ANNOUNCER: ON THIS EPISODE OF SHOWCASE WITH BARBARA KELLAR, WE'RE JOINED BY GRAMMY AND EMMY AWARD WINNING MUSICIAN AND COMPOSER MICHAEL PATTERSON.

WITH A CAREER THAT SPANS GENRES AND GENERATIONS, MICHAEL SHARES STORIES FROM HIS REMARKABLE JOURNEY IN MUSIC, FROM COMPOSING FOR FILM AND TELEVISION TO COLLABORATING WITH SOME OF THE INDUSTRY'S FINEST.

PLUS, STAY TUNED FOR AN EXCLUSIVE SOLO PIANO PERFORMANCE OF ONE OF HIS ORIGINAL COMPOSITIONS.

SHOWCASE STARTS RIGHT NOW.

[MUSIC] KELLAR: WELCOME TO SHOWCASE.

WELCOME, EVERYBODY.

WE HAVE A FABULOUS GUEST TODAY, MICHAEL PATTERSON, WHOSE BIO GOES ON AND ON AND ON.

NOT WITH LITTLE THINGS, BUT EACH AND EVERYTHING IS SO, OH MY GOD, I'M READING ALL THESE NAMES.

SPIELBERG.

WHOA.

OKAY.

YES, MICHAEL, YOU ARE A MUSICIAN.

OH, TELL US WHY YOU'RE HERE IN CINCINNATI.

PATTERSON: WELL, THE MAIN REASON I CAME BACK WAS BECAUSE I WAS IN NEW YORK AND HAD BEEN THERE FOR 18 YEARS, AND THEN COVID HIT.

KELLAR: YEAH.

PATTERSON: AND SO IT INTERRUPTED EVERYTHING.

ALL MY COLLEAGUES AND I, IT WAS LIKE IT WAS LIKE A GRAND, LIKE, MIGRATION OUT OF NEW YORK CITY.

SO MY FAMILY IS FROM HERE, FROM UP AROUND HILLSBOROUGH.

AND SO I CALLED MY SISTER AND SAID, "I DON'T KNOW WHAT TO DO.

MAYBE I'LL JUST PUT STUFF IN STORAGE AND COME AND STAY WITH YOU FOR A COUPLE OF WEEKS AND FIGURE IT OUT."

AND IT LOOKED LIKE COVID WAS DEFINITELY GOING TO AFFECT EVERYTHING.

SO, THERE WAS NO SENSE IN MOVING BACK TO NEW YORK.

SO I CAME HERE AND I HAVE FRIENDS HERE.

I HAVE CARMEN DE LEON AND RICK VANMATRE ARE GOOD FRIENDS.

AND I HAVE A RELATIONSHIP WITH THE CONSERVATORY AS WELL, SO OVER THE YEARS.

KELLAR: YEAH.

WELL, YOU WENT TO CCM.

PATTERSON: YEAH, I DID.

KELLAR: YOUR FIRST DEGREE, YOUR BACHELOR'S.

PATTERSON: MY BACHELOR'S DEGREE, YEAH.

KELLAR: AND THEN THE EASTMAN SCHOOL.

PATTERSON: YEAH, I WENT TO EASTMAN FOR MY MASTERS.

YEAH, YEAH.

SO I WAS, I WAS AT CCM FOR LIKE ABOUT FIVE YEARS BECAUSE I CHANGED MY DEGREE FROM VOICE TO COMPOSITION ABOUT HALFWAY THROUGH.

AND SO I HAD TO GO AN EXTRA YEAR TO FINISH UP.

AND THEN I WAS JUST FREELANCE FOR A FEW YEARS.

AND THEN I WENT TO EASTMAN FOR TWO YEARS.

KELLAR: AND YOU'RE A SINGER ALSO.

PATTERSON: I WAS YEAH.

YEAH.

KELLAR: WOW.

ARE YOU A TENOR OR BARITONE?

PATTERSON: BARITONE, YEAH.

YEAH, YEAH.

KELLAR: WELL, WE'LL HAVE TO GET YOU TO SING SOMETHING.

PATTERSON: OH, NO, IT'S BEEN A WHILE.

KELLAR: YEAH, I KNOW.

SINGING, THE VOICE IS ONE OF THE FIRST THINGS.

PATTERSON: YEAH, YEAH, YEAH.

KELLAR: NOW THE DANCERS, THEY'RE THE FIRST.

PATTERSON: YEAH, THE DANCERS BODIES, THEY HAVE THE SHORTEST CAREERS.

KELLAR: YEAH, THEY DO.

