Following its independence from British rule, Pakistan has witnessed significant developments in the Pakistani jazz scene. What made it possible is the collaboration of Pakistani artists with numerous artists from the West. 

In the ‘50s, the singer-saxophonist Jannu Vaz formed a band with two soon-to-be extremely influential artists in Pakistani jazz music, saxophonists Alex Rodrigues and Dominic Gonsalvez. Rodrigues believed this band to be the first jazz group in pre-independence Pakistan. In the ’50s and ’60s, American jazz legends Dave Brubeck, Duke Ellington, and Dizzy Gillespie performed in concerts and gigs, which was crucial. These gigs allowed for collaborations across cultures. 

Pakistani jazz has also taken influences from Indian classical music and music from other countries. This influx of influences imparts distinct qualities as well. Pakistani traditional music does have similarities to that of India, due to their shared foundation. However, Pakistan has diversified its music with its regional styles and instruments, and also with elements from Central Asian, Turkish, Persian and Arabic traditions.

What we know as “Pakistani jazz” is the amalgamation and infusion of all these influences over the decades.  Jazz now is not necessarily more intricate or complex; it is more diverse and open than ever before. In this article, we have listed five notable and influential Pakistani Jazz albums from the 21st century that you should check out.

Now that we have passed the first quarter of the 21st century, this "Jazz in Around the World" series of articles aims to highlight key releases from specific countries by artists or groups who did not release albums under their own names during the 20th century. Our goal is to ensure that new talents are not overshadowed by legends and to offer you the opportunity to discover amazing new musicians and albums.

If you wish to contribute to this series for a specific country, feel free to contact us.

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Sachal Studios Orchestra’s Interpretations of Jazz Standards & Bossa Nova is a remarkable fusion of Eastern and Western musical traditions. The Sachal Studios Orchestra is a group of traditional musicians and singers who were brought together by a benefactor, philanthropist Izzat Majeed. This ardent devotee of music not only formed the Sachal Studios Orchestra, also created its offshoot, the Sachal Jazz Ensemble.

Based in Lahore, Pakistan, the ensemble comprises veteran musicians who, under the patronage of Majeed, found a platform where they can make music. At the time when both the Pakistani music scene and film industry were seemingly way past the glorious days, Majeed decided to rekindle the fire of traditional music fused with western sensibilities. Teaming up with his old friend, music producer Mushtaq Soofi,  built a new studio and amassed artists to form the Sachal Studios Orchestra.

Majeed has been driven by his passion for music, especially traditional Pakistani music and jazz, throughout his life. At the age of eight, with his father, Majeed went to watch Dave Brubeck perform in Lahore. He was enthralled by Brubeck’s “Take Five.” In his own words, “It was just a phenomenal, fantastic piece of music.” With his Sachal Orchestra, he essentially rescued Pakistani musicians and brought them together to make music.

The album Interpretations of Jazz Standards & Bossa Nova was recorded on the outskirts of Lahore in a state-of-the-art studio. This album is enticingly unique. The ensemble reinterpreted beloved jazz standards displaying immaculate fusion of the East and the West. It was another step towards Majeed’s goal to breathe a new life into Lahore’s musical traditions.

Unsurprisingly, the album opens with “Take Five,” however, this iconic jazz piece is now embellished with sitar and tabla and reimagined through the lens of South Asian tradition. Jazz legend Dave Brubeck himself cited that this version was the most interesting and different recording of Take Five that he had ever heard.

‘Desafinado’ by Antonio Carlos Jobim, a classic bossa nova song, is also featured with microtonal nuances and traditional instruments. Sachal Orchestra’s version of ‘The Girl from Ipanema’ offers a fresh perspective on the standard as well,by blending Brazilian melodies with South Asian instrumentation. This whole record, from start to finish, is a unique cross-cultural experience.

Discover next: The 10 Best Indo Jazz AlbumsThe 10 Best Indo Jazz Albums

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Born in Karachi, New York-based guitarist and composer Rez Abbasi does not need any introduction. From his first album till now, he has established himself as someone who is always exploring the boundary of fusion between his Western influences and his diverse musical heritage. His 13th album, A Throw of Dice, is another exceptional project in his diverse oeuvre.

