About Michael C. Johnson
Michael Johnson was born in Croydon, United Kingdom, in 1969. At the age of 17, he began playing the piano, and by 19, he experienced a life-changing moment while listening to The Lark Ascending by Ralph Vaughan Williams. The revelation of the power of hymn harmony in modern composition—and its ability to create an atmosphere that both encapsulates and inspires the listener—transformed his understanding of music.
Driven by this epiphany, Michael pursued formal studies in music, graduating with honours in 2005 from Middlesex University, majoring in Composition. Since then, he has extensively studied the Arabic modal music system, known as maqams, as a foundation for improvisation and composition. His musical exploration spans a wide range of composers and genres, from the works of Ralph Vaughan Williams, Johann Sebastian Bach, Anton Bruckner, and Gustav Mahler to modern film composers like Hans Zimmer and Howard Shore.
His influences also include iconic jazz musicians like Herbie Hancock, Marcus Miller, and Miles Davis, whose improvisational mastery has had a profound impact on his approach to music. Gospel legends such as Richard Smallwood, James Cleveland, and the Blind Boys of Alabama, alongside artists like Clarence Fountain, Jessie Dixon, Billy Preston, and Twinkie Clark, have all left their mark on Michael's musical vision. Additionally, the influence of groups like The Winans and the rich tradition of Black gospel and jazz continue to shape his performances and compositions.
These diverse influences have all played a significant role in shaping Michael’s compositional and performance style, blending them into a cohesive, innovative sound. His music, often a mix of composition and improvisation, challenges the boundaries between the two, creating a seamless flow where it can be difficult to distinguish one from the other.
Michael’s philosophy is simple: the instrument and the varied systems of music theory are mere tools to unlock the boundless creativity of the artist. For him, the only true boundary in music is the imagination.