PATTERSON: COMPOSERS HAVE, THEY CAN COMPOSE AND COMPOSE.

KELLAR: THAT WAS A VERY SMART MOVE.

YES.

PATTERSON: YEAH, IT WAS.

KELLAR: YEAH, AND YOU WERE IN LA FOR A WHILE ALSO.

PATTERSON: YEAH.

I WAS OUT THERE FOR 20 YEARS.

YEAH.

KELLAR: WELL, TELL US ABOUT YOUR CAREER.

I MEAN, NO, WE ONLY HAVE 25 MINUTES, SO WE CAN'T GO THROUGH YOUR WHOLE CAREER.

BUT IF I ASK YOU FOR THE THREE HIGHLIGHTS, COULD YOU TELL US WHAT THOSE ARE?

PATTERSON: SURE.

I THINK -- I WAS THINKING ABOUT THIS THE OTHER DAY THAT PROBABLY THE THING THAT ENABLED ME TO HAVE SUCH A GOOD CAREER WAS THE TRAINING I GOT.

AND IT STARTED WITH MY FIRST TEACHER IN HILLSBORO WITH RUTH ELLEN STONE.

AND SHE TAUGHT ME PIANO.

SHE ALSO JUST KEPT BRINGING ME MUSIC, YOU KNOW.

BUT I STARTED STUDYING WITH HER WHEN I WAS, LIKE, 12 YEARS OLD.

AND SO BY THE TIME I GOT READY TO GO TO CONSERVATORY, I HAD ALREADY HAD A LOT OF THEORY AND MUSIC HISTORY AND VOICE TRAINING.

KELLAR: THAT'S UNUSUAL IN A SMALL TOWN, ISN'T IT?

PATTERSON: YEAH, IT'S LIKE A MIRACLE.

KELLAR: IT IS A MIRACLE.

PATTERSON: IT'S LIKE A MIRACLE.

YEAH.

KELLAR: IT NEEDED TO HAPPEN.

PATTERSON: AND THEN AT THE CONSERVATORY, IT WAS SORT OF THE SAME THING.

AND I MET FELIX LEBOWSKI, LIKE, IN MY SOPHOMORE YEAR, WHO WAS -- KELLAR: WAS HE IN THE ORCHESTRA?

PATTERSON: NO.

FELIX WAS A COMPOSER FROM POLAND WHO TAUGHT AT THE CONSERVATORY FOR YEARS.

KELLAR: I MIGHT HAVE, MIGHT, MAYBE -- DID HE LIVE IN CINCINNATI?

PATTERSON: YEAH, HE DID.

KELLAR: YEAH, MUST HAVE BEEN HIS SON I WENT TO HIGH SCHOOL WITH.

PATTERSON: YEAH, HIS SON WAS HERE.

KELLAR: YEAH, OKAY.

PATTERSON: AND HIS WIFE WAS AN ARTIST AND THEY HAD LIVED ALL OVER EUROPE.

SO I HAD A NICE INTRODUCTION TO COMPOSITION THROUGH HIM AND THROUGH OTHER THEORY TEACHERS LIKE JOHN LARKIN.

AND THEN I EVENTUALLY GOT TO STUDY WITH PAUL COOPER, WHO WAS FABULOUS, AND HE REALLY TRAINED ME HOW TO BE A COMPOSER.

AND THEN I JUST STARTED WORKING, YOU KNOW, AND AFTER SCHOOL AND THEN I WENT TO EASTMAN.

I'D SAY THAT'S PROBABLY THE BIG DECISION I MADE THAT WAS PROBABLY ONE OF THE MOST SIGNIFICANT.

KELLAR: AND THEY SORT OF DISCOVERED YOU, RIGHT?

PATTERSON: WELL, I HAD, AGAIN, YOU HAVE GREAT TEACHERS, THEY'RE GOING TO POINT YOU IN THE RIGHT DIRECTION.

AND EASTMAN WAS LIKE WORKING PROFESSIONALLY BECAUSE, YEAH, WHAT THEY TRAINED YOU FOR IS THE REAL WORLD.

SO WHEN I LEFT THERE AND WENT TO HOLLYWOOD, WHICH WAS A BIG RISK.

BUT, YOU KNOW, YOU'RE YOUNG, YOU DO IT.

KELLAR: YEAH.

PATTERSON: AND I STARTED MEETING PEOPLE.

THEY STARTED HEARING MY MUSIC OR SEEING ME WORK.

AND ONE THING SORT OF LED TO ANOTHER.

KELLAR: YEAH.

