Edition Records – Dave Stapleton

An in-depth interview exploring the growth of a leading independent jazz label and its founding artist’s vision. (Interview by Andrew Read - Jazz In Europe)

Andrew Read: When you talk about the creative ecosystem of Edition, what does that actually mean to you?

Dave Stapleton: Yeah, I guess it’s this cycle effect of what it means to be an artist, you know, and what we’re trying to do for the artist. The ecosystem, for me, that’s both the short-term and long-term of an artist’s journey. Yes, we’re feeding it—trying to sell records and CDs—but at the same time, we’re trying to develop artists and be part of this flourishing ecosystem, something artists can hopefully, hopefully enrich their future careers with, you know.

And so, it’s just as much about learning how the industry works these days and figuring out what’s going on. There have been huge, seismic changes over the last few years, and everyone’s had to adapt and react to that. So, when I talk about a creative ecosystem, the creative bit refers to that kind of lateral thinking—what can we do differently, what makes it more interesting? We’re not just conforming, we’re not simply following what used to work. In fact, sometimes we do the opposite, at least to some degree.

Andrew Read: Was that long-term approach something strategic from the start, or did it develop as you grew the label?

Dave Stapleton: I wouldn’t say it was strategic. I think I’m naturally a forward thinker, and I like change—I thrive from that. So, instinctively I wasn’t looking to do that from the get-go. It was never a conscious “I need to do this, do that” kind of thing; it just kind of happened. But now, yeah, now I’ve become a little bit more strategic about it. I’m starting to force that in some ways—really thinking through, who are the audiences, where are they, and how do we reach them? Those are the basic questions, but they’re very powerful ones when you take the time to think them through deeply.

And when you come from that position, you find all these different avenues you can go down. Again, you’re thinking about what you need to do, how you’re going to communicate, and with every question you answer, even more questions come up. It’s a constant trial-and-error process. We’re all learning again, going back to first principles—actually asking ourselves, how do we do this, and what is it we’re all actually doing?

Andrew Read: Most Edition artists have several releases and stick around for years. Does that mean you’re looking for long-term vision with new signings?

Dave Stapleton: There are some albums we’ll work on just because I really believe in that specific project, but maybe the next one just isn’t right, so we don’t do that. But yeah, now, I’m trying to sign artists I know I want to work with long term. That does create its own problem, because when your schedule’s full and an artist you’d love to work with comes along, you just don’t have space.

That’s one of our biggest issues—capacity. And it’s not about how many people work here, it’s about how much the audiences can actually absorb and keep up with. I honestly feel like we’re already doing a bit too much for audiences to really take it all in, so I can’t see us increasing that any further. If anything, I’m trying to slim it down, but that means you’ve got to say no a lot more than you say yes. And that’s always difficult. These are the issues we have to deal with, you know? But you just sort of work through them, bit by bit, and somehow, we keep going.

Andrew Read: So let’s talk about A&R for a moment. We have quite a few musicians who read the magazine, and I know many are curious—when you’re considering signing an artist, what is it that you’re actually looking for? What stands out for you in that process?

Dave Stapleton: The music is always the first thing, and I know that sounds a bit of a cliché, but it really is where it all starts. You have to be genuinely passionate about what they’re doing musically. But it’s not just about the music—it’s about the person as well, their character, what they’re trying to say, and how they want to go about saying it. I get a lot of energy from that kind of connection, and if I feel I can actually add some value and help them move forward, that inspires me to get involved.

Sometimes, of course, an artist will come along with a record that sounds great, but if I don’t feel that connection, if something about it just doesn’t quite click, I usually won’t go any further. I don’t like forcing it, because down the line it ends up being hard work for everyone, and there really are plenty of other artists out there who might be a better fit.

So for me, it always comes down to the music, the connection with the person, and understanding their vision—what they want to do, what we can add, and whether I think we can actually be useful in helping them take the next step. That’s what I’m looking for every time.

Andrew Read: As the label has grown, you’ve added some well-known artists like John Patitucci and Nils Petter Molvær to the roster. Is it a focus of Edition to work with established names, or do you aim for a balance between those artists and emerging talent?

Dave Stapleton: We started working with a few artists like John Patitucci and Nils Petter Molvær, who are both in their early-to-mid 60s and have enjoyed substantial success over their careers. For artists like them, promotion is a very different exercise compared to working with someone like Joe Webb or Sultan Stevenson, who are at the beginning of their careers and need more support in different ways.

People already know who John Patitucci is, so we don’t need to explain or introduce him—we just optimize and refine marketing and communication. It’s an easier job, and sales tend to be higher, which in turn creates more value.

At the same time, I have a great passion for helping younger artists. I believe you can leverage the success of more established artists to bring attention and opportunities to emerging talent. That dynamic is part of the ecosystem we’re building—a balance of nurturing new voices while working with the trusted and recognized names.

