Selen Beytekin, a celebrated name in the Turkish jazz and pop music scene, has a story that is both unconventional and inspiring. Despite her success, Beytekin’s path to music wasn’t paved by formal training or a conservatory education but was instead shaped by her family's deep-rooted passion for music and her own curiosity and love for the craft.

I had the privilege of hearing her story before her performance at the Anda Barut Collection, where she took the stage as part of "Soul Vibes" project and delivered an unforgettable performance alongside Şenova Ülker (trumpet), Engin Recepoğulları (saxophone), Ercüment Orkut (piano), Ozan Musluoğlu (bass), Ferit Odman (drums), and vocalists Elif Demirbağ, Yağmur Bakar, and Zeki Bozkurt.

"I never studied at a conservatory, nor did I take any formal singing lessons," Beytekin explains. "But from a young age, I was surrounded by family members who, while not professional musicians, were deeply involved with music. My mother played the piano, my father played the guitar and sang, and my grandfather could play almost any instrument – piano, saz, bağlama, flute, harmonica. I grew up witnessing all this, and naturally, it influenced me."

Beytekin’s musical career began at the age of 7 when her family noticed her interest in the piano. "My grandfather and I used to play around with the piano at home. Seeing my interest, my family decided to get me lessons. Interestingly, for the first year, I didn’t even have a piano at home. They wanted to be sure I was committed before investing in one, so I practiced finger exercises on the dining table. But when they saw my dedication and how much I enjoyed playing, they decided to continue with the lessons."

Her early experiences were not just limited to the piano. Beytekin was constantly performing – whether it was singing in choirs, playing guitar, dancing or even acting in school plays. "I was always on stage. I never had stage fright or any hesitation. Being on stage felt like being at home for me, I felt a sense of belonging the moment I stepped up. While others might get nervous, I would think, ‘Let me get up there and enjoy the moment.’"

A significant turn in her musical education came when she began taking lessons with Ergican Saydam, a renowned Turkish pianist and piano pedagogue. "I started my piano lessons with Ayla Saydam, Ergican Bey’s first wife. She was the one who saw my potential and introduced me to Ergican Bey. Even though he wasn’t teaching anyone else at that time, he decided to take me on as his private student, providing an education equivalent to a conservatory."

Despite her early success, Beytekin faced a pivotal decision when she was invited to join a conservatory program. "I took the conservatory entrance exam while still in elementary school and was accepted. The director was ready to enroll me in a rigorous training program, but when he mentioned that it would mean dedicating seven to eight hours a day solely to music with no other subjects, I hesitated. I asked if there would be any classes like physics or math – my parents being engineers, instilled a love for science in me, too. When the answer was no, I realized I didn’t want to limit myself to just music. So, I chose not to pursue the conservatory path, but I continued my lessons with Ergican Saydam."

Her time with Saydam allowed her to play masterpieces by Beethoven, Chopin, Liszt and Rachmaninoff, reaching an advanced level in classical piano, something she attributes to Saydam’s exceptional teaching.

ITÜ a cappella

Beytekin’s passion for music continued to grow as she entered Istanbul Technical University (ITÜ) at 17 to study civil engineering. It was during her first year that she founded the Jazz A Capella Choir, a project that would significantly shape her musical career.

"Before that, I was part of the European Voices choir, formed by the Vienna Conservatory. It was a rare opportunity as I was the only member outside of Austrian or German high schools. We practiced under the direction of a teacher from the Vienna Conservatory. When he stopped coming, I thought, why not start a choir of our own?"

Beytekin faced resistance from some within the university’s conservatory, who questioned her qualifications and attempted to block her efforts. "The head of the conservatory at the time even tried to shut it down, saying things like, ‘Who do you think you are to start an a cappella choir?’ But I was determined. I went ahead and formed the choir, drawing members not only from the engineering departments but also from outside the university."

The choir soon became a haven for students from various backgrounds – those who were not formally trained in music but possessed incredible talent and a passion for singing. "The choir was special because it was composed of highly talented students from different fields. These were people who approached music with fresh perspectives and unique backgrounds, and together we created something extraordinary. It was a blend of different talents, a harmony that was both beautiful and profound. For me, the most important thing was to show that you don’t have to be a professional musician to perform at a professional level."

Meeting with Ilham Gencer

During her third year of university, Beytekin was persuaded by family members, including their grandmother, aunt and mother, to attend a tango night – an event she initially regarded with reluctance. However, the evening took a significant turn when Ilham Gencer, a veteran pianist, made a memorable entrance. Gencer, who greeted everyone with warmth, also invited guests to dance and engaged in a conversation about his expertise in piano and jazz singing. This exchange of musical passions led to a deep connection between them.

Gencer’s admiration for Beytekin's performance on stage was evident when he described her as "his latest discovery." Gencer’s mentorship marked a pivotal moment in Beytekin's life and career.

Galataport Jazz Festival

The idea for a jazz festival at Galataport originated from a previous concert held there. Beytekin, having established a good rapport with the Galataport team, proposed the festival idea, which was warmly received. She aimed to create a high-quality event without succumbing to economic pressures, using her professional connections and efforts to keep the festival budget modest. Their goal was to offer a free concert accessible to all, including a significant performance on April 30, International Jazz Day.

Despite a professional background in construction engineering – with projects spanning hydroelectric power plants, restorations and urban transformations – her passion for music remained a vital aspect of her life. Balancing a demanding career in a predominantly male industry with music performances was challenging but allowed her to pursue her artistic ambitions.