SO WHAT WAS YOUR BIGGEST THING IN HOLLYWOOD?

PATTERSON: OH, WELL, AFTER TEN YEARS OF REALLY BEING IN THE TRENCHES AND DOING A LOT OF WORK.

KELLAR: WELL, EVERYBODY HAS TO.

PATTERSON: EVERYBODY DOES THAT.

RIGHT?

KELLAR: RIGHT.

PATTERSON: BUT I GOT CALLED FOR A YOUNG INDIANA JONES SERIES TO BE AN ORCHESTRATOR, CONDUCTOR, AND ARRANGER.

KELLAR: BECAUSE THAT WAS WHEN YOU WORKED WITH SPIELBERG.

PATTERSON: THAT'S WHEN I WORKED -- WELL, I WORKED WITH LUCASFILM ON THAT.

KELLAR: OH, OKAY.

PATTERSON: AT LUCASFILM THEY WERE DOING THIS SHOW, WHICH WAS, I THINK IT WAS ON NICKELODEON.

KELLAR: RAIDERS IS GEORGE LUCAS?

PATTERSON: NO.

RAIDERS IS SPIELBERG.

KELLAR: OH, THAT'S WHAT I THOUGHT.

PATTERSON: YEAH, YEAH.

I GOT TO WORK WITH HIM LATER ON, THROUGH OTHER MY COLLEAGUES ON A SHOW CALLED TINY TOONS, WHICH WAS THE OLD LOONEY TUNES.

AND WE USED, LIKE, A 45 PIECE ORCHESTRA AND THESE CARL STALLING TYPES OF SCORES.

THAT WAS A BIG STEP.

KELLAR: AND YOU DID SOMETHING WITH ONE OF MY FAVORITE CELEBRITIES, SCOOBY-DOO!

PATTERSON: OH, YEAH!

SCOOBY-DOO ON ZOMBIE ISLAND.

YEAH, YEAH.

KELLAR: YOU KNEW HIM PERSONALLY?

PATTERSON: YEAH, I DID, YEAH, SCOOBY-DOO.

KELLAR: YOU KIND OF HUNG OUT TO HIM.

PATTERSON: YEAH, YEAH, THAT WAS A CRAZY, CRAZY FILM.

BUT, YEAH, I'VE REALLY ENJOYED MY WORK IN HOLLYWOOD.

THAT WAS ABOUT -- BUT I DID ABOUT AS MUCH AS I THOUGHT I WAS GOING TO BE ABLE TO DO, UNLESS I STAYED.

BUT I STILL WANTED TO DO OTHER THINGS SO THAT I WOULD SAY THE DECISION AT THAT POINT WAS KIND OF TRICKY.

DID I WANT TO STAY IN L.A. AND CONTINUE?

BECAUSE I WAS WORKING.

OR DID I WANT TO GO BACK TO NEW YORK AND DO SOME OTHER THINGS.

KELLAR: DO NEW YORK THINGS?

PATTERSON: DO NEW YORK THINGS, YEAH.

AND I SPENT A LOT MORE TIME COMPOSING AND GIVING CONCERTS AND RECORDING.

AND I THOUGHT, WELL, YOU KNOW, I WAS IN MY MID 50S.

I SAID, "IT'S EITHER NOW OR PROBABLY NEVER."

SO I WENT AND I FORTUNATELY LANDED A JOB AT MANHATTAN SCHOOL OF MUSIC AND AT NYU AND TEACHING IN THE FILM SCORING PROGRAM.

AND THINGS WERE ROLLING RIGHT ALONG AND WORKING AND DOING RECORDINGS WITH THIS COMPANY CALLED IPO RECORDINGS.

THAT'S WHERE I MET A LOT OF THOSE FAMOUS JAZZ GUYS AND STARTED DOING RECORDS FOR THEM.

YEAH.

KELLAR: WOULD YOU SAY YOUR CAREER IS MOSTLY JAZZ?

PATTERSON: I'D SAY THE JAZZ TRAINING I GOT AT EASTMAN AND THE FOUNDATIONAL WORK THAT I DID THERE ALLOWED ME TO DO BOTH FILM AND JAZZ.

AND I'VE ALWAYS REALLY BEEN INVOLVED IN THE JAZZ WORLD.

AND BECAUSE I WROTE FOR WOODY HERMAN'S BAND, AND I HAD MY OWN BIG BAND IN LA.

AND I HAD SMALL GROUPS, AND WE PLAYED AROUND.

AND I THEN I ENDED UP DOING A LOT OF RECORDING WITH A JAZZ LABEL IN NEW YORK, BUT I'VE ALWAYS STRADDLED BOTH WORLDS.

