♪ ♪ ♪ ♪ >> HELLO AND WELCOME TO INSIDE LOUISVILLE...

I'M YOUR HOST, KELSEY STARKS.

HERE, WE INTRODUCE YOU TO SOME PEOPLE, PLACE AND EXPERIENCES THAT MAKE KENTUCKY'S LARGEST CITY RUN.

WHETHER YOU ARE A LIFELONG RESIDENT OR NEVER VISITED BEFORE...

CHANCES ARE, YOU'LL LEARN SOMETHING NEW ABOUT WHAT'S HAPPENING 'INSIDE LOUISVILLE.'

TODAY WE MEET TEDDY ABRAMS, NAMED MUSIC DIRECTOR OF THE LOUISVILLE ORCHESTRA AT THE AGE OF 26, THE YOUNGEST MUSIC DIRECTOR OF A MAJOR CITY ORCHESTRA IN THE COUNTRY.

NOW A DECADE LATER, HE HAS TAKEN LOUISVILLE'S MUSIC SCENE TO NEW HEIGHTS.

BUT PUTTING OUR CITY BACK ON THE MAP IN THE MUSIC WORLD.

AS HE BEGINS HIS TENTH SEASON, HIS INNOVATIVE PASSION TO EXTEND MUSIC TO ALL CONTINUES WITH THE KICKOFF OF A TWO-YEAR STATEWIDE CONCERT TOUR, A CREATOR'S CORE PROGRAM, INVITING COMPOSERS FROM ALL OVER THE COUNTRY TO LIVE IN LOUISVILLE FOR A YEAR TO CREATE NEW MUSIC.

AND WE CAN'T FORGET THAT LEGENDARY PERFORMANCE INSIDE MAMMOTH CAVE, WITH SPECIAL GUEST YOYO MA.

TODAY HE TELLS US WHAT BROUGHT HIM TO LOUISVILLE IN THE FIRST PLACE, WHAT KEEPS HIM HERE AND HIS NEWEST PROJECT THAT WILL TAKE LOUISVILLE TO BROADWAY.

BUT TO KNOW WHERE THE ORCHESTRA IS GOING, IT'S IMPORTANT TO KNOW WHERE IT'S BEEN.

AND IT'S THAT HISTORY THAT DREW TEDDY ABRAMS TO LOUISVILLE IN THE FIRST PLACE.

CAN A SYMPHONY ORCHESTRA TRANSFORM A CITY?

IN THE LATE 1940S, A VISIONARY MAYOR PUT HIS FAITH IN THE ARTS AS A DRIVE FOR PROSPERITY IN LOUISVILLE, KENTUCKY, WITH A RADICAL PLAN OF COMMISSIONING AND RECORDING NEW MUSIC FROM LIVING COMPOSERS SO MANY RECORDINGS AND FROM ONE ORCHESTRA AND WITH ONE CONDUCTOR, THAT HAD NEVER HAPPENED BEFORE.

THAT PUT CONTEMPORARY MUSIC ON THE MAP.

>> THAT AN ORCHESTRA IN KENTUCKY WOULD BE COMMISSIONING COMPOSERS FROM ALL OVER THE WORLD, WAS AN AMAZING THING.

>> IT TAKES YEARS FOR A COMPOSER TO FIND HIS OWN VOICE.

MY MUSIC WAS ORIGINAL OR NOT ORIGINAL.

I JUST WANTED TO MAKE IT A LOVING KIND OF THING.

>> THE LOUISVILLE ORCHESTRA HAD A SMALLER SECTION OF STRINGS THAN THE ORDINARY ORCHESTRA, SO IT WAS SOMETHING THAT CONSTANTLY FACED ME IN WRITING THIS PARTICULAR PIECE.

WHEN I BEGAN TO HEAR CONTEMPORARY MUSIC, IT WAS WHAT IN THE WORLD ARE WE LISTENING TO?

THIS IS CRAZY STUFF WE ARE HEARING.

IT TOOK A LOT OF LISTENING AND EDUCATION AND PERSISTENCE ON THE PART OF THE AUDIENCE TO GET WITH IT, SO TO SPEAK.

>> WE PRACTICED HARD, WE LEARNED OUR PARTS WELL.

IT WAS A VERY DIFFERENT EXPERIENCE, AND WE BECAME FAMILIAR WITH ALL THE LIVING COMPOSERS AND MOST OF THEM CAME TO LOUISVILLE AND MANY OF THEM CONDUCTED THEIR OWN WORKS.

>> MAYOR CAME UP WITH THE IDEA OF COMMISSIONING NEW MUSIC AND THANK GOD THAT HE DID.

HE SAVED THE ORCHESTRA.

