Thoughts on Turkish jazz not making it abroad

The moment I saw the Ukrainian Institute’s Jazz Prize post, this article practically wrote itself. The best jazz group of 2025 gets a European tour, and there are two special awards: one offers a one-day studio recording, the other a consultation meeting with a record label.

In Turkey, jazz does receive a fair amount of support. How that support is used, however, is an ongoing debate within the sector — and a topic for another piece altogether. What follows is simply a murmur about enabling jazz produced in Turkey to cross national borders.

The Ukrainian example is state-supported. Expecting that kind of support for jazz here may be a luxury, but private institutions investing in jazz could easily make it happen. As someone who has been watching local jazz largely stand still for over 20 years — despite its clear potential — I genuinely wonder why such an initiative has never fully materialised. In the past, some international support was provided by jazz institutions, but much of it went to projects that were not even adjacent to jazz. This, again, opens up the long-standing debate about whether jazz organizations should be exclusively about jazz. I have always believed that jazz organisations can be supported by non-jazz events that attract audiences and generate resources. However, if an organisation carries the label 'jazz', I also expect jazz to remain at its core. Especially when it comes to international support for local musicians — if that support is provided by a jazz organisation, is it really so unreasonable to expect the recipients to be jazz musicians?

You can find more than just a “murmur” on this subject in my 2019 piece A Night Walk In Chase of Music, written in the context of the Istanbul Jazz Festival’s Night Out events.

The answer to “why” lies partly in the fact that sponsorship has increasingly turned into a form of advertising investment, and partly in the limited number of people in key positions who are both competent and genuinely motivated to create value. Of course, the economy does not make things easier, and I do not ignore the challenges on the organisational side. Still, I maintain that if there is will, a way can always be found.

Organising a European tour for a young band could cost less than booking a non-jazz international act simply to boost a festival program. As for the logistics — there is no need to reinvent the wheel. For institutions already active in jazz, this would be child’s play. What’s needed is awareness and intent. Turkey is not currently part of the international touring circuit, and musicians cannot achieve this on their own. With a small but determined effort, a concept like 'Jazz from Turkey' could be established.

For a country with such a rich musical heritage, I find it deeply disappointing that its name is barely mentioned in the international scene. And the fact that we keep losing incredibly talented young jazz musicians to popular music even more so.

I can almost hear the voices: “Oh come on, Özlem — with everything going on in the country, this is what you’re worried about? Jazz? It’s like selling snails in a Muslim neighborhood.” Fair enough. But someone will keep selling those snails — and some will keep eating them. And did you know Turkey is actually a major exporter of snails? Since domestic consumption is low, they are exported to Europe. When there is already such a clear model to take inspiration from, what more is there to say? 

Before I end this, I'd like to quote from an earlier article of mine on the same topic — because since I wrote it in 2021, neither the conditions nor my views have changed.

"We now have far more original and exciting creations in jazz. However, when viewed from abroad, can we really speak of a distinct “Turkish jazz,” or of a country that is part of the European touring circuit? Not really — aside from a handful of individual efforts. This is not due to a lack of talent, but rather our inability to effectively present and circulate that talent.

One of the main reasons, of course, is the absence of public funding that exists in most European countries to support this process. Another is the limited number of trained professionals in artist representation. We continue to lose a significant number of jazz musicians to pop music — understandably, as they need to earn a living — but as this inevitably reduces the time they can dedicate to their own music, the quality of their output falls short of its full potential. Even musicians who rely solely on jazz often perform in other projects almost every night, leaving little time for their own creative work. I remember when speaking with Jazzahead host Götz Bühler after a showcase,  Dutch pianist Rembrandt Frerichs mentioned that his trio rehearses every week, regardless of whether they have upcoming performances. Hearing that, I may well have had tears in my eyes. One or two rehearsals before a concert, after not playing together for a long time, may be enough to recall the repertoire — but that sense of solidity, communication, and shared language that comes from playing together consistently is something else entirely. It is difficult to expect that level of finesse as long as musicians are constantly under pressure to make ends meet.

The number of jazz concerts remains limited, and fees are significantly lower compared to pop. As a result, this way of working — born out of necessity — gradually becomes a default mode for many musicians, and jazz risks being reduced to a secondary pursuit.

Everyone has a role to play in strengthening the presence of Turkish jazz, both locally and internationally. First and foremost, musicians need to strike a balance between artistic passion and financial necessity — because without authentic and heartfelt production, none of this holds meaning. It is equally important for festival and club programmers to look beyond their immediate circles, to adopt more distinctive curatorial approaches rather than relying solely on box-office guarantees, and, where possible, to develop projects that enable collaboration with international artists.

I am not suggesting that these efforts do not exist, but I believe jazz in Turkey could benefit from a stronger sense of mission. And of course, a significant share of responsibility lies with sponsors who provide financial support to the sector. In Turkey, this support is largely used to bring international jazz artists into the country. While this allows us to experience outstanding performances — and that is undoubtedly valuable — it may now be time to turn greater attention toward the jazz being created here.

Albums and concerts by jazz musicians in Turkey are often sustained through personal networks. However, brands associated with jazz — as well as those open to supporting it — could go beyond event sponsorship and develop national and international initiatives that actively support Turkish jazz. This is crucial, as the jazz ecosystem in Turkey is not yet self-sustaining and remains unable to fully realize its potential. "