Today Quique's son, Papo Lucca, directs the band. The band has stayed active for a remarkable amount of time, recording dozens of albums, including a 55th anniversary album. Singers included Tito Gómez.
The history of La Sonora Ponceña is the history of Quique Lucca. In 1928, when he was 16 years old, his family moves to Ponce, Puerto Rico and Quique starts to work as an auto mechanic and starts playing the guitar. In 1932 Quique meets Angélica Quiñones, the future mother of his children, Zulma, Papo y Wanda. In 1944 Quique puts together a band called "El Conjunto Internacional", including three instrumentalists: tumbadora, bongó, vocalist and Quique Lucca at the guitar and second voice. Later, Antonio "Tato" Santaella joined, playing the bongó. On 10 April 1946, Enrique Lucca Jr. ("Papo") was born; he would later become the musical director of "La Sonora". In fact, in 1951, Papo surprised his father and the other members of the "Internacional" band when, at only 5 years old, he joined a band practice and started playing the tumbadora on Tito Puente's "Ran Kan Kan".
After the band had been inactive for a year, Quique re-established it in 1954 and renamed it "Conjunto Sonora Ponceña". His childhood friend Antonio "Tato" Santaella played bajo de cajón. On 20 April of that year the band plays at its first official dance. In 1956, Vicentivo Morales, joins the band as its first pianist. Later that year, Quique brings young Papo into the band as a pianist. In November 1957, Papo makes its official debut during a dance on the northern shore of the Island. In 1958, La Sonora Ponceña records its first 78 RPM with Avelino Muñoz as pianist. The 78 RPM contained No puede Ser on one side and Tan Linda que Era on the reverse side. Towards the end of 1958, the band goes into recording mode and includes 12-year-old Papo Lucca. The band included its first official vocalist Charlie Martínez. Later on, vocalists Felipe and Davilita would also record bolero-mambo themes such as Noche de Locura. In September 1960, the group played in New York. The group's main attraction was its 12-year-old pianist, Papo Lucca. In 1968 the group started its official recordings on 33 RPM with the song Hacheros Pa' Un Palo.
In 1974, singer Humberto "Tito" Gómez leaves the band after 7 years and 6 recordings. Together with Joe Rodríguez and Mickey Ortíz, Humberto "Tito" Gómez formed La Terrífica. Likewise, in 1977 Edgardo Morales, who played the timbal leaves the band after 7 years and 7 recordings and joins El Gran Combo de Puerto Rico. In 1978 singer Luis Guillermo "Luigui" Texidor leves the band after 10 years and 10 recordings to join Bobby Valentín's Orchestra. In 1982 trumpetist Humberto Godineaux leaves the band after 4 years a 6 recordings. Singer Yolanda Rivera also left the band after 7 years and 8 recordings. In 1985, singer Miguel Ortíz retires from the band after 11 years and 12 recordings. On 28 May 1986, the band losses singer Alberto "Toñito" Ledée in a car accident. In 1987, trumpetist Heriberto "Ayatollah" Santiago also retires having 7 years and 5 recordings to his credit. In July 1989, long-time bass player Antonio "Tato" Santaella retired after 21 recordings. Tato played without ever using any musical scores, and singing entirely "by ear". A year later, in 1990, another bass player Efraín "Frao" Hernández retired from the band after 10 years and 7 recordings. In 1990, bongó player Angel Hernández also retired after 14 years and 13 recordings. In 1991, tumbadora player Vicente "Pequeño Johnny" Rivera retires after 16 years with the band. He had performed on 15 of the band's recordings. In 1993, long-time trumpeter Ramón "Tony El Cordovés" Rodríguez retired after 24 recordings. This was followed by the retirement of trumpeter Freddie Del Valle, who had played with the band for 6 years and had participated in 5 recordings.
In 1993, the band played at the Magno Orchestra Festival in Barranquilla, Colombia. The band was awarded the “Congo de Oro” award, given to the best international band. And in October 1994, Sonora Ponceña celebrated its 40th anniversary with a festival at Estadio Juan Ramón Loubriel in Bayamón, Puerto Rico. The band would later also play at the Madison Square Garden to bring its celebration to the United States. In 1995, the band did a reunion recording with Luis Guillermo "Luigi" Texidor and Yolanda Rivera who had retired 19 and 14 years earlier, respectively. That same year, they sang in Paris, France, and at the Desfile de la Hispanidad (Hispanic Parade) in Zaragoza, Spain. In 1996 the band plays for the first time in Mexico at the Boca del Río, Veracruz, Mexico, carnival.