After moving to Los Angeles with his family, Abbasi took a keen interest in learning guitar. He played with rock bands in his early days in LA, however, he was soon driven to jazz and Western classical music owing to his newfound inspiration in the works of vocalist Ella Fitzgerald and guitarist Joe Pass. Later, during his time in India, Abbasi discovered his fascination for the traditional music of India as well as Pakistan.

A Throw of Dice does feature his unique and syncretic blend of all of his influences, but this record is especially distinguishable from his other albums. The tracks of this album were composed for an Indo-German silent film, A Throw of Dice (A Romance of India) made by the German director Franz Osten. It was his first commission for writing soundtracks for a film. 

For Abbasi, it was as exciting as it was intimidating. With his group, The Silent  Ensemble, he has created something that has copious creative ideas. This album is aurally pleasing both with and without the moving imagery, which was actually what he envisioned.

Needless to say that all the songs incorporate both Eastern and Western instruments. Abbasi’s playing is more chordal and arpeggiated in comparison with his previous works; in addition to that, his melodic ideas were often articulated in a way that resembles Indian classical instruments such as the sitar. Another factor that makes this record unique is the rhythm on the mridangam and ghatam played by Rohan Khrishnamurthy.

With nearly 74 minutes of runtime, A Throw of Dice makes extensive use of dynamics, motion and color, and moves through a variety of moods. The opening track, ‘Mystery Rising’, works like a minimalistic symphony that showcases all of the different approaches. On the other hand, ‘Wedding Preparation’”’ is a gnarly jazz piece with its complex rhythm, thumping double bass and interplay between sax and guitar. Without a shred of doubt, this is one of Abbasi’s most unique projects.

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If you want a record that showcases the profound exploration of spiritual jazz, i.e. an immaculate blend of Hindustani classical music with elements of hip-hop and funk, the debut studio album by the Lahore-based jazz quartet Jaubi, Nafs at Peace, is what you need. This seven-track album, featuring largely instrumental pieces, picks up the baton passed to them by the great musicians of the past, such as Don Cherry, Mahavishnu Orchestra, Yusuf Lateef and John Coltrane to name a few.

Formed in Lahore, capital of Pakistan, in 2013, Jaubi comprises Ali Riaz Baqar, Zohaib Hassan Khan, Qammar “Vicky” Abbas, and Kashif Ali Dhani. Their international fame came about in 2020 following the collaboration with UK multi-instrumentalist Ed “Tenderlonious” Cawthorne’s album Ragas from Lahore. This album worked as a declaration of the emergence of a new wave in the Pakistani Jazz scene.

The album was recorded in two sessions, one in Lahore and the other in Oslo, Norway, with Tenderlonious, on flute, and Polish composer Marek “Latarnik” Pędziwiatr, on Grand Piano, who has composed the track  ‘Mosty.’ During the sessions Ragas from Lahore, Jaubi had conceptualized and recorded their separate composition Nafs at Peace. This was the genesis of their debut album. 

Thematically, the title refers to the Qur’anic concept of “Nafs,” meaning the ego or self. As per the text, there are three levels of nafs, which represent the soul’s journey through successive stages of self-development. As the record progresses, Jaubi mirrors this progression in an epic sonic narrative driven by their experiences of bereavement, divorce, drug addiction and crises of faith.

Take the opening track, ‘Seek Refuge,’ the pensive ambient soundscape invites introspection with Zohaib’s ephemeral sarangi melodies and Baqar’s delicate guitar playing. ‘Raga Gujri Todi’ is a stand-out piece. It begins with an ominous drone under mournful sarangi, before opening a portal into a dynamic jazz fusion of drums and synths resembling sort of an inner turmoil.