Andrew Read: Many established jazz labels depend heavily on the success of their major artists, but obviously that can’t be the entire strategy moving forward. You’ve mentioned limited resources—does that create tension between investing in new talent and managing ongoing projects? How do you balance those priorities, and is it a major challenge?

Dave Stapleton: I would say it’s a major issue. I think where we are now, as a business, spending money on things doesn’t necessarily create money. So you have to be very creative.

Of course, these days we have so much access to resources and technology that allow us to create very high quality assets very cheaply. Twenty years ago, the technology wasn’t there, so you had to keep investing to create a campaign. So while resources may be limited, in some ways that’s a positive because it forces you to think creatively about how you’re going to achieve something. That said, there’s always more audiences out there to find for any particular album. It’s about juggling the balance between how many albums we do each year to bring in the necessary revenue to survive and sustain ourselves.

But marketing never stops. There’s always another potential listener or buyer to find for another album. At some point, though, you have to move on—you’ve got to focus on the next record because you need that one to survive too. It’s all about balancing the number of people we have with the resources required to do the job properly. In some ways, technology is making this easier—the processes can be quicker and more efficient.

I often look at what Blue Note or ECM are doing—these are huge, hugely important legacy labels with enormous back catalogs. We’ve been around for about 17 and a half years. Our catalog isn’t as large as theirs, so we can’t rely on catalog sales. We rely very much on current, new releases to survive. Those other labels, on the other hand, can depend to some extent on catalog sales.

Andrew Read: Many musicians who read the magazine come to me regularly for advice, and having worked in the label business myself for some time, I’m interested in your view on the different types of deals out there. Specifically, how do you see license deals compared to production deals, and which does Edition Records typically prefer from the label’s perspective?

Dave Stapleton: Yeah, I’ve always been artist-centric—it’s why I started the label myself as an artist. I believe it’s really important that artists maintain ownership of their music, so from a musician’s perspective, a license deal makes the most sense.

That principle feels especially relevant today, as the music business continues to evolve. Then you start talking about contract lengths and all that, which is a very interesting point because as a label, your value is wrapped up in contracts—it really is. But I don’t feel comfortable enforcing 15-plus year contracts just to increase the label’s value if it doesn’t add value for the artist. That creates long-term problems. When I’m in my late 60s or 70s, what exactly is the exit plan? I don’t know if that mindset really works.

I feel strongly that the power to keep artists within Edition’s ecosystem should be through the work we do together, not through contract terms. I used to work with options and longer terms, but now we keep it very slim and simple intentionally. And that’s a strategic choice, which runs counter to what many other labels do. I think it ultimately gives the artist that freedom and control to do what they want with their music, and that’s what matters most.

Andrew Read: I know some labels only do production deals where they own the masters, but then the artist might not have as much investment in the project and could move on quickly. On the other hand, if you do lots of short-term license deals, it can make building a valuable catalog harder for the label. Do you think, as you said earlier, that consistently adding value for the artist is the key to keeping them with the label?

Dave Stapleton: Yeah, but that creates more pressure because then you have to keep servicing a lot of music all the time, and again, we have limited resources. So the question is, how do you do that? It creates another issue.

We’re living in a world where gatekeepers are more present than ever. Take Instagram, for example—they control all your audiences through their algorithms. We have no direct control over who sees what messages. Luckily, platforms like Substack are emerging, which are great because you get real direct access—you have an email address you can take with you. We need to decentralize these gatekeepers.

I feel like that same logic applies to record labels. It’s not right for one company to have all that control over so much music—if they’re not actively doing anything with it, it’s a problem. This is the environment we’re working in, and it pushes us to find new ways to break through.

Andrew Read: I agree, when you consider platforms like YouTube can remove your channel at any time, which makes relying on them a precarious strategy. I think it’s vital for both artists and labels to build direct contact with their audience. How do you advise artists to navigate this gatekeeper challenge and build a more direct, sustainable connection with their audience?

Dave Stapleton: People put so much effort into building Instagram and YouTube channels—both vital tools—but as you said, they can be taken away or hacked instantly, cutting off access to an entire audience. That risk is very concerning.

I’m always encouraging artists to focus on their own ecosystem: grow a mailing list, develop a website, host exclusive content on platforms they control, and draw their audience there.

It’s far more interesting to have that deeper content available directly to fans, rather than just relying on Instagram. Genuinely interested fans will follow you there, and that’s what really counts. Superficial Instagram followers don’t contribute much—they don’t sustain your work financially or long term. Genuine fans are the foundation.

Andrew Read: That’s a crucial insight. Many artists don’t realize how much streaming and social media views fail to build real support. The real challenge is converting those casual listeners into true fans who engage meaningfully and support the artist.

