Get the Blessing


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Biography

The romantic rumours that the BBC Jazz Award-winning contemporary quartet Get The Blessing met at an Ornette Coleman Appreciation Society in Bristol, could easily be true. Get The Blessing's unique performances hark of the rich Bristolian melancholy that revolutionised British pop music in the 90s, yet reflecting esoteric variations on where jazz as-we-know-it has come from and is heading.

Maybe it is the same Bristolianism, that makes Get The Blessing so special; because it is the independence of the city's music scene and hence glorious ignorance of what everyone else is into at the time, ... Read more

The romantic rumours that the BBC Jazz Award-winning contemporary quartet Get The Blessing met at an Ornette Coleman Appreciation Society in Bristol, could easily be true. Get The Blessing's unique performances hark of the rich Bristolian melancholy that revolutionised British pop music in the 90s, yet reflecting esoteric variations on where jazz as-we-know-it has come from and is heading.

Maybe it is the same Bristolianism, that makes Get The Blessing so special; because it is the independence of the city's music scene and hence glorious ignorance of what everyone else is into at the time, that leads to the level of introspection required to make something truly groundbreaking.

The bi-polar suggestions of new album ‘OC DC', their third album as a group and the first for new home Naim Jazz Records, is summed up crisply by bass player Jim Barr: "OC DC is when you flip between being obsessive compulsive...and not", a fitting summation of the personality disorder that has Get The Blessing musing over jazz traditions whilst simultaneously wrestling the inner rock n' roll beast which has previously labelled them ‘punk-jazz' by the media. The quartet's unique sound, however, amalgamates much, much more...

As much the grandchild of a long lost Morricone spaghetti soundtrack, the Canterbury scene of old and Kraut-rock, as it is Bristolian, Get The Blessing are much beloved for taking the ‘j' word by the scruff of the neck and giving it a good shake. Not least because of their image. Brightly coloured cellophane masks and dead-pan obscurity set them apart from their contemporaries in the brit-jazz scene. It is easy to comprehend how they've become a hit across concert halls and underground clubs across Europe. Get The Blessing, true-to-form, demonstrate how to obsessive over serious music, without taking themselves too seriously.

The backbone of Get The Blessing is bass player Jim Barr and drummer Clive Deamer, who double as the rhythm section for trip-hop legends Portishead. The parallel assault of trumpeter Pete Judge and saxophonist Jake McMurchie, complete with pedal boards and electronics befitting a lead guitarist, complete the signature sound that defies classification. Don't be surprised to see a retro-horror movie titled 'Invasion Of The Bristolian Bagheads' in which Get The Blessing write, star and also perform the music...

This biography was provided by the artist or their representative.

The romantic rumours that the BBC Jazz Award-winning contemporary quartet Get The Blessing met at an Ornette Coleman Appreciation Society in Bristol, could easily be true. Get The Blessing's unique performances hark of the rich Bristolian melancholy that revolutionised British pop music in the 90s, yet reflecting esoteric variations on where jazz as-we-know-it has come from and is heading.

Maybe it is the same Bristolianism, that makes Get The Blessing so special; because it is the independence of the city's music scene and hence glorious ignorance of what everyone else is into at the time, that leads to the level of introspection required to make something truly groundbreaking.

The bi-polar suggestions of new album ‘OC DC', their third album as a group and the first for new home Naim Jazz Records, is summed up crisply by bass player Jim Barr: "OC DC is when you flip between being obsessive compulsive...and not", a fitting summation of the personality disorder that has Get The Blessing musing over jazz traditions whilst simultaneously wrestling the inner rock n' roll beast which has previously labelled them ‘punk-jazz' by the media. The quartet's unique sound, however, amalgamates much, much more...

As much the grandchild of a long lost Morricone spaghetti soundtrack, the Canterbury scene of old and Kraut-rock, as it is Bristolian, Get The Blessing are much beloved for taking the ‘j' word by the scruff of the neck and giving it a good shake. Not least because of their image. Brightly coloured cellophane masks and dead-pan obscurity set them apart from their contemporaries in the brit-jazz scene. It is easy to comprehend how they've become a hit across concert halls and underground clubs across Europe. Get The Blessing, true-to-form, demonstrate how to obsessive over serious music, without taking themselves too seriously.

The backbone of Get The Blessing is bass player Jim Barr and drummer Clive Deamer, who double as the rhythm section for trip-hop legends Portishead. The parallel assault of trumpeter Pete Judge and saxophonist Jake McMurchie, complete with pedal boards and electronics befitting a lead guitarist, complete the signature sound that defies classification. Don't be surprised to see a retro-horror movie titled 'Invasion Of The Bristolian Bagheads' in which Get The Blessing write, star and also perform the music...

This biography was provided by the artist or their representative.

The romantic rumours that the BBC Jazz Award-winning contemporary quartet Get The Blessing met at an Ornette Coleman Appreciation Society in Bristol, could easily be true. Get The Blessing's unique performances hark of the rich Bristolian melancholy that revolutionised British pop music in the 90s, yet reflecting esoteric variations on where jazz as-we-know-it has come from and is heading.

Maybe it is the same Bristolianism, that makes Get The Blessing so special; because it is the independence of the city's music scene and hence glorious ignorance of what everyone else is into at the time, that leads to the level of introspection required to make something truly groundbreaking.

The bi-polar suggestions of new album ‘OC DC', their third album as a group and the first for new home Naim Jazz Records, is summed up crisply by bass player Jim Barr: "OC DC is when you flip between being obsessive compulsive...and not", a fitting summation of the personality disorder that has Get The Blessing musing over jazz traditions whilst simultaneously wrestling the inner rock n' roll beast which has previously labelled them ‘punk-jazz' by the media. The quartet's unique sound, however, amalgamates much, much more...

As much the grandchild of a long lost Morricone spaghetti soundtrack, the Canterbury scene of old and Kraut-rock, as it is Bristolian, Get The Blessing are much beloved for taking the ‘j' word by the scruff of the neck and giving it a good shake. Not least because of their image. Brightly coloured cellophane masks and dead-pan obscurity set them apart from their contemporaries in the brit-jazz scene. It is easy to comprehend how they've become a hit across concert halls and underground clubs across Europe. Get The Blessing, true-to-form, demonstrate how to obsessive over serious music, without taking themselves too seriously.

The backbone of Get The Blessing is bass player Jim Barr and drummer Clive Deamer, who double as the rhythm section for trip-hop legends Portishead. The parallel assault of trumpeter Pete Judge and saxophonist Jake McMurchie, complete with pedal boards and electronics befitting a lead guitarist, complete the signature sound that defies classification. Don't be surprised to see a retro-horror movie titled 'Invasion Of The Bristolian Bagheads' in which Get The Blessing write, star and also perform the music...

This biography was provided by the artist or their representative.