IT'S SORT OF LIKE -- KELLAR: YOU COULD DO BOTH.

YOU CAN SAY IT.

YOU COULD DO BOTH.

PATTERSON: YEAH, YEAH, AND DO IT WELL.

KELLAR: YEAH, AND DO IT VERY WELL.

YOU COULD DO.

PATTERSON: IF I COULDN'T, I WOULDN'T.

KELLAR: YEAH.

THAT'S PROBABLY WHY YOU ENDED UP WITH BOTH AN EMMY AND A GRAMMY.

RIGHT?

PATTERSON: YEAH, YEAH.

IT'S TRUE.

YEAH.

KELLAR: WHAT WERE THOSE SPECIFIC THINGS YOU GOT THOSE FOR?

LIKE, THE -- PATTERSON: WELL, IN FILM, AS YOU KNOW, ANYTIME YOU'RE MAKING A FILM IT'S A BIG COLLABORATIVE EFFORT.

SO THERE'S ALWAYS A LOT OF WRITERS ON THE SHOW.

SO THERE MAY BE ONE NAME COMPOSER, BUT THERE'S LIKE 4 OR 5 GUYS THAT ACTUALLY DID THE FILM.

KELLAR: RIGHT.

SO YOU WOULD GET HIRED AS AN ORCHESTRATOR, ARRANGER, OR MAYBE YOU WOULD COMPOSE A THIRD OF THE SHOW OR 2 OR 3 CUES.

AND THEN YOU'D END UP DOING SOMETHING ELSE.

SO THAT'S THE WAY THE YOUNG INDIANA JONES SERIES WENT.

THAT WE HAD MAYBE 3 OR 4 WRITERS ON EVERY SHOW.

SO THE SHOW THAT WE ALL SHARE THE EMMY FOR IS CALLED GEORGE WHITE.

IT'S CALLED -- IT WAS AN OLD GERSHWIN SHOW.

IT'S CALLED GEORGE WHITE'S SCANDALS OF 1920.

YES.

PATTERSON: YEAH, YOU KNOW THAT?

KELLAR: YEAH.

I'M ON BROADWAY, BABY.

PATTERSON: OH, WELL, SO YOU KNOW ABOUT THAT.

SO WE HAD SO MUCH FUN WITH THAT SHOW.

AND A LOT OF THE -- ALL THE TUNES WERE THESE SORT OF, LIKE, HUMOROUS.

KELLAR: WERE THEY -- WAS IT REVIVED ON BROADWAY?

PATTERSON: I DON'T KNOW IF IT -- WELL, YOU KNOW, THAT'S A GOOD QUESTION.

I THINK THERE WAS SOME TALK ABOUT REVIVING IT.

YEAH.

KELLAR: OKAY.

YOU JUST DID A RECORDING.

PATTERSON: THIS WAS A RECORDING.

IT WAS ABOUT THE SHOW.

IT WAS ABOUT, ACTUALLY EACH SHOW WAS ABOUT A HISTORICAL FIGURE.

SO THAT WAS THE WAY GEORGE LUCAS WANTED TO PRESENT THAT WHOLE SERIES.

SO YOU'D HAVE ALBERT SCHWEITZER AND YOU'D HAVE, YOU KNOW, GEORGE GERSHWIN WAS THE SCANDALS IN 1920.

AND THEN YOU'D HAVE SOME OTHER FAMOUS PERSON THAT WOULD.

KELLAR: YEAH.

AND THEN YOU WOULD WRITE THAT.

PATTERSON: THEY WOULD WRITE THE SHOW AROUND.

RIGHT?

AND THEN THERE WERE ALL THESE OTHER THINGS THAT CAME IN, ALL THE INTRIGUE.

KELLAR: AND SO THESE THINGS ARE ALL ON.

ARE ALL RECORDED?

PATTERSON: YEAH.

KELLAR: CAN A PERSON LOOK IT UP AND BUY IT?

PATTERSON: YEAH.

YEAH.

I THINK IF YOU GO, WELL, JUST GOOGLE IT AND YOU'LL SEE IT'S PROBABLY THE -- WHEN THEY FIRST CAME OUT THERE WERE DVDS AVAILABLE.

NOW IT MAY JUST BE STREAMING.

LIKE, I'VE BEEN ABLE TO GOOGLE TITLES AND GO TO AND SEE IT ONLINE, SO.

KELLAR: YEAH.

WELL MY THING IS IF I WANT I CALL CARMEN.