The title track, ‘Nafs at Peace,’ is a spiritual jazz raga, inspired by John Coltrane’s A Love Supreme, which opens like a conventional jazz piece. The featured soprano sax solo by Tenderlonious is akin to a force of nature, which, along with the others, reels the cathartic finale of this record, symbolizing the long-awaited state of inner peace.

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Brooklyn-based Arooj Aftab is a Pakistani composer and classically trained vocalist who is known for blending Sufi mysticism with jazz and minimalism. Released in 2021, her third album, Vulture Prince, is her aspiration that would “transcend boundaries”. It is a figurative revisit to a place that she can call ‘home.’

A Berklee College of Music graduate, Afrooja’s voice is ethereal and rich. Her songs are characteristically layered with harp, guitar, and electronica, and draw inspiration from both Western and Hindustani classical traditions. Despite the blend of a multitude of instruments and genres, her songs retain a minimalist quality–another trait of her music.

Vulture Prince was recorded over the period of five years, the album features collaborators like harpist Maeve Gilchrist, along with many more on violin, viola, guitar, synth and drums. When it comes to the themes, the tracks revolve around themes of people and the dynamics of their relationships, friendships, grief and longing. During the development of this album, Afrooja was grieving over her brother’s death, and the album uncannily traces out her journey towards acceptance.

The album is meditative, tender, and haunting, owing to Afrooja’s voice and delicate arrangements. The track ‘Mohabbat’ has won the Best Global Music Performance at the 64th Annual Grammy Awards. Poems and Urdu Ghazal have always been key to her music, and this track features poet Hafeez Hoshiarpuri’s verses in a slow and elegiac arrangement. Also, the lyrics of “Last Night” juxtaposes an old poem by Rumi with its English translation, which sounds as spiritual and sacred as it was intended.

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Born in Lahore, Noor Zehra Kazim is a distinguished classical musician of Pakistan who plays Sagar Veena, as the title suggests. She is the only sagar veena player in this whole world, it makes her truly ‘one of a kind.’ 

Veena is a stringed instrument used in Asian traditional music, particularly in India. Noor Zehra’s father, Raza Kazim, was the one who invented Sagar Veena, taking inspiration from two other instruments from the same family. Noor Zehra and her father run Sanjan Nagar Institute of Philosophy and Arts, this is where the Sagar Veena was developed.

Apparently, Raza wanted to create a perfect instrument of classical music which would resemble, or even surpass, the human voice both in terms of range and quality. The softer and delicate note sounds are clearly audible in the sagar veena, which separates it from other instruments and is a delight to hear. 

Although The Sound of Sagar Veena will leave you awestruck despite featuring only three meticulously crafted tracks. Each track is based on three different ragas associated with three particular times of a day.

The first track is based on Raag Bhairav, which is traditionally performed in the morning and as the beginning piece in concerts as well. Noor Zehra’s playing is solemn and peaceful. The grave mood she creates in this is actually what this raag was supposed to sound like, serious and devoted.

The next one is ‘Raag Aiman Kalyan’, which represents the contemplative mood of dusk. It is one of the grandest and most fundamental raags in the Hindustani tradition. Noor Zehra plays this raag with absolute perfection. 

‘Raag Gaud Sarang’ is the final track on this album. The associated period of time, known as prahara, is from midnight to 3 in the morning. Noor Zehra showcases the gossamer and ephemeral voice of her veena on this track.

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Pakistani Jazz: The Best Releases of the 21st Century

• Sachal Jazz and Sachal Studios Orchestra – Interpretations of Jazz Standards & Bossa Nova (Sachal Music, 2011)
• Rez Abbasi – A Throw of Dice (Whirlwind, 2019)
• Jaubi – Nafs at Peace (Astigmatic Records, 2021)
• Afrooja Aftab – Vulture Prince (Verve Records, 2022)
• Noor Zehra Kazim – The Sound of Sagar Veena (Old Heaven Books, 2025)

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Have we missed an album you love? Is there an emerging artist we should know about? Drop us a line in the comments—we would love to keep the conversation going. In the meantime, just immerse yourself in these 5 outstanding jazz releases from Pakistan.