>> WELL, TEDDY ABRAMS, THANK YOU VERY MUCH FOR INVITING US INTO YOUR HOME.

THIS IS BEAUTIFUL.

>> THANK YOU.

>> I KNOW YOU ARE NOT FROM LOUISVILLE, BUT A LOT OF PEOPLE WILL SAY YOU ARE QUINTESSENTIALLY LOUISVILLE, NOW.

I'M SURE YOU CONSIDER YOURSELF AWE LOUISVILLEAN.

>> WHEN PEOPLE ASK WHERE I'M FROM, I SAY LOUISVILLE.

IT'S A WEIRD QUESTION.

I DON'T KNOW THAT WE REALLY DETERMINED WHAT FROM MEANS, ESPECIALLY WHEN YOU HAVE BEEN ITEENERANT OR HAVE A COMPLICATED PAST OF IDENTITIES IN PLACES.

LOUISVILLE IS MY HOME I.

HAS BEEN MY HOME FOR NINE YEARS.

THIS IS THE PLACE THAT I IDENTIFY AS MY HOME AND THAT'S VERY IMPORTANT TO ME AS A DEFINITION.

SO I JUST TELL PEOPLE I'M LOUISVILLEIAN, KENTUCKIAN NOW.

>> ABSOLUTELY.

TELL US THAT JOURNEY.

WHAT BROUGHT YOU HERE?

>> I CAME HERE IN IS 2014.

THAT'S WHEN I MOVED FOR THE JOB OF MUSIC DIRECTOR OF THE LOUISVILLE ORCHESTRA.

I HAD BEEN ALL OVER THE PLACE.

I GREW UP IN THE SAN FRANCISCO BAY AREA.

RAISED IN BASICALLY EVERY PART OF THE BAY AREA.

MY FAMILY MOVED AROUND A LOT.

SAN FRANCISCO, OAKLAND, ALAMEDA, BERKELEY, THE PENINSULA AND THERE ARE A LOT OF OTHER MOVES THAT WE MADE.

BUT ALWAYS WITHIN A CERTAIN RADIUS.

AND THEN I WENT OFF TO SCHOOL IN PHILADELPHIA TO A WONDERFUL MUSIC SCHOOL CALLED THE CURTIS INSTITUTE OF MUSIC.

MY FIRST JOB AFTER THAT IN THE NEW WORLD SYMPHONY AS THE CONDUCTING FELLOW IN MIAMI BEACH AND BOUNCED AROUND TO A FEW DIFFERENT PLACES.

I HAD HAD A JOB IN BUDAPEST HUNGARY, A JOB WITH THE DETROIT SYMPHONY, A FEW STOPS IN BETWEEN BUT IT WAS WHEN I WAS THE ASSISTANT CONDUCTOR OF THE DETROIT SYMPHONY IN 2012 THAT I FOUND OUT THIS ORCHESTRA WAS LOOKING FOR A MUSIC DIRECTOR AND THERE IS A WHOLE KIND OF ODD STORY, VERY SIRN DIP DOES STORY-- SIRN DIP DOES WITH THAT WITH ANOTHER CONDUCTOR AND IT TURNED OUT ANOTHER PERSON WHO HAPPENED TO BE THERE WHO RAN INTO ANOTHER PESH AT A FUNERAL WAS WORKING WITH THE LOUISVILLE ORCHESTRA TO PUT THINGS BAB TOGETHER AFTER THEY HAD SOME REAL CHALLENGES.

I HOPE THAT PEOPLE DON'T REMEMBER WHEN I RESERVES THIS, BUT OF COURSE IT'S PART OF THE ORCHESTRA AND YOU CAN'T IGNORE THE PAST.

THE ORCHESTRA WAS ON STRIKE, A BANKRUPTCY, A WHOLE CONVERGING SET OF TOUGH CIRCUMSTANCES AND IT WAS A BIG BLOW.

THIS WAS ALL IN THE AFTERMATH OF THE 2008 FINANCIAL CRISIS AND USUALLY WHEN YOU HAVE A BIG NATIONAL OR INTERNATIONAL FINANCIAL DIP, YOU SEE THIS REFLECTED A SEASON OR TWO TRAILING IN NON-PROFIT ORGANIZATIONS AND ARTS ORGANIZATIONS ESPECIALLY, THOSE THAT MAYBE HAVE NOT HAD THE STRONGEST KIND OF MISSION OR VISION, ARE OFTEN THE ONCE THAT FLAIL, AND THEY SUFFER THE GENERALSES BUT IT'S USUALLY A COUPLE YEARS AFTER WHEN THINGS REALLY WORK THEMSELVES OUT IN THE ECONOMIC SCENE AND THAT'S WHAT HAPPENED HERE.

