric in college. My teacher Dominique at New England Conservatory, she's the one who showed me that recording and that lyric. It was bubbling in the back of my head for a long time, and I guess it wanted to come out now.
ezt: It's a really interesting lyric too. It's a very poetic short piece, really.
mm: It's nice, right?
ezt: Yes, it is, really nice. I get the feeling with this album, Fly. There's a feeling of freedom here. That feels like the theme. Do you agree with me, or do you have an idea, the overall theme of the record that you were hoping to attain?
mm: That definitely resonates. The idea of freedom definitely feels like it's in there. It was not a freedom that's freedom from shackles or bondage, but rather for the freedom from self-imposed limits, and a freedom from getting way too lodged in the thinking about things, and freedom to actually do, and to trust in the time that you spend on your craft, that the ideas that you have are actually valuable. It's been such a cool process.
First of all, I'm so glad that people are liking the record, and it's been very cool and existentially weird to see people giving a life of its own, but it also has really been validating as well beyond just the writing of the songs, and recording of the songs, and releasing of the music. Now, I see people on the internet doing transcriptions, and getting to turn online and doing a live version of themself, and it's just like, "Okay, the whole purpose of this project is coming through in real time." It's just very cool to see.
ezt: That's really exciting. Where can people find out more about you? Do you have some gigs coming up? If people want to delve further into the Michael Mayo world, how can they do that?
mm: Sure. You can go to my website, www.michaelmayomusic.com, or you can follow me in all this social media @themichaelmayo. Yes, that is spelled like the thing that you love or hate to put on your sandwich. In terms of gigs, I have a pretty beefy Europe tour happening in March, and all my show dates are on my website. If you just go to my website and scroll all the way down the bottom to tour, you'll see all my dates. I also have some stuff happening in the US as well later in the year. There's a lot of stuff on the horizon.
ezt: Cool, Michael. You made a great album. Most importantly, I'm sure you made mom and dad real proud.
mm: Thank you, Evan. I appreciate that.
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