In our country, traditions such as jazz, Alaturka, and Alafranga may initially seem to harbor a deep contrast. Whether this perception of contrast is inherent to the nature of these musical genres or whether it reflects ongoing political, economic, and geopolitical dynamics remains an open question. Considering jazz's relationship with improvisation, as well as its continuous references to its own history, key figures, and accumulated literature, its ability to be both free and spontaneous, yet also conservative and didactic, makes it highly comparable to the traditions we consider Alaturka, such as Turkish Art Music and Folk Music. Similarly, the performance of Alaturka music, often associated with strict rules and the apprenticeship process, is balanced by the improvisational 'opening' it offers to the musician. Within this framework, how can we speak of a genre like Turkish Jazz, which has been performed at the intersection of these two traditions by innovative musicians for many years? What is the relationship of this music, which manifests itself most effectively in Istanbul—and especially in Beyoğlu—compared to other places, to the ongoing tradition of 'neighborhoodism' in Turkey?