The history of La Sonora Ponceña is the history of Quique Lucca, (Yauco, Puerto Rico, 12 December 1912 - 9 October 2016). 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.
Acere Ko
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ahí na´má
Acere ko
Ahí na´má
Con orí y saoco
con batum-batum
Dilo como yo,
Acere ko
dilo como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo, dilo, dilo como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo, dilo, dilo como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Baila moderno, como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo, dilo, dilo,
dilo, dilo, dilo, dilo, dilo como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
"Ová con sojo", el acoso
Orishas!
Llorona!
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo, dilo, dilo como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
En bailadora, acoso
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo como yo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Carlos con malla, eeeh! sabroso
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo, dilo, dilo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Fuera corso, oye! el acoso
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Y yo te canto mi guaguancó
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Dilo, dilo, dilo
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Que no te fuguen, bendito sea Dios
(Dilo como yo,
Acere ko,
ahí na´má,
dilo como yo)
Ven, ven, ven. Yo toco el sabor
La-la-la-la-lere
O-lo-lo-lo-la-lá
The song "Acere Ko" by Sonora Ponceña is a lively dance number that encourages people to follow the lead of the singer and dance in a modern style like him. The repetitive chorus, "dilo como yo, acere ko, ahí na'má," which translates to "say it like me, acere ko, here and now," urges listeners to mimic the singer's movements and style. The song includes call-and-response verses in which the singer invites listeners to "say it like me," followed by his own repeated phrase "con orí y saoco, con batum-batum," which highlights the African musical influence in Puerto Rican music.
The lyrics also mention "Ová con sojo," which means "over with sojo," a phrase that is difficult to translate accurately but is generally understood as a call to overcome difficulties or challenges. The song's joyful, energetic rhythm features instruments such as the trombone, bongo, and cowbell. Overall, "Acere Ko" is a fun, celebratory song that invites people to get up, move their bodies, and enjoy the moment.
Line by Line Meaning
Acere ko
A repeated phrase that emphasizes the song's title and serves as the hook of the song.
Ahí na´má
Another repeated phrase that adds emphasis while also being a call to dance.
Con orí y saoco
With African spirituality and flavor, a nod to Sonora Ponceña's roots in Afro-Caribbean music.
Con batum-batum
With a percussion-heavy beat, another reference to the song's Afro-Caribbean influence.
Dilo como yo, dilo como yo
A call-and-response to encourage others to sing along and copy the unique style of Sonora Ponceña.
Baila moderno, como yo
A direct instruction for the listeners to dance in a contemporary style that's unique to the singer.
"Ová con sojo", el acoso
An exclamation that references a popular dance step and adds excitement to the song. "Ová con sojo" and "el acoso" are both dance moves that the singer wants listeners to try.
Orishas! Llorona!
Two calls to the spirits of the ancestors, acknowledging the religious roots of the music and welcoming them into the song.
En bailadora, acoso
In the dancer's embrace, a move that references the dance style of Sonora Ponceña and adds an intimate feeling to the song.
Carlos con malla, eeeh! sabroso
A shoutout to Carlos, likely one of the band members, who is said to be "sabroso," or talented and flavorful in his style.
Fuera corso, oye! el acoso
A cry for the music to keep flowing and to keep the dance going, another nod to the importance of dance in Sonora Ponceña's music.
Y yo te canto mi guaguancó
And I sing to you my guaguancó, a specific type of Latin American music and dance that links back to Sonora Ponceña's Afro-Caribbean roots.
Que no te fuguen, bendito sea Dios
Don't let yourself escape from the energy of the song and the dance, a call to enjoy the moment and appreciate the music.
Ven, ven, ven. Yo toco el sabor
Come, come, come. I play the flavor, an urging for the listeners to keep dancing and enjoying the music, while also embracing the unique style of Sonora Ponceña.
La-la-la-la-lere O-lo-lo-lo-la-lá
Just like "Acere ko" and "Ahí na'má," a repeated phrase to add emphasis and energy to the song while also being a call to dance.
Contributed by Declan M. Suggest a correction in the comments below.
@arturorvaloynunez872
2k23 y aún una de las mejores
@Delvallerivera1418
Hoy no sé porque me vino este tremendo clasico a mi mente en el trabajo. Pero aqui presente este chamaquito de 30 años.🔥🔥🔥🔥💪💪💯🇵🇷🇵🇷🇵🇷🇵🇷🇵🇷🇵🇷
@ralpuentespuentes8315
la fórmula del éxito de Lugi texidor la grandeza de su humildad sin presumir se mantiene con buena salud y la gran energía de cantar
@lopz33
¡Tremendo clásico de la Sonora Ponceña cantando Luigi Texidor!
@joserivaera5015
salsa gorda La Sonora Ponceña goza
@lopz33
Un día como hoy, 20 de enero de 1935, nació en Santa Isabel, Puerto Rico, el cantautor Luis Guillermo (Luigi) Texidor Ortiz, el Negrito del Sabor. Maestro, felicitaciones, mucha vida y salud ante todo. 🎵🎤🖋🎶🎉🎂🎊😀😀😀😀😀
@davidortega8768
K bacaneria musica. Del aller no hay como los recuerdos dios te bendiga pork escuchamos salsa dura 💯🙏🇨🇴🇨🇴🇨🇴🕺
@lionelvillahermosa653
EXCELENTE HERMOSO SUBLIME INMORTAL 🎼 🥁 🎶 🎵 💫
@AlbertoTerrazosMusic
Que genialidad para formar esta sabrosura.
Los verdaderos animales... y están en extinción ya no se hacen temas así.
@alexan073
Si claro lucky jajaja muy buena atinada saludos