IN Switzerland, young adults are flocking to concerts featuring vintage Jamaican artistes.

On the heels of International Reggae Day, Swiss music historian/journalist and independent music producer Marc Ismail, shares his perspective on the status and impact of the Jamaican sound in his homeland.

An interesting aspect of Ismail’s observation, is what he says would surprise any Jamaican. That is the age group that is attracted to “vintage” shows in Switzerland, noting the old school acts who tour Europe every year like Toots, Max Romeo, Israel Vibration, the Gladiators and the Abyssinians are like staples to the 20 year olds.

Another point of interest, is his experience of a sort “of global disappointment, among both roots and dancehall lovers, for the music released in Jamaica”. The 33-year-old Ismail who in October 2009 presented a paper at UWI, titled It a go dread inna Switzerland, is of the view that as far as reggae is concerned, it’s a time of transition.

In highlighting the impact of reggae in Switzerland, he noted that since the international success of Bob Marley in the late 70s, the reggae wave has reached his home nation. He adds that from then on, it would be hard to find any one in the country, except maybe elderly people, who wouldn’t know that reggae is a original music genre created in Jamaica. The huge majority of people would immediately associate that word with Marley, rasta and cannabis.

“I would even say that, before maybe the coming of Usain Bolt, it would be the only pictures coming to people’s mind when thinking of Jamaica. Alongside the beaches, because the cliché of an easy living paradise is very strong too. But this knowledge of reggae unfortunately remains extremely shallow in the population. Some music lovers would be able to mention Tosh, D Brown or Third World as other reggae acts, but that’s it,” he noted, adding that the incredible richness of Jamaica’s music scene is totally unknown to most.

Ismail, in further explaining reggae’s pull in Europe, notes that while it only represents a small part of the population, is is still enough to fill venues for shows or sounds system. “The roots scene is lively in Switzerland as in surrounding countries — France, Germany, Italy, and even more and more eastern European countries. Although the music industry crisis is striking hard over here too, and many re-issue labels have gone down, the fire’s still burning for roots, both modern and vintage.”

The Swiss journalist says original vintage Jamaican records reaches amazing prices, with young people here ready to pay hundreds of US$ for one 45. “For the roots crowd, the message in the music is very important. Mystical, reality and political lyrics still remain the most popular. What would surprise any Jamaican in a vintage show in Switzerland, is the very young age of the audience — around 20 years old. The most popular vintage acts are Toots and the Maytals, Max Romeo, Israel Vibration, the Gladiators, the Abyssinians. All these groups keep touring in Europe every year.”

But there is still a market for more contemporary acts in the Swiss Market, as Ismail explains that Capleton, Sizzla, Tarrus Riley, Damian Marley, Etana, and Queen Ifrica have made a foothold in that market.

The young Swiss had some harsh words for the music being generated in Jamaica at this time. “There’s a kind of global disappointment, among both roots and dancehall lovers, for the music released in Jamaica for the last couple of years. It is scene here as a real decline in both quality and inspiration, and so people turn more and more to European producers. Many of these work with Jamaican artistes, but the top labels, at least in roots, are now English, French or Spanish. Which is a pity in a way, because most reggae lovers would love to hear a new sensation, a new sound original coming from Jamaica,” he opined.