PATTERSON: THERE YOU GO.

KELLAR: HE KNOWS.

PATTERSON: HE'LL FIND IT.

KELLAR: YES, HE FINDS IT FOR ME.

I WANTED A RECORDING OF NO STRINGS.

PATTERSON: AH-HA, OH, THE OLD MUSICAL.

KELLAR: THE OLD MUSICAL NO STRINGS, ONE OF MY EARLIEST AND BEST.

AND NO BIG DEAL.

HE GOT THAT.

PATTERSON: OH, YOU GOT THAT FOR YOU?

KELLAR: YEAH.

HE CAN.

HE CAN GET ANY, ANY KIND OF MUSIC.

HE KNOWS WHERE ALL THOSE THINGS ARE LOCATED.

PATTERSON: YEAH, YEAH.

KELLAR: SO THAT WAS YOUR EMMY OR YOUR GRAMMY?

PATTERSON: UH, NO, THAT WAS THAT EMMY.

KELLAR: EMMY, OKAY.

AND THEN THE GRAMMY WAS FOR JAZZ ARTIST JAMES MOODY.

THE NAME OF THE RECORD IS MOODY 4B.

AND HE MADE THAT RECORDING WHEN HE WAS IN THE 80S, AND HE WAS PLAYING LIKE HE WAS 40.

WHAT AM I ALLOWING FOR?

PATTERSON: YEAH, RIGHT?

KELLAR: PEOPLE IN THEIR 80S CAN DO VERY INTERESTING THINGS.

RIGHT?

PATTERSON: YEAH.

SO IT WAS IT WAS A GREAT, GREAT RECORDING.

AND WE DID, AT THAT TIME, I THINK WE DID A DOUBLE SESSION, WE DID MAYBE TEN TUNES FOR ONE ALBUM, AND WE TURNED RIGHT AROUND A COUPLE OF DAYS LATER AND CAME BACK IN AND DID 10 OR 12 MORE SONGS.

AND HE JUST RIGHT THROUGH IT.

YEAH.

YEAH.

YEAH.

KELLAR: SO WHAT WAS YOUR PROUDEST THING?

WHAT WERE YOU MOST PROUD OF?

PATTERSON: GETTING MY MASTER'S DEGREE FROM EASTMAN, PROBABLY, BECAUSE IT WAS -- BECAUSE IT WAS -- KELLAR: THE HARDEST.

PATTERSON: IT WAS -- WELL, IT WAS THE MOST ENLIGHTENING.

KELLAR: YEAH.

PATTERSON: YEAH, IT WAS.

AND YOU WERE SURROUNDED BY THIS INCREDIBLE TALENT.

I'D SAY I WAS VERY PROUD OF THAT.

I'M VERY PROUD OF A LOT OF THE FILMS THAT I WORKED ON.

AND I'M PROUD OF MY CONCERT WORK AND STUFF THAT I WORKED ON.

KELLAR: SO YOU'VE DONE FILMS.

YOU'VE DONE CONCERTS?

PATTERSON: WELL, I'VE BEEN DOING MORE CONCERT WORK.

SO WHEN I WENT BACK TO NEW YORK, THAT WAS A DECISION OF MINE TO SPEND MORE TIME USING THE TRAINING I GOT AS A COMPOSER WHEN I WAS ACTUALLY AT CCM, BECAUSE, YOU KNOW, PAUL COOPER AND JOHN LARKIN, ALL THOSE GUYS JUST HAD A, YOU KNOW, THEY HAD A BIG EFFECT ON ME AS FAR AS WANTING TO PERSONALLY FIND SOMETHING THAT WAS I COULD CALL MY OWN AND PRESENT THAT AND SEE IF PEOPLE WOULD BE MOVED BY IT OR ENJOY IT.

SO I'VE BEEN WRITING LIKE STRING QUARTETS, AND I JUST FINISHED A VIOLIN CONCERTO FOR A VIOLINIST IN NEW YORK, MIRANDA COOKSON.

KELLAR: SO, YOU KNOW THE VIOLIN ALSO?

PATTERSON: YEAH.

WELL, I USED TO GET HIRED TO DO A LOT OF STRING WRITING.

KELLAR: OH, YOU DID.

PATTERSON: YEAH, THAT WAS A BIG SPECIALTY.

KELLAR: OH, YEAH.

YOU DID THAT.

PATTERSON: BUT WRITING FOR STRINGS FOR A FILM IS A LOT DIFFERENT THAN WRITING A CONCERTO.

KELLAR: I GUESS SO.

PATTERSON: YEAH.

