The rule-bending Bristol-based four-piece Get the Blessing now record for a new label of their own that’s titled after their BBC Jazz Award-winning debut album released in 2008. Then their horn-riffing, punky attitude and wacky pop band-like image was at odds with certain sections of the jazz community. By the fourth album Lope and Antilope, the introduction of minimalistic-type textures and more ambient post-rock sonics saw them mature discerningly while still keeping with their characteristic ‘live’ organic instrumentation and fat-size grooves. That approach reaches its peak on Pallett, their seventh studio release so far.

Opener ‘Oscillation Ochre’ has bassist Jim Barr and drummer Clive Deamer nailing a hip EZ funk groove that could be a tribute to Roy Budd’s Get Carter film theme, while the influential soundworlds of Nordic nu-jazz, ambient Crimson-like prog, In a Silent Way-era Miles and perhaps Donny McCaslin's Bowie Blackstar band seep into their intoxicating yet seductively enigmatic widescreen sound. ‘Dry Brush Blue’ has the chilled, airy twang of 1990s West Country cult trip-hoppers Portishead, the one-time touring band of bassist Barr and drummer Deamer.

‘Ambient Black’, sounds like it could soundtrack a TV news item about a galactic moon landing, and the Michael Nyman-ish ‘Temperate Red’ and dub-infused ‘Dude Indigo’ are among the many highlights. Initially known as just The Blessing, named after a track by their inspiration Ornette Coleman, it’s something that still guides their unconstrained approach if it’s not there in actual musical substance. They click collectively, a band in the true sense of the word with ideas that are conceived on-the-fly while keeping things fresh and ‘live’ sounding with their studio-based approach, not overlooking the key contribution from ex-Portishead guitarist-producer Adrian Utley.