SO LOUISVILLE ORCHESTRA, WHICH HAD THIS INCREDIBLE HISTORY, I MEAN EVERYONE IN THE CLASSICAL MUSICAL WORLD KNOWS THE STORY OF THE LOUISVILLE ORCHESTRA OR AT LEAST HAS HEARD SOMETHING ABOUT THE LOUISVILLE ORCHESTRA DOING SOMETHING REALLY AMAZING WAY BACK WHEN.

THEY MAY NOT KNOW ANYMORE DETAILS THAN THAT.

BUT THAT'S WHAT I KNEW ABOUT THE LOUISVILLE ORCHESTRA.

THERE WAS SOME GREAT DISTANT PAST.

SO WHEN THIS GUY TOLD ME, HIS NAME IS PETER, HE WAS WORKING AS THE INTERIM EXECUTIVE DIRECTOR TRYING TO PIECE THINGS BACK TOGETHER AFTER ALL THESE ISSUES WITH THE STRIKE AND BANKRUPTCY, WHEN HE SAID I THINK THAT YOU SHOULD GO TO LOUISVILLE, I SAID THAT SOUNDS AMAZING.

I'VE NEVER BEEN TO LOUISVILLE.

I KNOW NOTHING ABOUT LOUISVILLE.

I HAVE ONLY A STEREOTYPICAL CONCEPT OF KENTUCKY, BUT I LOVE PLACEDS LIKE LOUISVILLE OR AT LEAST THE LOUISVILLE I HAD IN MY MIND AND WHEN I GOT HERE, I WAS NOT DISAPPOINTED AT ALL.

IN FACT, EVERYTHING I EXPERIENCED EXCEEDED ANY PRECONCEIVED NOTION OF WHAT THIS PLACE MIGHT BE.

I ACTUALLY WALKED DOWN THE STREET.

THE VERY FIRST NIGHT I CAME HERE FOR A TRIAL WITH THE ORCHESTRA.

I WAS SO YOUNG, I WAS 25 YEARS OLD WHEN I CAME HERE.

THEY BROUGHT ME OUT TO CONDUCT A COUPLE OF SESSIONS TO SEE IF THERE WAS ANY CHEMISTRY.

VERY MUCH LIKE A DATING SITUATION WHERE YOU ARE LOOKING FOR A MUSIC DIRECTOR.

THERE IS A WHOLE SET OF PARAMETERS WE CAN TALK ABOUT.

A LOT OF PARAMETER AS ROUND THE RELATIONSHIP THAT HAVE NOTHING TO DO WITH YOUR RESUME, NOTHING TO DO WITH THE EXPERIENCES YOU HAVE ALREADY HAD.

IT'S SIMPLY KINETIC.

JUST RELATIONAL IT'S LIKE CHARISMA AND PERSONALITY AND LEADERSHIP AND THINGS THAT CAN'T BE DEFINED.

ALL THE INEVITABLE STUFF.

THEY BROUGHT ME OUT AS A 25-YEAR-OLD WHATEVER I WAS, TO COME AND JUST DO A SESSION OR TWO WITH THE ORCHESTRA.

NO CONCERT, NO SPECIFIC GOALS OTHER THAN TO TEST THE WATERS.

THE FIRST NIGHT I GOT HERE, I WALKED DOWN EAST PARKER STREET AND I SAID THIS PATIENT, I DON'T EVEN KNOW WHAT IT'S CALLED.

NEVER BEEN.

HADN'T BEEN IN TOWN FOR 30 MINUTES.

I SAID IF I GOT THIS JOB, I WOULD MOVE HERE AND SURE ENOUGH, I GOT THAT JOB AND MOVED TO THIS TOWN AND HERE WE ARE AFTER NINE SEASONS.

SO THAT'S A VERY LONG ANSWER TO THE SIMPLE QUESTION.

BUT ACTUALLY... >> NO, IT'S FASCINATING.

>> THERE IS ALWAYS A STORY FOR EVERY MUSICIAN WHERE THEY END UP, I SUPPOSE,.

>> SO WHEN YOU CAME HERE AS A 25-YEAR-OLD, YOU WERE THE YOUNGEST MUSIC DIRECTOR OF MAJOR ORCHESTRA, STILL ARE, IS THAT RIGHT?

>> POSSIBLY.

ONE OF THE VERY FEW AMERICANS.

THAT'S A SAD FACT, BUT YES.

>> AND SO IS THIS A PLACE WHERE YOU IMMEDIATELY KNEW YOU WOULD STAY OR WERE YOU THINKING IT WAS GOING TO BE A STEPPING STONE AND TO SOMEWHERE ELSE?

