Song of Lahore

Song of Lahore begins as a lamentation for Pakistan's music industry, which has struggled against great odds, but the film winds up being a celebration. Saleem Khan, a violinist, learned the trade from his father, who played on film scores. Now Khan can't find instrument parts for his violin, because so few people in Lahore play them. As conductor Asad Ali explains, the coup of General Zia-ul-Haq, who attempted to establish an Islamic Republic, marked the beginning of the end. Without films and concerts, musicians turned to manual labor to support their families. In the 2000s, after the dust had settled, Izzat Majeed opened Sachal Studios. But the musicians are still seen as lower caste, and flutist Baqir Abbas's minority status as a Shia Muslim makes his situation even more precarious. The rise of the Taliban further complicated matters, but the players have found ways to persevere. Abbas, who comes from a family of musicians, even makes his own instruments. "When you make it with your hands," he says, "your flute feels more precious than your own soul." While the studio offers solace, the ensemble finds a more receptive audience for their music outside of Pakistan, so they incorporate Western genres, such as jazz, in order to create a global sound. The move pays off when their version of Dave Brubeck's "Take Five" becomes a hit, leading to a gig with New York's Jazz at Lincoln Center Orchestra. The initial rehearsals are a mess, and Wynton Marsalis lets one player go, but the final concert leaves few dry eyes in the house. Highly recommended. (K. Fennessy)