In 2000, Sonora Ponceña celebrated its 45th anniversary at the Tito Puente Amphitheater at the Centro de Bellas Artes in San Juan, Puerto Rico and at the Teatro La Perla in Ponce. They also played in Caracas, Venezuela as part of this 45th anniversary celebration. In the years following 2000, La Sonora Ponceña participated in a large number of events throughout Puerto Rico, including Fiestas Patronales, private parties, graduation parties, and corporate Christmas and holiday parties. In the following years, the band also made presentations in Orlando, Jacksonville, Miami, Washington, Connecticut, Philadelphia, Chicago, New Jersey, Panamá, Perú, England, Switzerland and Italy.
For its 50th year anniversary (2004), the band played at Coliseo Rubén Rodríguez, in Bayamón, Puerto Rico. The 12,000 spectators made the show a complete sellout on its presentation day, February 21. The show was broadcast via radio and television.
During its 50th anniversaery show at Coliseo Rubén Rodríguez, the band was officially recognized by the Legislature of Puerto Rico for its musical contributions.
The 23rd “Día Nacional de la Salsa”, celebrated in Carolina, Puerto Rico on 16 March 2004, was dedicated to Don Quique, Papo and la Sonora Ponceña.
In Ponce there is a street, in Urb. Estancias del Golf, named after Quique Lucca.
The 2003 "Feria de Turismo", celebrated at Complejo Turístico “La Guancha” in Ponce was dedicated to Don Quique, Papo and la Sonora Ponceña.
Hachero Pa' un Palo
La Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cual es es truco que tiene
Ese palo añejo ?
(Papo Lucas)
Bueno Voltio mira
Lo que hay es rap y salsa
Vamo a ver como suena esa esquina
(Papo Lucas)
Vamos pa alla
Valla pa lante
Que cosa tiene ese palo
Que no lo puedo tumbar
Tal vez sera quebra hacha
Quizas será guayacán
El caso es que los hacheros
Lo dejan que asi se van
Que Cosa tendrá, camará
Que cosa tendraaa
Seteinta y dós hacheros pa un palo
Seteinta y dós hacheros pa un palo
Seteinta y dós hacheros pa un palo
Caballero que jerengue con ese palo
Seteinta y dós hacheros pa un palo
Si su sombra te cobija
Por que kieres tumbarlo
Seteinta y dós hacheros pa un palo
Zúmbalo Voltio
Que es lo que tiene el condenau
Que pa tumbarlo está malo
Seteinta y dós hacheros pa un palo
No venga a llorikiar,
Porque esto aqui es pa bravo
Seteinta y dós hacheros pa un palo
Que por mas lima que de
Se le rompe el cabo
Juega Papo Lucas
Amuela las blanca y las negras
Que hay que darle duro a ese palo
Ahora es que es
{Papo Lucas tocando el piano}
Seteinta y dós hacheros pa un palo
Hacheros pa un palo, hacheros pa un palo
Hacheros pa un palo
Del árbol caido
La gente hace leña
El asunto es que meterle
Y en tumbarlo se empeñan
No ha nacido todavía
En esta isla borinqueña
Tumbar a Julio Voltio
Y la sonora ponceña
Amuela tu hacha
A ver si se ababacha
Que este palo no se cai
Esto es pa las muchachas
Duro le han pegau
Pero que nadie lo derriba
Con to los que me tiren
Como kiera voy pa encima
Viene tanto hachero
Pa tumbarme el palo
Buscan su bakeo
Por que esto está malo
Yo no se que pasa
Que no lo han tumbau
Pero el palo mio
Ya Esta bien sembraú
Dile a los acheros
Que amuelen su hacha
Que, esta duro
El palo
Amuela tu hacha
Que vamos pa la guaracha
Y voltio con la sonora
Al palo con las muchachas
Que pasa
Dile a los acheros
Que amuelen su hacha
Que, esta duro
El palo
Palo palito
Que palo palo es
Setenti dos haceros
Y contigo setenti tres
Como es
Dile a los acheros
Que amuelen su hacha
Que, esta duro
El palo
Mientras ma viejo, Mas fuerte
Pa encima hasta la muerte
Yo soy el palo duro
Trata a ver si tienes suerte
Hacheros pa un palo, hacheros pa un palo
Hacheros pa un palo, Haceros pa un
Bueno Papo que clase esquina
(Papo Lucas)
Tremenda esquina
Y el hacha quedó mellá
The song "Hachero Pa' un Palo" by La Sonora Ponceña, showcases the power and resilience of a tree or a "palo" that has withstood the chopping of 72 woodcutters. The song begins with a conversation between two characters, Papo and Voltio, discussing the durability of the "palo" that has caught their attention. They wonder what is the secret of the "palo añejo" that has made it impervious to being chopped down. As the chorus implies, 72 woodcutters have attempted to cut down the tree, yet it remains standing. The song speaks of people's persistence in trying to bring the "palo" down, giving it their all by sharpening their axes or "amuelen su hacha" and with forceful swings, but they still fail, leaving the "palo" unscathed.