Dave Stapleton: Exactly, and that comes down to authentic storytelling—you essentially become your own media partner. Of course, traditional media, gigs, and radio still matter. It’s the combination of everything that builds your profile and audience. But it’s a slow process that takes consistent, persistent effort. You have to have a kind of stubborn attitude to keep going and going, day after day.

Andrew Read: Yes, of course. I think you might agree that most self-releases fail simply because the artist often lacks the necessary skills to bring a release successfully to market. That said, it can definitely work if they surround themselves with the right people who can help them get their music out there properly. Would you agree with that?

Dave Stapleton: I absolutely agree. When you’re releasing your debut or even your second or third album without a network or infrastructure, it can feel completely overwhelming. I get it.

But if you break it down into manageable steps, it comes back to good old hard work—finding contacts and reaching out. All those people are out there. You can find emails or phone numbers with a bit of digging online. It’s about learning how to communicate effectively—think like someone receiving hundreds of emails a day. What kind of message would make you respond? Demo requests that are too long are often overlooked. People look for keywords that stand out.

You want to create engagement—ask simple, direct questions. For example, instead of asking if you can play a gig nine months from now (which can be hard for someone juggling many things to answer), ask if you can send them your music. That’s a much easier yes, and getting that initial response is already halfway there.

Andrew Read: So Dave, let’s move on and talk about your new album. Thanks for sending it through—I really enjoyed listening to it. It’s very cool and quite new. I’m curious how the album actually came about. If I’m correct, it began as a live recording and then made its way into the studio?

Dave Stapleton: Yeah, that’s right. I’ve been doing Slowly Rolling Camera now for over ten years and have released albums under my own name since 2012. My focus has often shifted between the band, the label, and my own career, sometimes naturally neglecting the latter.

Starting in early 2024, I felt an urge to experiment creatively and also to explore the process from a label’s perspective. The album began at a Joe Webb session in Gilles Peterson’s studio, where I was inspired by the space and wanted to try something more beat-driven and electronically produced—something different from a traditional jazz record.

All the music was recorded in-house, in this room, using lots of keyboards. It was about trusting instinct and having fun with the project without strict jazz conventions. I brought some ideas to sessions with Elliott Bennett and Jon Goode on bass, capturing roughly four hours of recording which I then chopped up and produced into the album.

It was a very different process from usual jazz recording sessions where everyone plays live together in one room. I also had the privilege to invite guests like Nils Petter Molvær, Olga Amelchenko, and Stuart McCallum to contribute. Running a label can be intense and stressful, so this project was quite cathartic—a chance to create freely without pressure. Now I’m experiencing what it’s like to be a self-releasing artist—on my own label!

It comes with its own set of challenges but it gives me more empathy for the artists I work with, understanding their perspectives beyond just running a label.

Andrew Read: Yeah, totally. Just coming back to artistic concept, I’d agree with the cinematic descriptor but it has a jazz essence—a whiff of jazz.

Dave Stapleton: Exactly. I was inspired by albums like Yussef Dayes’s work with Tom Misch, aiming for that vibe without focusing on solos. It was enjoyable, and I realized I need to prioritize my creativity for sanity and balance—especially given my training as a musician.

Andrew Read: That makes total sense. The label was initially created as a vehicle to release your own music, so stepping away from that would be denying its roots.

Dave Stapleton: Absolutely. Our first release was a piano duo with Matthew Bourne, created to release my music independently. As the label grew, it ironically made it harder to put out my own work.

That’s changed now, and I want to embrace this opportunity—it would be a waste not to. It’s a personal priority.

Andrew Read: Dave, let’s turn back to Edition Records itself. The label has now been around 17 years, and I remember when we spoke around the 10th anniversary—it feels like a lot has happened since then. What would you say have been the key milestone releases or moments in the label’s journey?

Dave Stapleton: There have been so many milestones. Starting at the beginning, the live album Phronesis in 2010 really kicked off our first phase of growth. Chris Potter’s Circuits album in 2019 marked a breakthrough for us in the American market, and we’re continuing to work with him—there’s a new album of his scheduled for next year.

Dave Holland is another pillar—he’s a legend and a great human being. It’s a huge privilege to work with him. We’ve also got a long, strong relationship with Jasper Høiby. That foundation is built on deep trust, and we constantly work together to find the best path forward.

Nowadays, it’s more about those strong artist relationships than superficial awards, although those are nice to have. What really energizes me is the people and the continuous creative journey we share.

Andrew Read: One of Edition’s milestones that really raised attention was the album with Kurt Elling and Danilo Pérez, which I believe won your first Grammy. How did that impact the label? Did it open new doors or make things easier?

Dave Stapleton: It definitely opened a few doors. Awards are great and they help in unexpected ways—like giving you a foothold to get a new meeting. But without a solid business strategy underlying it all, awards alone won’t grow a label.

