When Allyn Johnson helmed a trio in a special Sunday night show at Takoma Station on May 5, it was the first time the pianist had led a gig since before the COVID-19 pandemic. Part of that was a matter of hardware: Michael Phillips, the club’s jazz impresario, has been trying to book Johnson for more than a year, but the musician wouldn’t bite unless he had a high-quality piano—something Takoma Station lacks. But on May 5, Phillips was finally able to rent a Steinway baby grand for Johnson and the concert was scheduled.

But Johnson has also been engaged in other pursuits. Professionally, he’s the director of the jazz program and big band at the University of the District of Columbia; personally, he’s finalizing a divorce. Being busy with work and life commitments, however, doesn’t mean he hasn’t missed playing his own music. When asked if the Takoma set was the beginning of a comeback, he answers, “I hope so!”

“I have other music that I’ve written, man, 10, 15 years ago that I still haven’t played—stuff sitting on my computer that’s waiting to be played and recorded, you know?” Johnson says. “I hope to do more engagements where I can play that stuff. I’m getting older, so I can’t just be waiting around.”

There’s already an execution in progress for some of this unplayed work. At Takoma Station, Johnson performed a gorgeous, sentimental ballad with gospel harmonies (they don’t call him “the Bishop” for nothing) and a slightly Latin-esque rhythm courtesy of bassist Romeir Mendez and drummer Eric Kennedy. The piece, titled “Mother Dear,” is part of a suite Johnson recently composed about his family. The suite, the native Washingtonian says, is called “Photo Album.” 

“In the past two years, I’ve lost a nephew to gun violence,” he explains. “And with that happening, of course you just start thinking about your family, start going through the family photo album and things like that. And it’s bittersweet, because you see photos of yourself when you were little, but then you see people in your immediate family who are gone.” (The piece for his nephew bears the heartbreaking title “Is There More I Could Have Done?”)

Johnson actually wrote the suite for a piano trio (conventionally piano, bass, and drums) plus a string quartet. In 2023, he recorded it as such—or tried to. The string quartet—which, in Johnson’s conception, isn’t just background but plays melody and harmony lines—didn’t work.

“I sent them the music like a month and a half before the session. So I get to the session, I’m assuming they’ve seen the music and practiced it,” he says. “The music wasn’t that difficult, technically speaking. But I got to the session and they hadn’t seen this music. We get started and the cellist is like, ‘I need to take a break.’ And I’m like, ‘We didn’t even do anything yet!’ It was just a fiasco, really.”

Johnson is ready to give it another go, this time with players from the National Symphony Orchestra. He’s just waiting for funding (from UDC, which sponsored last year’s sessions and will sponsor this year’s do-over) to come through.

Some of the pianist’s unknown works aren’t his own compositions, but original, large-ensemble arrangements of pieces in the jazz repertoire that he wrote for the UDC Big Band. In terms of leadership, Johnson is more interested right now in playing his original tunes within the trio format. 

Also on his radar, Johnson adds, is solo performance: He says he likes playing “I don’t know about more, but as much—as playing with horn players and things like that.”

Do you hear that, venue owners and talent buyers of the DMV? Herein stands a world-class pianist, ready and willing to light up your bandstands. All you need is a good piano and the right opportunity. 

We can all agree Allyn Johnson and his music is overdue for a resurgence in our fair city. So, to those of you who have the means to make that happen: Get on it.