Symbolically, the song can relate to significant aspects of people’s lives. The "palo" represents the challenges that individuals face, while the hacheros represent the amount of effort put into overcoming such challenges. The song encourages strength, perseverance, and resilience, urging people to keep pushing forward, even when faced with seemingly insurmountable obstacles.
The song's chorus "setenta y dos hacheros pa' un palo", which means "72 woodcutters for one tree", has become a popular phrase among Puerto Ricans that is used in daily situations, referring to a task that requires significant and collective effort. The song's lyrics were written by Puerto Rican composer Tite Curet Alonso, who was known for his socially conscious songs and for writing songs that explored Puerto Rican culture.
Line by Line Meaning
Bueno Papo
The singer is addressing Papo Lucas
Cual es es truco que tiene
The singer is curious about what is special about the old stick
Ese palo añejo ?
The singer is referring to the old stick
Bueno Voltio mira
Papo Lucas is addressing Voltio
Lo que hay es rap y salsa
The stick's uniqueness lies in the fact that it encompasses both rap and salsa music
En verdad ?
The singer is questioning the veracity of Papo Lucas' statement
Vamo a ver como suena esa esquina
The singer wants to hear how the stick sounds in that corner
Vamos pa alla
Papo Lucas is suggesting that they go to that corner
Valla pa lante
The group is moving towards the corner
Que cosa tiene ese palo
The artist is still curious about the stick's unique features
Que no lo puedo tumbar
The singer is having trouble knocking the stick down
Tal vez sera quebra hacha
The stick might be made of the breakaxe tree, a very hard and durable type of wood
Quizas será guayacán
The stick might be made of the guayacán tree, which is also known for being resistant and strong
El caso es que los hacheros
The case is that many woodcutters have tried to knock the stick down
Lo dejan que asi se van
But they end up leaving it there because they cannot do it
Que Cosa tendrá, camará
The artist wonders again what makes the stick so unique
Que cosa tendraaa
The artist repeats the question, emphasizing their curiosity
Seteinta y dós hacheros pa un palo
Seventy-two woodcutters have tried to knock the stick down
Caballero que jerengue con ese palo
It's difficult to mess with that stick
Si su sombra te cobija
The stick's shadow provides shade
Por que kieres tumbarlo
Why would you want to knock it down?
