Growing up listening to Ajda Pekkan’s records and developing her own unique style as a student of the legendary Nükhet Ruacan, Jülide Özçelik is one of the most special voices in Turkish jazz. She is now taking her long-standing, unwavering musical partnership with Cem Tuncer on a multifaceted journey with the “Batuhan Aydın Folk Quartet,” led by kaval (Turkish flute) artist Batuhan Aydın.
The album “Homewards,” released on April 24, 2026, blends the microtonal richness of Anatolia and the Balkans with the free language of modern jazz. Featuring Nikolaus Grill on piano, Kağan Yıldız on double bass, and Ediz Hafızoğlu on drums, the project also includes contributions from master musicians such as Ara Dinkjian, Nils Petter Molvær, and Cenk Erdoğan.
The album, which also stands out with its technical production, was mastered in Vienna by Christoph Stickel, who works with global giants in the field. Its visual world is crowned by a work created specifically for this album by artist Beyza Boynudelik. With its limited edition vinyl pressings and hand-numbered special series, the project has become a work of art for collectors as well. The album was launched in Vienna on May 8th.
When you close your eyes, what is the first ‘musical memory’ you recall from your childhood? A record playing in the house, a song on the radio, or a voice that captivated you…?
I loved Ajda Pekkan’s song ‘Viens dans ma vie’, and the Turkish version was ‘Baksana talihe’. I would listen to Onno Tunç, Turhan Yükseler, Melih Kibar, Nükhet and Neşet Ruacan with great excitement and never missed an episode.
At Bilgi University, you studied with the legendary Nükhet Ruacan, whom we lost in 2007. How did being her student influence your vocal style and stage presence? Is there a particular song that reminds you of her the most, a song you miss hearing her sing?
Meeting and getting to know my dear professor Nükhet Ruacan at Bilgi University was an incredible stroke of luck for me. Her positivity, tireless efforts, unwavering stance, and the laughter that echoed through the corridors were unforgettable. She believed in us and supported us greatly, paying individual attention to each of us developing our style. Sadly, we lost her at a very young age. I still feel very sad about it. My favorite songs to listen to from her are ‘Umut’ (Hope) and ‘One Way Ticket’.
You have a long-standing musical partnership with Cem Tuncer. How would you describe the contribution of this harmony to your production process and stage energy?
Cem Tuncer, a friend from school, and I even lived on the same street for a while. I’ve known him since 1998. When I shared my project idea with him in early 2006, he managed to get the album ready by April 2006. He’s a very hardworking and skilled guitarist and arranger. He really believed in the project, and we started our musical journey together that same year. Since then, we’ve participated in countless concerts, projects, and events. We still work together. Every relationship you invest in becomes valuable; the moments you share, the paths you take, the places you see, the stages you play on, the meals you taste—they all accumulate in your bag as memories. This includes pain, difficult times, and losses. We grow together, musically, of course… Sometimes even just making eye contact is enough. He provides incredible comfort for me on stage. Besides being a very good musician, the friendship that has come over the years is very reassuring. This also contributes positively to our music.
While bringing your Turkish-language jazz works to life, what were your feelings during the process of blending the sound of our mother tongue with jazz harmony? What elements challenged or excited you?
I wanted to make an album in the language I speak, because I believe I can express myself more accurately there. It wasn’t difficult; on the contrary, everything flowed very smoothly.
In your albums, you feature works by folk poets ranging from Neşet Ertaş to Aşık Veysel. When blending a folk song with jazz music, how do you strike a balance between preserving the spirit of the work and remaining faithful to tradition, while also giving it a new identity?
I try to understand and protect their feelings. The manifestation of spirituality is a matter that should be taken very seriously. Maintaining respect is crucial. That is my principle.
Is the blending of folk songs with jazz a way to tell the local story of Anatolia in a universal language? Does the listener hear the geography in this music, or a common ache that resonates all over the world?
We set out with a universal understanding of music, inspired by the feelings these lands evoke in us. Human suffering and pain are similar, varying in degree. The influences of these lands will inevitably provide a geographical clue. As Neşet Ertaş said, ‘The soul is the same soul.’ Pain and suffering are similar, more or less, varying according to people’s spiritual awareness.
When creating your albums, what kind of connection did you aim to establish with the listener?
The philosophy of ‘There is a path from heart to heart, unseen,’ again the path of Neşet Ertaş, establishing spiritual contact was important to me. In a time when emotionless and insensitive contact takes precedence over everything, being able to connect with people who have depth was a priority. The feedback I received convinced me that we established this connection. I am very grateful to everyone who listened to and understood us.
How do you observe the changes in the jazz audience in Türkiye since your first album? What are your new projects?
We paved the way with the album we released in 2008; it was a period of stagnation. Then there was a surge of activity. Production continues to this day. We’re releasing a new album at the end of April. It’s a microtonal album; we recorded it with modern flute solos and surprise guest musicians. We’ll be releasing updates very soon. The album launch will take place at a concert in Vienna on May 8th. We’re continuing with concerts.
Batuhan Aydın Folk Quartet & Jülide Özçelik
Jülide Özçelik: vocals
Batuhan Aydın: kaval (Turkish flute)
Nikolaus Grill: piano / arrangements
Kağan Yıldız: double bass
Ediz Hafızoğlu: drums
Guest Artists
Ara Dinkjian: oud
Nils Petter Molvær: trumpet
Cenk Erdoğan: guitar
Technical Team
Berk Kula: Mixing
Christoph Stickel: Mastering
Ozan Sarıboğa: Recording
Taner Ersoy: Recording
Beyza Boynudelik: Cover art (artist)
Zülkarneyin Karanfil: Photography
