Biography

Some time ago, when asked by one of the music weeklies what he’d prefer to do once Steeleye Span’s career came to an end, Peter Knight replied he’d be quite happy playing in a band doing the London Irish circuit.

If you take the fact that his early influences included the legendary Michael Coleman and that for a while he’d trawled the capital’s folk clubs with Bob Johnson on guitar, then such an answer seems quite natural, however today it seems somewhat incredulous.  Maybe it was genuine at the time, a few months later Peter and Bob did indeed depart from Steeleye and nearly joined the Strawbs, but that’s another story, however the point I’m trying to make is that Peter Knight isn’t the sort to be still, to do what’s expected, in truth exactly the opposite. He’s a musician – please don’t refer to him as a fiddler, that’s lazy terminology – for whom the word versatile is a perfect fit.  

You want me to prove the point? Okay here’s a brief resume of his exploits…

As a pupil at The Royal Academy of Music he began a fascination with classical and baroque sources which, if you listen underpins his playing, a point emphasised by his absorbing rendition of Canon By Telemann in which he forms his own string section through use of playbacks, sequencers and loops.

Jazz and improvisation came into his orbit through a chance meeting with saxophonist Trevor Watts, who just happened to lead free music ensemble Moiré Music and later The Drum Orchestra. Plunging in with both feet first Peter not only undertook regular performances with Watts but also increasingly used improvising to access new avenues for his own compositions and interpretations of traditional themes.  This led directly to his first run of solo releases of which I’d signal An Ancient Cause as key, including the brilliant and spine tingling creation Eb English, beginning from a repeated pulse to rise with elegance and poise to an improvised midsection which then falls feather light to a summery conclusion, buoyed on the precise bass and dreamy keyboard washes of compatriot Tim Harries.

Further adventures in this sphere came when Peter was paired with legendary bass player Danny Thompson for an album bearing both their names. Two lengthy tracks of tumbling and winding free music, joyously delivered, gave everyone the chance to hear the heights well matched talents could scale.  

Since leaving Steeleye in late December 2013, Gigspanner has rightly been his focus, the band has developed in ways unpredictable though inspiring, ultimately securing a roots/fusion of wider scope and a unique identity. What began as a simple side line became something other and continues to morph in chameleon like fashion into different form when occasion demands. Stressing democracy amongst the members each has as much input as the others and so far that’s meant flexibility, adaptability, accommodation and compromise in all areas. Across a handful of albums they’ve conjured an absorbing set by turn dark and light, supple yet strong, ancient whilst modern, familiar though innovative.  And they remain compliant enough to allow others to add to their polyglot, Folk Award winners Phillip Henry and Hannah Martin being occasional recruits who bring eastern and Americana stimuli to the table.  Future games are awaited with anticipation.