Zúmbalo Voltio
Voltio is encouraged to play music to the rhythm of the stick
Que es lo que tiene el condenau
The singer is trying to find out once again what makes the stick so hard to knock down
Que pa tumbarlo está malo
It's very difficult to knock the stick down
No venga a llorikiar,
The singer is not interested in hearing complaints about the stick
Porque esto aqui es pa bravo
The situation is tough
Que por mas lima que de
Even after sharpening your axe
Se le rompe el cabo
The axe still breaks when trying to knock the stick down
Juega Papo Lucas
Papo Lucas starts playing the piano
Amuela las blanca y las negras
Sharpen both black and white sides of the axe
Que hay que darle duro a ese palo
They need to put more effort into knocking the stick down
Ahora es que es
Now is the time to try and knock the stick down
Del árbol caido
People use the fallen tree to make firewood
La gente hace leña
The literal translation is that 'people make firewood'
El asunto es que meterle
The important thing is to swing the axe
Y en tumbarlo se empeñan
And to try to knock the stick down
No ha nacido todavía
There still hasn't been born
En esta isla borinqueña
In this Borinquen Island (another name for Puerto Rico)
Tumbar a Julio Voltio
Someone capable of knocking down Julio Voltio (probably a reference to a person or group)
Y la sonora ponceña
And the Sonora Ponceña, the band performing the song
Amuela tu hacha
Sharpen your axe
A ver si se ababacha
To see if you can successfully knock the stick down
Duro le han pegau
They've attacked the stick with force
Pero que nadie lo derriba
But still no one can knock it down
Con to los que me tiren
Regardless of what others throw at me
Como kiera voy pa encima
I'll keep going forward
Viene tanto hachero
So many woodcutters are coming
Pa tumbarme el palo
To try to knock the stick down
Buscan su bakeo
They're looking for a way to get the job done
Yo no se que pasa
I don't know what's happening
Que no lo han tumbau
But still, no one has managed to knock the stick down
Pero el palo mio
But my stick
Ya Esta bien sembraú
Is firmly planted and won't fall easily
Dile a los acheros
Tell the woodcutters
Que, esta duro
That the stick is hard
El palo
Referring to the same stick
Que pasa
What's happening?
Palo palito
The artist is emphasizing that the stick is tiny
Que palo palo es
But it's still hard to knock down
Setenti dos haceros
Seventy-two woodcutters
Y contigo setenti tres
Now seventy-three with the singer
Mientras ma viejo, Mas fuerte
As it gets older, the stick only becomes stronger
Pa encima hasta la muerte
The singer is determined to keep trying to knock the stick down, even if it kills them
Yo soy el palo duro
The artist identifies with the strength of the stick
Trata a ver si tienes suerte
Try to knock it down if you think you're lucky
Hacheros pa un palo
Woodcutters for one stick
Bueno Papo que clase esquina
Papo Lucas is asked again what kind of corner they're in
Tremenda esquina
He confirms that it's a great corner
Y el hacha quedó mellá
And the axe is now damaged from trying to knock the stick down
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@RuddyRosas
EN EL PERÚ 🇵🇪 SOMOS AMANTE DE LA SALSA DURA COMO LE DECIMOS NOSOTROS.
LA PONCEÑA ES OTRO LEVEL ES LA MEJOR ORQUESTA EN LA HISTORIA DE LA SALSA . SALUDOS BORICUAS DESDE LIMA PERÚ 🇵🇪
@luisfjaime1034
Soy cubano, pero con este tema Puerto Rico se botó, se rompió el molde señores, pura sabrosura y afínque. Tremendo empaste del coro, percusión bestial y ese mago de Papo Lucca, con un solo de piano de otra galaxia. Esto es nivel Máximo, a recogerse.
@mikesosa1146
Los cubanos nos dieron el ritmo clave. We will always be attached.
@InfanteDifunto
Este tema es cubano, mi hermano. Es un son montuno de la autoría del Ciego Maravilloso Arsenio Rodríguez! Busca el original que está por ahí también. 🇨🇺
@jorgevillafane2292
@@mikesosa1146 5
@cam-ix1er
@@InfanteDifunto Quien dijo que no era Cubano? Yo estoy seguro que Arsenio Rodriguez si hubiera oido esta version de la Sonora estaria gozando.
@oscarr.camacho7257
Saludos mi gente linda 💪👍
@RuddyRosas
Terrible Sonero Domingo Quiñones el más que Canta 🎤
Tus temas Son todo un éxito : saludos desde Lima Perú 🇵🇪
@victoramabilisgerrero3469
Soy venezolano pero con este tema la
Sacaron
De jonron con
La.salsa Brava no hay.competencia.
@LuisAlfredoGarcia-qq4fx
Que, locura puerto ron,en Bucaramanga los queremos. Viva. Ponce. Luigi.