When Californian Teddy Abrams, perhaps the youngest conductor of a major American orchestra, came to Kentucky, Louisville Orchestra supporters wondered whether he would seek to capitalize on the orchestra's existing renown in the field of contemporary music, or begin to cultivate the kind of broadly accessible repertoire that has benefited Giancarlo Guerrero's Nashville Symphony, among others. With All In, strikingly, he does both, and it would seem that if he could not find concert music that exactly filled the bill for what he was looking for, he simply wrote some himself. All In is not a crossover album, but something more ambitious: an album that programs classical and popular selections together and attempts to make sense of them together. Gershwin isn't present on the program, but he seems to be one of the influences on Abrams' opening "Unified Field," with its jazzy piano part. Jazz is present, too, in Copland's "Concerto for clarinet and string orchestra" with harp and piano, but before you get there the program switches into full pop mode in the hands of a television voice competition with the unlikely name of Storm Large. It's novel that one of her two songs, "A Woman's Heart," is of her own composition; the other is by Cole Porter. The classical and popular selections seem to flow naturally from one to the other, not to clash, and one is eager to hear further experiments from Abrams in this vein.