What really matters is having a clear vision, purpose, and aligning your revenue streams, marketing, and brand with that vision. There have been many moments more impactful than winning a Grammy.

That said, I don’t want to downplay awards—they’re nice to have—but they aren’t everything. Plenty of success is achieved without them.

Andrew Read: Yes, I’d like to move on to Fergus McCreadie. I recently reviewed his latest album and have been following his career from early on. It’s a fantastic record. Could you tell us how Fergus and Edition first came to build their relationship and how it has evolved over time?

Dave Stapleton: Sure. It all started when Fergus sent me a handwritten letter—that was back around 2018, I think. Prior to that, he’d just done his first album, self-released, and I remember feeling excited about the music. The letter came after he’d been a finalist in the BBC Young Musician of the Year, which was a big deal for him.

At that time, I hadn’t seen much in terms of sales or established attraction, just the music—there was something fresh and original about it. So, we decided to give it a go. No sales evidence, no big push—just the fact that the music sounded great and Fergus seemed like a nice guy. I went down to Turner Sims in Southampton to watch him play, and that experience really confirmed things for me. His natural communication, as a pianist and bandleader, was clear, and I could see his potential instantly.

Since then, we’ve done four albums with Fergus. Over that period, I’ve watched his growth, and I genuinely believe there’s no single secret ingredient—just Fergus’s ability to communicate through his music, write beautiful compositions, and seize opportunities. We’ve worked hard on structuring campaigns around artwork and presentation, which helps the music connect with its audience—when you do that well, demand follows naturally.

Andrew Read: Yeah, I’d like to touch on another release you’ve got coming up—Donny McCaslin’s new album. I’m not sure if it’s already out or just recently released?

Dave Stapleton: It just came out at the end of September, yes. It’s a great album. Donny is really doing something fresh and new.

I think his manager reached out to me initially. Once we started working with some American artists, I guess we came onto his radar, especially since many American musicians tour Europe frequently. That made connecting easier. So I received early works for the album I Want More, around 2023.

Donny is a hugely progressive and forward-thinking artist. He has a unique ability to do something different with his music—there’s so much power and energy in it, which I really love. Plus, he’s a lovely person.

Andrew Read: So, moving on, I’d like to hear your thoughts on the future of industry. One of the things I see in the business is a bit of a disconnect across the entire value chain—the media, streaming platforms, venues, labels, and so on. It might be a strange question, but how would you see the industry if you could rebuild it any way you wanted?

Dave Stapleton: Interesting question. I think there’s a real need for an organization that truly represents artists. That doesn’t really exist right now. If you had such an organization to represent their needs, to help them understand and check deals, contracts, and terms—it would be hugely beneficial.

Musicians spend years honing their voice and craft, but they can’t be expected to understand all the legal jargon and deal complexities. They need support and training to become effective networkers and to manage their careers. Mental health is also key—the psychological aspect of strengthening mindset, because the mind can be both your greatest weapon and your biggest enemy.

I’ve worked a lot on controlling the mind, turning problems into positives, which has really helped me grow Edition Records.
That support should be primary, at the top of the hierarchy, and the whole industry must support that. Right now, there’s a big problem in the live music and venue sector—artists send hundreds of emails and get very few replies, leaving them uncertain of what to do.

On the other hand, promoters get hundreds of emails daily, so it’s hard for anyone to manage it. This problem has to be solved; otherwise, it’s going to drive everyone crazy.

Andrew Read: You’ve really hit the nail on the head there. There definitely needs to be an organization for creatives—something essential. And it’s got to have an educational role too, because many artists don’t really understand how all the parts of the business fit together. At the same time, the institutions we have now, while well-meaning, can sometimes start feeling like their own closed system.

Dave Stapleton: Exactly. Take events like Jazzahead!. They’re massively important—bringing together the whole industry from across the globe. It’s a hub for networking, business, and showcasing artists on a big stage. But from an artist’s perspective, sometimes it feels like the industry side takes priority.

Artists often pay their own way to showcase, hoping for opportunities down the line, but not everyone finds those chances. It’s tough—no one’s trying to be disrespectful; it’s just how the system’s evolved. I’ve seen loads of artists at these showcases, and while Jazzahead! does great work, honestly it can feel like it’s more about the industry machine than about supporting artists in a direct way. There’s definitely room for improvement.

That said, this isn’t easy to fix—there are entrenched interests on all sides, generations of people managing different pieces of the puzzle. But if you could wipe the slate clean, you’d always start with the artists first. That’s where the heart of it all is.

Andrew Read: I agree 100 percent. This business isn’t top-down; it has to be bottom-up. It’s the only way it will work. Well Dave, So thanks for taking the time to speak, it was a pleasure. You know, maybe we should just finish by agreeing that it’s a great idea—maybe we should do it.

Dave Stapleton: Yeah, good idea.