BIO RITMO is the perfect name for both a promising young orchestra and a swinging salsa album that definitely wakes us up after a long, cold winter. Actually, Bio Ritmo is not quite new; in fact, they are on the scene for almost 13 years, and this is their forth album. But for most of us, Bio Ritmo has been unheard of before. Bruce's review at Descarga.Com brought my attention to this band, and before I could purchase BIO RITMO myself, a copy miraculously ended up in my office, send to me by Marlysse Simmons, the band's piano and keyboard player, and a 'little fireball' according to lead singer Reinaldo (Rei) Álvarez. And before going further ahead reading this review, you should actually listen to Atrévete, where Simmons lays down a splendid solo on Fender Rhodes that is only topped by Snooy & The Latin Section's Neil Anguilley.

But let's start at the beginning. BIO RITMO is a straight salsa album, with the rhythmic richness that we know from many productions back in the 70s and early 80s, especially Willie Colón's. A little guaguancó here, a bit bomba and plena there, a touch of samba, and plenty of improvisation and even jazzy tunes on songs like Atrévete and Para Los Romperos. But don't get me wrong: this album is full of straight salsa tunes, heavy on percussion, but just perfectly so that your feet independently keep you going even if you don't want to. If it where Van Halen, I would say this album rocks! But salsa doesn't roc, it swings. And BIO RITMO definitely swings! This stuff is even better than the recent UN GRAN DIA EN EL BARRIO by New York's Spanish Harlem Orchestra. Not only because of the heavy dance floor arrangements, but also because the sound is just perfect, and all songs are original tunes written by lead singer Álvarez, timbalero istino Riccio and the aforementioned 'fire ball' Marlysse Simmons.

Not long ago, Abel Delgado wrote an essay on Descarga.Com stating that storytelling was one of the key essentials of classical salsa music. This has not changed, of course. The main difference of commercial salsa is that the target audience is much younger, usually in their teens, and for them there is only one theme and no matter how shallow it is told, it always his. Most of us salsa lovers are not teens anymore, and therefore we cannot relate to this kind of storytelling. We need something more essential, literally. The greatest love story I have ever heard is Hansel & Raul's María Teresa Y Danilo. And BIO RITMO's songs come with the same spirit of essential storytelling, the one that "... leaves room for the listener to apl the lyrics to his/her life.", so Álvarez. His explanation of how he came to write the song La Hamaca strongly reminds me of Hector Lavoe's El Cantante: "I used to spend time in my parent's backyard swinging on the hammock ... to revel in thoughts of my sadness and in the impossibility of everything." Álvarez believes that "... salsa is kind of like the blues in subject matter." Hermano sings about the meaning of the word brother, in the wide sense of being your best friend, capturing the "... honor and respect that come from honesty."

But leaving aside all the essential elements of salsa music: salsa would not be salsa if it were not strictly for dancing. And with BO RTMO you get plenty of salsa just for the dance floor. Listen to El Monte, La Hamaca, Atrévete or , and you'll know what I mean. These songs would even wake up the dead and bring them back to the pista. Afrocentrism is another essential component of salsa music, and it is not just about the rhythm, it is also about the joy of life you express by dancing, even in moments of your greatest sadness. The old salsa masters have brought this to perfection, and BIO RITMO brings back more than a bit of this feeling.