>> I WAS NEVER INTERESTED IN THE IDEA OF USING AN ORGANIZATION TO TRY AND GET SOMETHING ELSE.

I THINK THAT THE LANDSCAPE OF ARTS INTERNATIONALLY AND CERTAINLY IN AMERICA IS POT MARKED BY PEOPLE THAT HAVE GONE TO CITIES LIKE LOUISVILLE AND JUST THOUGHT OF THEM AS AN OPPORTUNITY TO FIND ANOTHER OPPORTUNITY.

AND I FIND THAT REALLY KIND OF HORRIFYING.

THESE ARE REAL PEOPLE THAT LIVE HERE, THAT ARE VERY PROUD OF AND VERY EXCITED ABOUT THE POSSIBILITIES FOR THEIR ARTS ORGANIZATIONS.

AND IF SOMEBODY COMES HERE AS A LEADER, WHO HAS BEEN BROUGHT TO THIS CITY TO RUN, WHATEVER IT IS.

A MUSEUM, AN OPERA COMPANY, A UNIVERSITY, A CIVIC INSTITUTION OR AN ORCHESTRA, THE PEOPLE HERE WHO LIVE IN THE CITY TO WHICH THE NAME IS ATTACHED, THAT'S THE ORGANIZATION'S NAME, THE LOUISVILLE ORCHESTRA.

YOU HAVE TO SERVE THEM.

THAT HAS TO BE THE ONLY THING THAT YOU THINK ABOUT.

AND THERE WILL BE A TIME WHEN BOTH THE ORCHESTRA OR ANY ORGANIZATION AND ITS LEADER NEED TO MOVE IN DIFFERENT DIRECTIONS.

THAT'S NATURAL.

BUT IF THE GOAL IS SIMPLY TO FIND A QUOTE UNQUOTE BETTER JOB, THEN YOU ARE TOTALLY MISSING OUT ON THE POINT OF LIFE, I THINK, NOT TO MENTION THE POINT OF ARTISTRY.

I HAD A VERY INFLUENTIAL TEACHER GROWING UP.

A PERSON THAT I MET AT THE CURTIS INSTITUTE OF MUSIC AND HAD AN AMAZING NAME, Dr. FORD LOLLERSCHTADT.

I'M NOT FAMILIAR WITH HARRY POTTER TO KNOW BUT I WENT TO A VERY HOG WART'S LIKE SCHOOL AT A GRAND MANSION IN PHILADELPHIA WITH ONLY 160 STUDENTS, EVERYBODY IS ON FULL TUITION.

YOU PASS IT NOT EVEN REALIZING THERE IS ONE OF THE GREATEST MUSIC SCHOOLS IN THE WORLD RIGHT THERE.

WHERE LEONARD BERNSTEIN AND THE LIST GOES ON AND ON.

A VERY SPECIAL SCHOOL.

UP AT THE VERY TOP IN THIS ATTIC-LIKE BUILDING IS WHERE Dr. LOLLERSCHTADT WOULD HOLD COURT AND HE ONLY TAUGHT THE CONDUCTORS AND COMPOSERS.

BUT INSTEAD IT WAS MOSTLY PHILOSOPHY AND THE POINT OF ART.

AND I REMEMBER SOME ADVICE THAT HE GAVE TO ME.

AND HE WOULD ISSUE THESE WISE PROCLAMATIONS AND SAYINGS EVERY ONCE IN A WHILE.

HE SAID CREATIVITY IS NOT TAKING SOMETHING THAT YOU WANT AND MAKING IT WHAT YOU HAVE.

IT'S TAKING SOMETHING THAT YOU HAVE AND MAKING IT WHAT YOU WANT.

I TELL THIS LONG STORY TO GET TO THAT POINT.

BECAUSE THAT'S HOW I FELT ABOUT LOUISVILLE.

NOW I HAVE THIS AMAZING PLACE.

I HAVE THIS AMAZING ORGANIZATION, THIS INCREDIBLE STORY THAT THE ORGANIZATION COMES WITH, IT'S A HISTORY UNLIKE ANY OTHER ORCHESTRA IN THE WORLD.

IT'S VERY SPECIAL BECAUSE OF THE PROGRAM THAT THEY STARTED IN THE 1940S TO COMMISSION MORE MUSIC THAN ANY ORCHESTRA REALLY.

THIS HISTORY THAT IS SO ALIGNED WITH WHO I APRIL.

SO I HAVE ALL THESE THINGS.

