Like Putumayo’s preceding releases in its Latin trilogy, the musics of Cuba and the Dominican Republic, Puerto Rican music is just as spicy. All three countries share a history of Spanish domination and Puerto Rico’s salsa stems from Cuban rhythms. Its music is as diverse as Cuba’s though not as deep in Afro-Cuban influences but richer in Spanish seasoning. Much of Puerto Rico’s musical identity hails from one man, Ramito, who is included here with “Una Mujer En Mi Vida,” a bolero (ballad) accompanied by the ten-stringed cuatro.

Of course, any Puerto Rico collection would be blasphemous if it did not include its signature steamy salsa. Characterized by piercing horns and intricate rhythms, the proceedings open up with the great Eddie Palmieri’s “Café,” and later showcases West Coast trumpeter Julius Melendez on “Carmelo.” As easy as it would be to cop out as Salsa’s Greatest Hits, Putumayo smartly dodges that trap by ensuring other indigenous styles are represented. Even the young lion trombonist Jimmy Bosch slinks here with a slower guajira groove, (“Pa’ Mantener Tradición”), a Cuban style now prevalent in Puerto Rican music.

Additionally, the African-based bomba and the Spanish variety of the Puerto Rican salsa, the plena, are heard on other several tracks like Modesto Cepeda’s “Homenaje a Caridad” and Plena Libre’s “Bembe de Plena,” respectively. Edwin Zayas demonstrates his virtuoso mastery of the cuatro, eloquently playing the music of the countryside known as jíbara. “El Jíbaro,” Andrés Jiménez, falls into a similar camp though his lyrics serve as a commentary of Puerto Rican life in general. Salsa, Latin jazz, African-influenced stylings and the music from the island mountains, how can you beat it unless you go there? With this, you’re practically there anyway.