YEAH, SO I'M EXCITED ABOUT THAT.

KELLAR: YEAH.

WELL, WHEN YOU SAY YOU DO CONCERTS, DO YOU MEAN YOU COMPOSE SOMETHING FOR CONCERTS OR YOU PERFORM CONCERTS?

PATTERSON: YEAH, BOTH.

I MEAN, I JUST DID THAT THING FOR MCDOWELL.

SO I PLAYED ON THAT.

KELLAR: AND YOU'RE GOING TO PLAY FOR US.

PATTERSON: I'M GOING TO PLAY FOR YOU.

KELLAR: ARE YOU GOING TO PLAY YOUR OWN COMPOSITIONS?

PATTERSON: I'M GOING TO PLAY ONE OF MY TUNES, SURE.

YEAH.

AND WHEN I DO CONCERTS IN -- WHEN I WENT BACK TO NEW YORK TO DO CONCERTS, IT WAS THE MAIN THING FOR ME WAS TO SAY, "OKAY, I'M JUST GOING TO WRITE SOME MUSIC AND GET SOME PEOPLE TOGETHER AND GIVE A CONCERT OF MY MUSIC, AND WE'LL SEE HOW IT GOES."

AND IT WAS SUCCESSFUL.

SO, YOU KNOW, EVERY YEAR I WOULD DO PROBABLY TWO CONCERTS.

AND I DID THAT FROM ABOUT 2003 OR 4 UNTIL TILL I LEFT.

SO YOU KNOW, SO THAT WAS -- KEPT ME BUSY AND -- KELLAR: HAVE YOU EVER COMPOSED ANYTHING FOR AN, LIKE, SYMPHONY ORCHESTRA?

PATTERSON: OH, YEAH.

YEAH, LOTS.

I'VE WRITTEN A LOT FOR ORCHESTRA.

I HAD A COMMISSION IN FROM -- KELLAR: THE LONDON SYMPHONY.

PATTERSON: THAT WAS WITH EDDIE DANIELS.

HE COMMISSIONED ME TO WRITE A PIECE FOR HIM WITH THE LONDON SYMPHONY, BECAUSE HE WAS GOING OVER TO DO A CONCERT AND SOME JAZZ STUFF, AS WELL AS PLAY THE COPELAND CONCERTO.

KELLAR: AND THERE WAS ANOTHER SYMPHONY.

PATTERSON: UM, I DID ANOTHER THING WITH EDDIE AT THE SANTA FE OR THE NEW MEXICO SYMPHONY ORCHESTRA.

UT DID SOME THINGS IN UTAH AS WELL.

I HAD A PIECE I HAD PREMIERED BY IN LOS ANGELES BY THE AMERICAN COMPOSERS ORCHESTRA, WHICH WAS PART OF THE LA PHIL, AND THAT WAS LIKE MY THIRD YEAR IN LA.

SO THAT WAS THAT WAS EXCITING.

YEAH.

KELLAR: SO YOU ARE THE BUSIEST.

I COULD NOT BELIEVE YOUR BIO.

[WHEN HAVE YOU HAD A VACATION ], OR IS IT A VACATION TO COMPOSE SOMETHING?

PATTERSON: WELL, NO, I'D SAY VACATIONS ARE NICE.

YEAH, I LOVE TO TRAVEL, AND I'VE BEEN TO ALL OVER EUROPE.

AND WHEN I LIVED IN CALIFORNIA, YOU USED TO -- I WAS MARRIED AT THE TIME, WE USED TO GO HIKING A LOT AND GO UP IN THE MOUNTAINS IN NORTHERN CALIFORNIA AS WELL, EXPLORE WINE COUNTRY.

KELLAR: IF YOU'RE NOT LISTENING TO YOUR OWN MUSIC, WHAT KIND OF -- WHAT DO YOU LIKE?

PATTERSON: UM, IT DEPENDS.

YOU KNOW, I'M PRETTY CATHOLIC ABOUT MY TASTES, LIKE, AS YOU WOULD IMAGINE, YOU KNOW?

KELLAR: I GUESS SO.

PATTERSON: IT'S FUNNY, I WAS FILING MY CDS THE OTHER DAY, FINALLY, AND I PUT THEM ALL OUT ON A TABLE BECAUSE I HAD TO FILE THEM.

AND I SAID, "WAIT A MINUTE.

I GOT MORE MUSIC FROM MY FRIENDS, CDS THAT THEY'VE SENT ME THAN I DO OF, LIKE, STANDARD REPERTOIRE.

SO I WAS LAUGHING ABOUT THAT.

