Edition Records: Sample European Jazz, Electronic Music & Cinematic Textures

What do you think digging into the catalog of Edition Records can bring to a producer's sound?

On the surface, we're a jazz label. But there's a twist. I studied classical music and found improvised music, which led me to jazz and electronic music. Our catalog is therefore diverse and while rooted in jazz it includes so much more. I am drawn to sign music that pushes boundaries, blends genre, and has a uniqueness about it.

For producers, I believe there's an undiscovered treasure trove here, whether it's that emotive piano riff to underlay a new hip-hop track, that ethereal and evocative guitar loop, or a hard-hitting infectious double bass groove.

In a recent Chop Up Challenge for the Tracklib Community, producer and judge Statik Selektah mentioned he hears a lot of "new jazz he'd love to chop up." Can you relate to that?

A lot of the jazz music that is being created today is influenced by other music, whether electronic, world music, or hip-hop. It's that blend of sounds that makes things really appealing. Hearing a double bass and drum groove, played with the subtleties and sensitivity of jazz but in a hip-hop beats type way is a playground for producers to experiment with.

Edition Records is a "British independent jazz label with a European sensibility." Can you describe the sound that can be found in European jazz as opposed to US jazz?

The European sound can be less hard-hitting than the American sound. I say this lightly as there are some incredible players in Europe who can play just as hard. But as a whole—especially in Scandinavia—the music is more subtle, evocative, and melancholic bringing together more folk-like melodies with more modal harmonic structures played in a freer, more liberal way—more about quality of sound, atmosphere, and mood. From a sampling perspective, that's a great opportunity if you're looking for those underlying soundscapes to go with your beats.

An artist like Petter Eldh on your label is also very much inspired by sampling and hip-hop. Is that influence present more in the catalog of Edition Records?

Petter Eldh is a prime example of a modern musician pushing boundaries who epitomizes where I want to take the label. He's as adept at playing acoustic improvised music in a small group setting as he is at producing and sampling beats. His Projekt Drums is a great example of that blend, especially if you hear it live. His interest in music is wide and varied and as a person and musician is naturally curious in discovering new things. That's great characteristics to have.

Next to him, who are some of your other personal favorite Edition Records artists on Tracklib?

Aki Rissanen is a great Finnish composer and pianist who has an amazing piano trio, blending a hypnotic, minimalist approach with contemporary jazz. There are some great samples in all his albums that incorporate piano, double bass, and drums. Rob Luft is another personal favorite. He drops his new album later this year. He's a guitarist with a very unique sound and an incredible improviser and composer.

You're part of Slowly Rolling Camera yourself. How does the trio reflect the sound of Edition Records?

I started Slowly Rolling Camera back in 2013 with a sound in my head that was rooted in what the Cinematic Orchestra was doing on their early albums. It was about drum grooves, bass-led riffs, hooky and emotive melodies, and harmonies produced with a warmth and fullness of sound.

Looking back at the whole catalog now, the sound has that blend of classical, jazz, electronic, and cinematic soundscape that reflects the catalog of Edition Recrds as a whole. However, it doesn't define it. Rather the catalog is shaped by the individual artists through their intention to push boundaries and be progressive in their creation. A phrase we've used over the years to describe the artists, is each share a quality of intent, without compromise.

Are there any previous examples of artists sampling music from Edition Records you can share?

The stand-out track was a Misha Mullov-Abbado track from his debut Edition Records album that featured Jacob Collier—the track was called "Circle Song," a simple piece with evocative piano and bass pattern with this ethereal wind chimes blending it together. A few years after its release, Swizz Beatz sampled it for his track "Cold Blooded" featuring Pusha T. It was quite an extensive sample being very prominently used in the track.

What does the art of sampling mean to you as a jazz pianist and composer yourself, and to Edition Records as a label?

Sampling creates opportunity. It opens doors to a world of creativity that without which, would never exist. The possibilities are endless and it's liberating for creators—it's a gateway to a trove of inspiration. As a musician, discovering that elusive hook that ignites your imagination is incredibly satisfying, elevating your creativity to new heights and adding a unique touch to your sound.

For a label, sampling is a crucial component of the jazz and electronic catalog, both of which have a rich history. It allows creators to broaden their reach and generate additional revenue without incurring extra expenses. Sampling enhances the ecosystem by providing a platform for artists to experiment and explore new musical horizons, leading to innovative and boundary-pushing tracks.

Do you think Tracklib can change the way people sample?

100%! The platform is so easy to use and to have that ability to test, adapt the speed, and trial any track with some demo beats is an amazing tool. It's a liberating way to work.