NOW I NEED TO MAKE THAT WHAT WE ALL WANT RATHER THAN THINKING ABOUT HOW DO I GO IT TO THE NEXT BIGGER PLACE.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >> WHAT YOU HAVE BEEN ABLE TO DO WITH THE LOUISVILLE ORCHESTRA IS SOME OF THE INNOVATIVE IDEAS, HOW DOES THAT GO OVER WHEN YOU COME INTO THE ROOM AND SAY HEY, GUYS, I'VE GOT AN IDEA.

>> I HAVE TO HAND IT TO THE WHOLE ORGANIZATION BECAUSE THIS IS NOT A LONE WOLF SITUATION.

THIS IS NOT A KIND OF THING WHERE SOMEBODY LIKE ME, NO MATTER HOW EXCITING OR INTERESTING AN IDEA MIGHT BE, CAN WORK IF YOU DON'T HAVE AN ORGANIZATION THAT BELIEVES IN IT, THAT IMPROVES IT ASK EXECUTE IT ON ALL LEVELS.

ORCHESTRAS ARE VERY COMPLEX ORGANIZATION BECAUSE IT'S DIVIDED INTO MANY PARTS.

YOU HAVE THE CONSTITUENTS, THE AUDIENCE-- AND I PUT THEM FIRST BECAUSE AGAIN IF WE ARE IN THE PLAYING TO THE PEOPLE OF LOUISVILLE, WHAT ARE WE DOING.

NOW WE HAVE EXTENDED IT TO ALL KENTUCKIANS BUT THE CONSTITUENTS ARE THE ONES THEY'RE KIND OF LIKE THE VOTERS, IF YOU THINK ABOUT THIS AS A POLITICAL LANDSCAPE, THE PEOPLE WE ULTIMATELY SERVE.

THEY HAVE SAID THEY WANT AN ORCHESTRA IN OUR CITY.

WE SERVE THEM.

THEY HAVE THE FOUNDATION OF THE WHOLE THING.

THEN YOU HAVE A BOARD WHICH IS THE ORGANIZATION THAT'S RESPONSIBLE FOR LOOKING AFTER THE INSTITUTION.

ALL NON-PROFITS HAVE THIS.

THEY MAKE SURE THE MONEY IS RAISED AND THAT PEOPLE LIKE ME OR THE EXECUTIVE DIRECTOR ARE HIRED.

THEY'RE RESPONSIBLE FOR THAT.

THEN OF COURSE YOU HAVE THE MUSICIANS WHO ARE THE HEART AND SOUL OF THE ORGANIZATION.

THEY SPEND 30 OR 40 YEARS OF THEIR LIVES MAKING MUSIC IN THE HEART OF THE ORCHESTRA AND THEN YOU HAVE THE STAFF THAT MAKE SURE ALL THE DIFFERENT ELEMENTS ARE BOUND TOGETHER.

THAT'S A VERY STRAWNG MODEL.

IT'S UNLIKE MOST BUSINESSES WHERE YOU THINK ABOUT, YOU HAVE THE BUSINESS ITSELF AND THE CONSUMERS, AND YES, YOU MIGHT HAVE SHAREHOLDERS AND OTHER ELEMENTS LIKE THAT.

BUT THOSE DYNAMICS OF AUDIENCE, MUSICIANS, STAFF, LEADERSHIP, BOARD, THEY ARE ALWAYS EVOLVING.

THEY HAVE EVOLVED OVER THE COURSE OF THE HISTORY OF ORCHESTRAS AND THEY COME WITH BOTH A LOT OF BAGGAGE AND A LOT OF OPPORTUNITY.

ALL THIS TO SAY THAT WHEN I HAVE A CRAZY IDEA, I HAVE TO THINK ABOUT EVERY SINGLE ELEMENT RIGHT THERE, BECAUSE IF THE MUSICIANS DON'T THINK IT'S A WORTHWHILE IDEA, THEY'RE NOT GOING TO BE ABLE DO THIS CONCEPT WITH PASSION.

OR THE AUDIENCE THINKS IT'S BONKERS AND THEY DON'T KNOW UP OR THE BOARD SAYS WE CAN'T PAY FOR IT OR OF STAS SAYS WE ARE STRETCHED TOO THIN, THEN BEST IDEA IN THE WORLD CAN'T BE DONE.

AND IT'S TAKEN A LONG TIME FOR ME TO UNDERSTAND HOW THOSE DYNAMICS CAN BEST BE RESOURCED AND HOW ALL THE DIFFERENT ELEMENTS WITHIN THE INSTITUTION NEED TO BE BROUGHT TOGETHER IN A UNIFIED WHOLE.

THAT'S A HARD THING FOR A 25-YEAR-OLD TO FULLY GRASP AND I DID MY BEST WHEN I FIRST GOT HERE BECAUSE I HAD SO MANY CHALLENGES IN FRONT OF ME THE ORCHESTRA HAD BEEN DECIMATED.

