knats: The Jazz Collective Redefining Sound wiht a Vintage Twist
Recognized as a contender for the 2026 Mercury Prize, the emerging jazz ensemble Knats has developed a unique sound that intertwines narrative depth with musical prowess.
Their newest release, A Great day In Newcastle, fuses modern jazz with hip-hop influences, encapsulating the vibrant spirit and essence of their native north East England.
Meet the Band: A Trio of Talents
At the forefront is bassist and lead vocalist Stan Woodward, who, along with drummer King david Ike-Elechi and trumpeter Ferg Kilsby, has propelled the band’s artistic vision to new heights.
storytelling Through Music
“While crafting this album, I aimed to weave stories into our music,” woodward shares. “We had never incorporated spoken word before, so I invited Cooper Robson to deliver an opening monologue.”
“Cooper penned some remarkable lines for a track titled War Jackie,and we quickly decided to feature him throughout the entire album.This decision has entirely reshaped our sound.”
A Memorable TV Debut
The band’s evolution was showcased during a notable performance on Later… with Jools Holland. “I recall my bass being slightly out of tune,which was frustrating,but the nerves were the real challenge. We thought we were up next, only to see another act take the stage, which heightened our anxiety.”
“Before we knew it, Shania Twain was performing You’re Still the One, but once we started playing, the nerves faded away. It turned out to be one of the most surreal experiences of my life.”
Finding the Perfect Bass
For Woodward, selecting the right bass was more than just a choice of instrument; it was about discovering one that resonated with him personally. His journey led him to a Gibson SG, a model he had previously overlooked as “a bit unattractive.”
“After hearing about vintage Gibsons from Geordie Greep of Black Midi, who also produced our debut album, I decided to take a leap of faith on a 1968 model I found on eBay. Initially, it seemed like a gamble, but it quickly became a revelation.”
“I found a ’68 Gibson SG for around £1,500. The neck has broken three times during tours, yet it remains the finest bass I’ve ever played. Despite the repairs, it still produces an incredible sound.”
“The Mudbucker pickup at the neck delivers a rich, piano-like low-end, while the bridge pickup offers clarity perfect for solos. I often engage the bridge pickup as if it were a built-in boost.”
“I’ve also acquired a 1972 SG, but the late-’60s models are undoubtedly my favorites. Their necks are exceptionally thin, making them a joy to play, and they possess a character that I haven’t encountered in any other instrument.”
Musical Beginnings
Was bass your first instrument?
I actually began with the guitar at around 10 or 11 years old, fueled by my obsession with Arctic Monkeys. My mother gifted me a modest acoustic guitar for Christmas, which cost about £60, and that ignited my passion.
It wasn’t until I was 16 that I took it seriously. I became fascinated with jazz, notably walking basslines and transcribing bebop. I vividly remember attempting to learn Donna Lee at that age and struggling immensely. Though, I persevered and improved rapidly.
Crafting the Perfect tone
How much consideration do you give to your bass tone?
Less than most might assume. The core of my sound still stems from the SG. However, I believe that the instrument doesn’t define the player. You could hand someone the finest bass, but ultimately, your sound is in your fingers.
recently, I’ve been using Orange amps with a hint of grit, as the band’s sound is evolving to be heavier and rockier. That slight crunch adds an amazing texture.
Experimentation in the Studio
Is that the sound we hear on War Jackie?
Actually,that’s a budget Ibanez I bought as a project. I completely overhauled it-new pickups, bridge, and tuners.
I fitted it with flatwound strings and ended up recording with it. It has a unique sound, which is part of its charm.
The bass solo in War Jackie was almost an afterthought. We recorded the song on the first day, but I wasn’t satisfied with the solo and forgot about it. At the end of our final session, after a couple of drinks, Geordie urged me to redo the solo. I went in, played two takes, and that was it.
What about the effects on your solo in Azure Blues?
that features a phaser, and halfway through, we introduced a chorus effect as the band intensified, helping the bass cut through the mix. I was still using that Ibanez with flatwounds, so I had to dig in to make it resonate.
I improvised during that solo, incorporating elements of Messiaen. At one point, I superimposed an E-flat minor triad over C major. It might sound nerdy, but I thought it sounded cool.
Much of the material on this album originated from Olivier messiaen’s modes. The main riff in Carpet doctor is primarily derived from Mode 3, and War jackie follows suit, maintaining that mode until nearly the end.
Balancing Theory and Emotion
Do you worry that discussing theory might label you as the ‘music theory guy’?
Not particularly. I don’t delve into it unless prompted. Theory is just a part of my creative process; it’s not the essence of the music. If people are curious, I’m happy to explain, but I don’t expect listeners to identify a tune and think, ‘Oh, that’s Messiaen Mode 3.’ I want them to feel something.
Advice for Aspiring Bassists
What guidance would you offer to bassists aiming to build a career like yours?
I believe that songwriting is one of the most undervalued skills a musician can cultivate. You can spend years transcribing, practicing, and becoming an exceptional player, but if you want to carve out your own artistic identity, you must create your own music.
