It’s one of the most intriguing chapters of musicology. When African slaves were deported to the New World, along with them came their indigenous music. It later formed the basis of Afro-Cuban music which ironically became popular in Africa during the 1940’s when Africans saw this sweaty, torrid music as an extension of their roots.

Today, it’s definitely the roots of Congolese-now Los Angeles resident Ricardo Lemvo who not only fuses his native soukous and rumba with Cuban son and salsa but also incorporates elements of Puerto Rican bomba with Dominican merengue and bachata. In the tradition of the great Cuban orchestras, the brilliant Makina Loka provides unerring support, living up to their name that roughly translates as “crazy machine” in Spanish. Indeed, they are a crazy, crazy machine–a dazzling array of attacking horns, mesmerizing percussion and a rolling piano that floats along, occasionally kicking up to signal a shift in the arrangement.

In weaving these artful grooves together, the multi-linguist Lemvo croons in Spanish, Lingala, Lucumi (the tongue of the Afro-Cuban religion Santería) and even Portuguese, as heard on the title track. Other than the title track São Salvador, which serves as a touching tropical ballad, it’s all engrossing dance music. Music designed to make you bouche (move). The blood-pumping “Boom Boom Tarará” mixes the best of soukous, bomba and merengue while “Si Tu No Sabes” shifts back and forth between merengue and soukous. Here, Lemvo sings the drum is my religion, if you don’t understand, don’t get involved. The Latin American classic “Capullito de Alelí,” once recorded by Nat King Cole, is simply fabulous as a vintage show-band piece. The séance-like “Dans La Fôret” will delight anyone who’s ever tranced to Dead Can Dance. “Nganga Kisi” has American soul and funk influences. Without a doubt, Lemvo’s an international star in the making.