AND THE SIZE AND THE BUDGET HAD SHRUNK TO A FRACTION WHAT IT WAS ONCE.

I LEARNED OVER TIME, THE ONLY WAY TO GROW EFFECTIVELY IS TO GROW SO THAT EVERYBODY KNOWS WHERE YOU ARE ALL GOING.

THAT'S REALLY HARD TO DO BECAUSE I COULD BE TALKING TO A PERSON WHO HAS NEVER BEEN TO THE ORCHESTRA BEFORE AND TRYING TO CONVINCE THEM TO GET INVOLVED OR SEE A SHOW, MAYBE EVEN A FREE SHOW.

OR I COULD BE TALKING TO A PERSON WHO HAS PLAYED IN THE ORCHESTRA FOR 52 YEARS AND I NEED BOTH OF THOSE PEOPLE TO FEEL JUST AS PASSIONATE AND EXCITED ABOUT THE DIRECTION OF THE ORCHESTRA AND BE ABLE TO AR TAKE LATE THAT.

IT HAS BEEN SOMETHING I HAVE HAD TO LEARN, A PART OF MY GROWTH AND IT WILL NEVER END I WILL NEVER GET TO SAY DONE THAT AND EVERYBODY IS ON THE SAME PAGE.

IT'S A CONTINUAL DIRECTIONAL THING.

BUT EVERY TIME THERE IS A CRAZY IDEA, LIKE YOU WANT TO GO TO MAMMOTH OTH CAVE, YOU NEED EVERY PART OF THE CONSTITUENCY TO SAY YES, OR TO SAY, THAT'S INTEREST INTERESTING, TELL ME MORE.

IF YOU CAN CONVINCE THEM ALL, THERE IS A SHOT OF ACTUALLY DOING IT.

AND WE HAVE DONE A LOT OF CRAZY IDEAS: IT SPEAKS LESS TO ME THAN TO THE INSTITUTION FOR SAYING, YOU KNOW WHAT, WE ARE SUPPOSED TO EXTEND OURSELVES AND PUT OURSELVES OUT THERE AND TAKE ON REAL RISKS AS AN ARTIST AND IF THE BOARD CAN UNDERSTAND IT AND THE AUDIENCE UNDERSTANDS IT, YOU HAVE SOMETHING SPECIAL.

YOU ASK WHAT HAS LED TO STAYING, IT'S THAT.

VERY FEW CITIES HAVE THAT UNIQUE COMBINATION.

I DON'T KNOW IF IT'S THE WATER OR THE HISTORY OR THE WEIRD, YOU KNOW, SOCIOPOLITICAL DYNAMICS WE HAVE HERE.

WHATEVER IT IS, IT HAS PRODUCED A VERY SPECIAL COMBINATION OF ATTITUDES AND EXPECT AN-- EXPECTANCIES THAT HAVE LED TO WACKY IDEAS AND THINGS HAPPENING IN THIS CITY.

ONE OF THE INTERESTING THINGS ABOUT BEING AN ARTIST IN MOMENTS LIKE THIS, IN LOUISVILLE SPECIFICALLY IS THAT I THINK ALL OF US RECOGNIZE THE BEAUTIFUL THINGS ABOUT OUR CITY.

THE POSITIVES, THE BENEFITS, THE THINGS THAT MAKE THIS PLACE UNIQUE AND A GREAT PLACE TO LIVE.

I THINK THAT ESPECIALLY NOW LOOKING AT THE LAST THREE OR FOUR YEARS.

WE ARE UNIQUELY AWARE ALSO OF THE CHALLENGES AND SOME OF THE DEFICIENCIES AND THINGS THAT NEED TO BE SOLVED AND RATHER THAN SHIRK FROM THAT OR LOOK AT THAT FROM AS AN ALL TOGETHER NEGATIVE, THE CALL TO AN ARTIST IS TO HELP.

THAT'S ONE OF THE THINGS THAT HAS KEPT ME HERE.

I LOVE THE THINGS ABOUT LOUISVILLE THAT I LOVE AND I LOVE THE THINGS THAT'S LEAD TO CHANGE THAT MUST CHANGE.

AND I WANT TO BE A PART OF THAT.

I DON'T WANT TO GO TO A PLACE THAT DOESN'T NEED ME OR WANT ME.

THEY MIGHT WANT GREAT MUSIC AND STAND ON THE PODIUM AND WAVE THEIR ARMS AROUND, I DON'T THINK THAT'S WHO I AM OR WHO OUR ORCHESTRA IS.

WE WANT TO BE PART OF THE THINGS THAT HELP MAKE THIS PLACE BETTER.

