New Album Project!

As the United States marks its 250th year, I wanted to record and album that reflects the full range of American musical voices—not as a single narrative, but as a collection of distinct and interconnected stories. This project brings together 28 short works spanning more than two centuries and multiple traditions, including classical, jazz-influenced, and experimental styles. I’ve intentionally chosen pieces by composers who have been historically underrepresented in traditional repertoire, as well as works that have been overlooked—even when the composer’s name may be familiar. 

At its core, this project is about lifting up the musical voices that make me proud of what America can be.

This project is also deeply personal. As the country turns 250, I turn 50. This project reflects my own journey as an artist. In recent years, I’ve found a clearer sense of purpose in uplifting underrepresented composers, while also discovering my own voice as a composer. This project brings those two paths together as I share a mosaic of music that excites me and contribute a piece of my own to the story.

I’ll be in the studio this spring and summer recording the album, with a planned release date of September 30. Stay tuned for updates – including the album title, original artwork, and teaser audio and video clips!

I’ve also launched a Kickstarter campaign to support the expansion of the project beyond just an album into performance films and a companion educational platform. My goal is to create something that extends beyond the album: a resource for pianists, teachers, and listeners that invites exploration into lesser-known repertoire and expands how we engage with it.

If you’d like to contribute, click here to learn more!

Album Release: Mémoires en Chanson

Released November 2025; purchase a digital download on Bandcamp or purchase a physical CD from Alea Publishing & Recording

Bass clarinetist Mélanie Bourassa and pianist Kim Davenport share a program of works by women composers. The album features original works for bass clarinet and piano by Davenport, Mónica Cárdenas, Akiko Ogawa, and Ivana Loudová, as well as transcriptions of pieces by Louise Farrenc, Sophie Gail, and Nadia Boulanger.

Album Release: The Song Also Rises

The Song Also Rises

Released August 2025; purchase a digital download on Bandcamp or purchase a physical CD from Alea Publishing & Recording

Bass clarinetist Sarah Watts and pianist Kim Davenport share a program of works by black composers. The album features original works for bass clarinet and piano by David N. Baker and Malcolm Solomon, as well as Watts’ original transcriptions of songs by Florence Price and Samuel Coleridge-Taylor.

Kevin Oldham’s Voice: A Concerto Reborn

Kevin Oldham (1960-1993) was an American concert pianist who, upon learning of his HIV diagnosis at the age of 28, gave up performing to pursue leaving a musical legacy through composition. Oldham’s largest work was his Concerto for Piano, Op.14, which he premiered with the Kansas City Symphony just weeks before his death. The three-movement work is a virtuosic tour de force which powerfully expresses the composer’s journey in his final months of life. In spite of the work’s successful premiere, it unfortunately fell into obscurity.

In a true community effort, the work was brought back to life by musicians in Tacoma, Washington, in a new version for piano and concert band, which I premiered with the Tacoma Concert Band under the baton of conductor and artistic director Gerard Morris in November 2024.

This short film, released in June 2025, shares that story. I hope will inspire many more performances of this great work.

Variations on a Theme: April 2025

Solo recital: Variations on a Theme
Tuesday, April 1, 2025 at 7:30pm
Kilworth Chapel, University of Puget Sound

Experience a dynamic celebration of Black artistry in this recital featuring solo piano works by Margaret Bonds, Samuel Coleridge-Taylor, Nathaniel Dett, Mikhail Johnson, Thelonious Monk, Florence Price, McCoy Tyner, and George Walker. 

Transformation is the thread woven through the program. Each work is in some way an example of variation – from variations on existing or original themes, to transcriptions of jazz improvisations – variations composed in real time! In homage to the brilliant composers whose works she shared, Davenport also premiered her original set of variations on a theme by George Mingus. 

The Song Also Rises: January 2025

Sarah Watts, bass clarinet
Kim Davenport, piano

Friday, January 17, 2025 – 7:30pm
Kilworth Chapel, University of Puget Sound

Bass clarinetist Sarah Watts and pianist Kim Davenport in a recital of works by black composers. The program included original works for bass clarinet and piano by David N. Baker and Malcolm Solomon, as well as Watts’ original transcriptions of songs by Florence Price and Samuel Coleridge-Taylor.

This concert is the culmination of a week in the studio recording the full program for the duo’s forthcoming album, The Song Also Rises. Stay tuned for more details on the album release!

If you missed the program or would like to listen again, please view the performances below!

Textbook Release: May 2023

I am delighted to share the news that my textbook, Learning to Listen, is now available for purchase from Kendall Hunt Publishing Company. Learn more, buy a copy, or request a faculty review copy on the publisher’s website here: https://he.kendallhunt.com/product/learning-listen

Music listening skills are vital for success in any music course and are also profoundly transferable skills for life and work. Particularly for non-majors with minimal background or training, coming into perhaps the only music class they will ever take, the prospect of listening, analyzing, and writing about music which is new to them can be intimidating. 

Learning to Listen is the result of many years of teaching a broad range of non-major music classes. Designed as a concise, affordable add-on to the curriculum for any existing music course, the book shares strategies which have proved most valuable in helping a diverse range of students build their confidence as music listeners.

The book takes a student-centered, anti-racist approach, validating the reader’s lived experiences as a music listener and analyzing the challenges all listeners face in the 21st century, before delving into tangible, specific strategies that can be employed to build confidence and practice listening skills. Musical examples featured in the book are drawn from an array of musical genres and time periods, with an emphasis on musical creators typically underrepresented in music curricula.

Album Release: October 2022

Samuel Coleridge-Taylor: 24 Negro Melodies
Kim’s recording of the complete Twenty-Four Negro Melodies Op.59 of Samuel Coleridge-Taylor is now available for streaming on Spotify, Apple Music, and YouTube. You can also purchase the 2-CD set.

Click here for complete details about the album.

“What Brahms has done for the Hungarian folk-music, Dvorak for the Bohemian, and Grieg for the Norwegian, I have tried to do for these Negro Melodies.”

Coleridge-Taylor’s celebration of melodies of both African and African-American origin are a profound addition to the late-Romantic piano repertoire.

Listen Children: December 4, 2022

Thank you to all who attended my solo recital, Listen Children, on December 4, 2022. For any who missed it, you can watch video of the performances here:

The program included the Pacific Northwest premiere of Adolphus Hailstork’s Wounded Children (2020), the world premiere of Mikhail Johnson‘s Fram di Pliegroun (2022), as well as works by Samuel Coleridge-Taylor, William Grant Still, and Eric Dolphy.

View the complete program and program notes here.

Featuring artwork by Laurie Davenport inspired by the music to be shared, the program was be a celebration of themes of childhood and dance. A poem by Lucille Clifton served as inspiration for the program:

Listen Children

Listen children
keep this in the place
you have for keeping
always,
keep it all ways

We have never hated black

Listen
we have been ashamed
hopeless tired mad
but always
all ways
we loved us

We have always loved each other
children all ways


Pass it on