The outsider quality of Glen Brown’s music may account for his relative obscurity.
Like the creations of his erstwhile peer, Yabby You, Brown’s distinctly leftfield productions were rooted in the Rastafari creed, but had a good deal more humour about them, and since he always had more ideas than ready finance, much of his output was issued in limited pressings of very small number, making most of his work very hard to find at its initial time of issue. Brown maintained a close working relationship with both King Tubby and Tommy McCook, which resulted in superb examples of instrumental roots reggae releases and sublime dub B-sides, and he had an innate feel for deejay music as well, nurturing some of the form’s best-known exponents. The most distinctive quality that defines his output is partly down to Brown’s deep appreciation for jazz music, and his actual involvement in the Jamaican jazz scene, which allowed a jazz sensibility to permeate almost all of his work, much of which made good use of expressive horn sections.
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