BUT I THINK THAT'S WHAT HAPPENS WHEN YOU GET OLDER PEOPLE, YOU KEEP SENDING EACH OTHER THINGS.

SO I HAVE A LOT OF FRIENDS THAT ARE REALLY DOING SOME GREAT WORK, SO I LISTENED TO THEIR WORK.

I LOVE ALL THE STANDARD REPERTOIRE, LIKE, WHEN I WAS DOING THE VIOLIN CONCERTO, I WAS LISTENING TO SEBELIUS AND BRITTEN AND HINDEMITH AND, YOU KNOW, TCHAIKOVSKY, YOU KNOW, ALL THE STANDARDS.

KELLAR: OKAY, I WANT YOU TO TELL THE TRUTH.

ISN'T THAT INCREDIBLY UNUSUAL THAT SOMEBODY CAN COMPOSE FOR STRINGS AND OTHER, OBVIOUSLY THE PIANO, WHATEVER ELSE, WHATEVER.

I KNOW.

PATTERSON: I'D SAY IT'S MAYBE IT'S NOT AS UNUSUAL TODAY AS IT MAY HAVE BEEN, SAY, 50 YEARS AGO.

WHERE THERE WERE, LIKE, THE GUYS LIKE PREVIN, ELMER BERNSTEIN, BERNSTEIN, LEONARD ROSENMAN, WHO WAS A MENTOR TO ME.

JERRY GOLDSMITH.

THEY COULD ALL STRADDLE BOTH WORLDS.

KELLAR: THEY COULD.

PATTERSON: YEAH.

BOTH WORLDS.

MIKLOS ROZSA.

KELLAR: YEAH, BUT YOU'RE CALLING, YOU'RE NAMING 3 OR 4 PEOPLE IN THE WORLD WHO CAN.

PATTERSON: YEAH, YEAH, BUT THERE ARE MORE NOW OF MY GENERATION THAT DO BOTH.

LIKE, JEFF BEAL IS A COLLEAGUE AND HE'S HAVING PIECES PLAYED BY ORCHESTRAS ALL OVER THE PLACE NOW.

BUT HE WAS A JAZZ GUY AT EASTMAN AND WORKED IN FILM.

AND A FRIEND OF MINE, STEVE BRAMSON, WHO I WORKED WITH ON JAG, WHICH WAS A CBS SHOW.

I WORKED ON THAT FOR SEVEN YEARS WITH HIM.

KELLAR: ON JAG, YEAH.

PATTERSON: AND NOW HE'S JUST WRITTEN AN OPERA.

SO HE'S HAVING -- SO WE WERE -- KELLAR: HEAD IS SPINNING.

PATTERSON: SO WELL TRAINED AT EASTMAN WITH RAYBURN WRIGHT, MANNY ALBUM, BILL DOBBINS, ALL THOSE GUYS JUST THEY HAD THEIR CRAFT DOWN TO SUCH A FINE -- ON SUCH A FINE LEVEL THAT THEY WANTED YOU TO BE ABLE TO DO WHATEVER CAME UP.

AND SO YOU WERE BASICALLY TRAINING TO BE ABLE TO DO A CARTOON AND TURN RIGHT AROUND IF SOMEBODY WANTED YOU TO WRITE A SONATA FOR THEM.

YOU, YOU KNOW, YOU'D HAVE TO PUT SOME TIME INTO IT, BUT YOU COULD PROBABLY DO IT.

YEAH.

YEAH.

CRAZY.

KELLAR: WHERE WOULD YOU SAY IS YOUR CAREER AT THIS POINT?

ARE YOU LOOKING FORWARD?

I MEAN, YOU'RE NOT OLD ENOUGH TO RETIRE.

PATTERSON: NO, I'M CONTINUING.

KELLAR: NO, YOU'RE GOING TO, BUT YOU DON'T -- YOUR THING IS YOU DON'T HAVE TO RETIRE.

PATTERSON: NO, I DON'T.

KELLAR: YOU KNOW YOUR BODY, AS LONG AS YOUR BRAIN IS STILL WORKING, YOU'RE GOOD TO GO.

PATTERSON: YEAH.

I JUST I'M WRITING MORE.

I'M SUPPOSED TO HAVE A STRING QUARTET.

THERE'S MY STRING QUARTET BEING PLAYED IN TOYAMA IN JUNE.

THAT'S GETTING A PREMIERE.

KELLAR: SOUTH JAPAN.

PATTERSON: JAPAN.

AND I WAS SUPPOSED TO GO TO BULGARIA.