THAT'S AN INTERESTING THING FOR AN ARTIST.

WE ARE NOT A LUXURY ITEM.

A LOT OF CITIES TREAT THEIR ARTS LIKE A LUXURY ITEM.

WE HAVE THE ORCHESTRA AND THE OPERA HOUSE ON THE HILL OVER HERE, A GOOD REASON TO BRING YOUR FAMILY HERE WHEN THEY'RE TRYING TO RECRUIT AN EXECUTIVE OR SOMETHING.

THAT'S TRUE BUT THE IDEA OF SAYING THE REASON WE HAVE THE ORCHESTRA IN THIS TOWN BECAUSE WE ARE ALL WORKING TOGETHER TO HONESTLY IMPROVE, TO GROW, TO FORGE CONNECTIONS THAT WEREN'T FORGED IN TOWN TO ADDRESS THOSE SOCIOPOLITICAL DIVIDES, WHICH ARE RIPPING THIS COUNTRY APART.

WE HAVE A ROLE TO PLAY IN THAT OR WE CAN SIT ON THE SIDELINES AND NOT DO ANYTHING, AND I THINK THIS IS A TOWN WHERE THEY ACTUALLY INVITE US TO BE A PART OF IT.

>> ABSOLUTELY.

AND YOU HAVE STEPPED UP IN THAT REGARD.

I MEAN WITH DURING COVID, THE LOUISVILLE LOVE, AND HOW YOU PRODUCED MUSIC FOR MUHAMMED ALI'S FUNERAL SERVICES, WHAT IS IT-- HAS LOUISVILLE CALLED TO YOU DO THAT OR WAS THAT ALWAYS A PART OF WHO YOU ARE?

>> IT WAS A PART OF MY UPBRINGING.

MY FATHER IN PARTICULAR REALLY INSTILLED THESE VALUES IN ALL OF US.

I HAVE TWO BROTHERS AND I'M SURE THEY WOULD SAY THE SAME THICK.

BUT I'M THE OLDEST AND SO I GOT THE TRIAL HOW HE WAS GOING TO I AM PART THESE VALUES.

HE IS AN ATTORNEY AND HE HAD A PRACTICE THAT INVOLVED ENVIRONMENTAL LAW FIRST AND MOVED INTO INTELLECTUAL PROPERTY LAW.

BUT WHILE HE DID THAT KIND OF THING, HE WAS ALWAYS DEEPLY COMMITTED TO PRO BONO WORK AND I WATCHED THIS AND I WATCHED HIM ENGAGE WITH HIS CLIENTS WHO WERE SOME OF THE PEOPLE THAT HAVE THE LEAST AGENCY IN OUR WORLD.

HE REPRESENTED KIDS IN THE FOSTER CARE PROGRAM IN CALIFORNIA WHEN IT WAS SO UNDERFUNDED AND PROBLEMATIC THAT HE HAD TO GO TO STATE SUPREME COURT AND WON A REALLY IMPORTANT LAWSUIT THAT FORCED COUNTIES TO FUND THEIR FOSTER CARE PROGRAMS IN A WAY THAT HAD NOT BEEN DONE BEFORE THEN HE MOVED ON TO I LOT OF WORK WITH PEOPLE WHO ARE ON DEATH ROW WHO ARE CLEARLY INNOCENT THAT HAD NO LEGAL REPRESENTATION, MOST OF THEM IN THE SOUTH AND HE WOULD TALK ABOUT THIS AND TALK ABOUT THE IMPORTANCE OF USING AND PARLEYING ANY SUCCESS THAT YOU HAVE IN WHATEVER YOU DO, TO THEN HELP OTHERS WITH THE SAME SKILL SET.

AND THIS WAS DRILLED INTO US AS LITTLE KIDS AND GROWING UP ACTUALLY A LOT OF TIME I SPENT IN OAKLAND CALIFORNIA.

WHEN I GREW NEWSPAPER CALIFORNIA, IT WASN'T THE COOL HIPSTER TOWN THAT IT IS NOW.

EVEN THOUGH WE CERTAINLY WERE IN A PERFECTLY COMFORTABLE SITUATION THERE, IN OAKLAND YOU WERE NEVER FAR AWAY FROM REALLY CHALLENGING HARD TO DIGEST SITES AND I'M REALLY GLAD I HAD THAT EXPERIENCE, ESPECIALLY GROWING UP AS A KID WHO IS VERY SERIOUS ABOUT MUSIC AND HAVING TO SOMEHOW, IN YOUR MIND, JOIN TOGETHER THE PRIVILEGE OF GETTING TO PLAY MUSIC ALL DAY WITH SOME OF THE THANKS THAT-- SOME OF THE THINGS THAT YOU SEE ON A POLITICAL LEVEL OR SOCIO LEVEL, WHATEVER IT MAY BE, THAT ARE UPSETTING AND DISTURBING.

