WHALESONG

Music touches lives human and otherwise in this true zoo tale from the 1970s.

A jazz flautist named (ironically) Paul Horn meets captive orcas Haida and Chimo at an aquarium on British Columbia’s Victoria Island, along with a scientist, Dr. Paul Spong, who’s been studying the effects of recorded music on the whales. With Dr. Spong’s encouragement, Horn agrees to sit poolside with his two sons and play live. Astonishingly, the marine mammals not only listen attentively, but also respond with calls of their own. Sometime later, after Chimo dies, Horn returns with his children to revive the grieving, failing Haida with dancing and happy tunes. OHora relates the encounters in rhapsodic, occasionally over-the-top tones—“Gorgeous melodies filled the air.” “For a moment, they were all free in a realm of pure joy”—before concluding with poignant sentiments about the suffering of orcas in captivity and further information about the apex predators, about Horn, and about Spong’s ongoing research. In illustrations “inspired by music on vinyl,” abstract tufts of sound float up from the flute as the orcas swim and splash in claustrophobic surroundings. Chimo’s rare partial albinism is accurately depicted. Human figures are uniformly pink-skinned, but they’re likewise drawn with individualized features.

Schmaltzy but affecting.