KELLAR: BULGARIA?

COME ON.

PATTERSON: YEAH.

IT'S SOFIA.

I WAS SUPPOSED TO GO THERE NEXT YEAR AS A RESIDENT COMPOSER FOR THE BULGARIAN SYMPHONY.

KELLAR: AND YOU SAID IT'S SUPPOSED TO, ARE YOU GOING TO GO?

PATTERSON: NO, I'M GOING.

YEAH, I WAS SUPPOSED TO GO THIS YEAR.

KELLAR: OH, I SEE.

PATTERSON: BUT WELL, I DON'T WANT TO GET INTO TO TRAVEL ISSUES.

RIGHT?

YEAH, BUT WE RESCHEDULED IT FOR NEXT YEAR.

KELLAR: SO.

BULGARIA.

SOFIA.

YEAH.

WHAT WILL YOU DO THERE?

PATTERSON: WELL, THEY HAVE AN EVENT THAT THEY'VE STARTED TO RUN THIS PAST 3 OR 4 YEARS, AND IT'S CALLED THE SOFIA SYMPHONIC SUMMIT.

AND THEY INVITE COMPOSERS AND CONDUCTORS.

AND THE COMPOSERS EITHER DO SOME FILM OR THEY DO A CONCERT PIECE.

AND THEY WORK WITH A NEW CONDUCTOR AND THE ORCHESTRA IS THE ORCHESTRA.

AND THEN MY GIG IS TO WORK WITH THE COMPOSERS AND HELP THEM GET THEIR SCORES READY FOR THE ORCHESTRA.

KELLAR: ARE YOU A CONDUCTOR ALSO?

PATTERSON: YEAH, I'VE DONE A LOT.

KELLAR: I KNEW IT.

PATTERSON: YEAH, I DID.

KELLAR: YOU'RE THINKING, WHAT CAN I ASK HIM THAT HE HASN'T -- THAT HE HASN'T DONE.

MUSICALLY, THAT WOULD BE TOUGH TO FIND.

YOU REALLY ARE THE RENAISSANCE MAN OF MUSIC.

WOW.

PATTERSON: I WORKED HARD AT IT.

KELLAR: WHAT'S THE MOST FUN?

PATTERSON: OH, STANDING IN FRONT OF AN ORCHESTRA IS, LIKE, GREAT, GREAT FUN.

THAT'S GREAT FUN.

KELLAR: YEAH.

WOULD YOU EVER CONDUCT LIKE THE CINCINNATI SYMPHONY?

PATTERSON: ONLY IF THEY WERE ASKING.

KELLAR: OH, YES.

YEAH.

PATTERSON: BUT, NO, I MEAN, CONDUCTORS LIKE CARMEN WERE ALWAYS AN INSPIRATION TO ME.

LIKE, WHEN I WAS AT CONSERVATORY.

AND I ALWAYS HAD A SORT OF A NATURAL FEELING FOR IT.

SO WHEN I GOT IN THE STUDIO, IT WAS NOT A DIFFICULT THING FOR ME TO CONDUCT.

AND I CONDUCTED A LOT OF FILM, SO.

I CONDUCTED LEONARD ROSENMAN, WHO WROTE THE SCORE TO EAST OF EDEN AND REBEL WITHOUT A CAUSE.

KELLAR: OH YEAH.

PATTERSON: YEAH, I CONDUCTED AND ORCHESTRATED HIS LAST MAJOR FILM THAT WE RECORDED IN SOFIA.

THAT'S HOW I -- THAT'S WHY I BROUGHT UP SOFIA.

IT'S LIKE A -- IT'S LIKE A CONNECTION.

BUT LEONARD WAS, UH -- HE WAS -- WELL, HE WAS A BRILLIANT MUSICIAN.

THAT GUY WAS LIKE AN UNBELIEVABLE.

KELLAR: SO, YEAH, WE HAVE TO SAY GOODBYE.

PATTERSON: OH, WE DO.

KELLAR: BECAUSE WE WANT TO HEAR YOU PLAY.

PATTERSON: OH, OKAY.

KELLAR: YEAH, IT'S A GOOD REASON TO.

PATTERSON: GOOD REASON TO STOP.

KELLAR: YEAH.

THANK YOU SO MUCH.

PATTERSON: OH, I APPRECIATE YOU HAVING ME ON.

I REALLY DO.

THANK YOU.

ANNOUNCER: JOIN US NEXT WEEK FOR ANOTHER EPISODE OF SHOWCASE WITH BARBARA KELLAR RIGHT HERE ON CET.