THAT MEANT THAT I NEEDED TO JOIN THOSE THINGS TOGETHER IN MY MIND.

THEY COULDN'T BE SEPARATE.

SO THE IDEA OF THE PRIVILEGE OF MAKING MUSIC AND MAKING ART CONNECTED TO THE IDEA OF IMPROVING OR HELPING OR CHANGING SOMETHING IN SOCIETY WAS THERE FROM A REALLY EARLY AGE.

>> WHAT'S NEXT?

WHAT IS NEXT FOR YOU WHAT IS NEXT FOR THE LOUISVILLE ORCHESTRA?

>> ARE YOU GOING TO BE HERE FOREVER?

WE SURE HOPE SO.

>> THERE WILL BE A TIME, I DON'T KNOW WHEN, BUT THERE WILL BE A TIME WHEN THE ORGANIZATION WILL NEED ITS NEXT LEADER.

BUT FOR NOW, I'M VERY, VERY FOCUSED ON GROWING THE MANY PROJECTS WE STARTED.

EVERYTHING CONVERGED ON THIS LAST SEASON BETWEEN MAMMOTH CAVE, THE TOUR CREATORS CORE, OUR THREE NEW DOM POSE-- COMPOSERS.

THIS ALL HAPPENED IN ONE SINGLE SEASON ON TOP OF PLAYING ALL THE CONCERT SZ, A GRAND NEW PROGRAM, THE MUSIC BORDER SEASON PLAYING FREE CONCERTS THROUGHOUT LOUISVILLE.

ONCE UPON AN ORCHESTRA PROGRAM, THE SERIES AT THE LIBRARY.

EVERY SINGLE LIBRARY IN TOWN GETS AT LEAST ONE FREE PERFORMANCE.

THERE ARE SO MANY THINGS.

THEY ALL HAPPEN THIS SEASON.

WE ARE NUTS SO MY FOCUS NOW IS LOOK AT THE PORTFOLIO OF PROJECTS AND PROGRAMS THAT WE PUT TOGETHER AND ALSO JUST BEING AN ARTIST IN THE CITY, NOW THEIR JOB IS EXPANDED AND I WANT TO MAKE SURE WE GROW THIS AND DO IT REALLY SUCCESSFULLY LAST YEAR.

WE HAVE A LOT OF OTHER PARTS OF THE STATE TO VISIT AND A BURCH OF THINGS I'M DOING HERE BUT OUTSIDE, I THINK YOU HAD SEEN THIS BUT I'M WORKING ON WRITING A MUSICAL ABOUT MUHAMMED ALI'S LIFE.

THAT'S A NEW THING FOR ME.

IT STEMS FROM A PIECE I WROTE FOR THE ORCHESTRA BACK IN 2017 ABOUT ALI AS A BIG RAP, AND I SPENT YEARS TRYING TO FIGURE OUT WHAT THE NEXT STEPS FOR THAT RELIGION WOULD BE.

IT HAS BEEN PICKED UP BY A WONDERFUL TEAM INCLUDING A GROUP THAT OWNS THE ALI BRAND INCLUDING LONNIE ALI TO BE A FULL ON BROADWAY MUSICAL SO WE ARE DEEP IN THE MIDDLE OF WRITING THAT RIGHT NOW.

SO IF ALL GOES WELL, A VIRTUOUS CYCLE.

THE MORE WE CAN SPREAD STORIES ABOUT LOUISVILLE AND STORIES ABOUT THE THINGS THAT MAKE THIS PLACE GREAT.

THE WE CAN TELL THE STORY AND LOOP IT BACK, AS I SAID, IT'S A VIRTUOUS CYCLE.

THAT KEEPS FEEDING ON THIS POSITIVITY.

>> YOU CAN WATCH THE EXTENDED INTERVIEW WITH TEDDY ABRAMS ONLINE AT ket.org/INSIDE LOUISVILLE.

PLUS HE GAVE ME A PERSONAL CONDUCTING LESSON.

IT'S HARDER THAN IT LOOKS.

YOU CAN SEE THAT ONLINE, TOO.

YOU CAN FOLLOW ALL THINGS INSIDE LOUISVILLE ON SFWRAM AT KET IN-LOU.

IF YOU HAVE STORIES YOU WANT TO SHARE, SEND THEM OUR WAY.

SEE YOU NEXT SUNDAY AT 12, 11 CENTRAL.

UNTIL THEN, MAKE IT A GREAT WEEK.