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.
Bomba Carambomba
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ya resonó en el confín el bacará, el bacará.
Sale la negra rosa con su talle apretado
y muy tirado de blanco la sigue Estanislao
y se forma la rumbacon un grán furor
y se viste de fiesta de amante el corazón
Que no me venga con Tango ni Milonga
Pero que buena es mi Bomba
Cuando una mujer te diga
"Papito te quiero tanto"
Puede ser que la barriga muy pronto estarás llenando
Bomba, Carambomba, Carambomba
Bomba, bomba de Cobadonga
Pero que buena es mi bomba
Entre el hombre y la mujer
nunca existe compromiso
ellas quieren por querer y el hombre buscando el guiso
Bomba, Carambomba, Carambomba
Bomba, bomba, que buena bomba
pa'llá, pa'llá la conga
no te dejes engañar porque la barriga se está llenando
"Que bomba"
"Cámbiame ese swing, ahora es Bossa-nova para variar un poquito"
Bomba, Carambomba, Carambomba
Yo me quedo en Salina con toda mi conga
Boooooooomba, bomba, bomba
no se corta con tijera, todo lindo material
todo lindo material que se te parezca a tela
Bomba, bomba, bomba para que el conga
Bomba-carambomba-carambomba-carambomba-carambomba
No te dejes engañar porque la barriga está llenando
Bomba, bomba de Cobadonga
Bombacará, bombacará, bombacará
Boooooooomba, bomba, bomba
Pa'l paseo de Cobadonga
The lyrics of Sonora Ponceña's "Bomba Carambomba" describe a festival that is filled with joy and celebration. The bacará, a popular dance in Puerto Rico, is heard throughout the festival as people dance and enjoy themselves. The song then introduces two characters, the black rose and Estanislao, who are dressed in a tight waistcoat and white clothing, respectively. The rumba starts with great excitement, and the heart is filled with the joy of a lover’s celebration.
The song's vocals then speak about the beauty and power of the Bomba dance, which is native to Puerto Rico. It is a dance form that originated among enslaved West Africans and Caribbean peoples in the 17th century. The lyrics also warn about the consequences of a man's actions if he does not respect the intentions of women. The lyrics also make a lighthearted reference to the consequences of pregnancy that can result from romance. The chorus repeats the refrain "Bomba Carambomba" several times, while encouraging listeners to enjoy themselves and celebrate life with the Bomba dance.
Line by Line Meaning
Ya se llenó de alegría el festival
The festival has been filled with joy and excitement.
Ya resonó en el confín el bacará, el bacará.
The sound of bacará has echoed throughout the festival.
Sale la negra rosa con su talle apretado
The black rose comes out with a tight waist.
y muy tirado de blanco la sigue Estanislao
And Estanislao follows her, dressed all in white.
y se forma la rumba con un gran furor
And the rumba is formed with great passion.
y se viste de fiesta de amante el corazón
And the heart of the lover dresses up for the celebration.
Bomba, Carambomba, Carambomba
Bomba, Carambomba, Carambomba
Que no me venga con Tango ni Milonga
Don't come to me with Tango or Milonga.
Pero que buena es mi Bomba
But how good my Bomba is.
Cuando una mujer te diga 'Papito te quiero tanto'
When a woman tells you 'Daddy, I love you so much'
Puede ser que la barriga muy pronto estarás llenando
You might soon be filling her belly.
Entre el hombre y la mujer nunca existe compromiso
There is no commitment between a man and a woman.
ellas quieren por querer y el hombre buscando el guiso
Women want for the sake of wanting, while men are looking for something concrete.
Bomba, Carambomba, Carambomba
Bomba, Carambomba, Carambomba
Bomba, bomba, que buena bomba
Bomba, bomba, how good is my bomba.
pa'llá, pa'llá la conga
Let's go, let's go to the conga.
no te dejes engañar porque la barriga se está llenando
Don't be fooled, the belly is getting full.
Yo me quedo en Salina con toda mi conga
I'll stay in Salina with all my conga.
Boooooooomba, bomba, bomba
Boooooooomba, bomba, bomba
no se corta con tijera, todo lindo material
It cannot be cut with scissors, it's beautiful material.
todo lindo material que se te parezca a tela
Beautiful material that resembles fabric.
Bomba, bomba, bomba para que el conga
Bomba, bomba, bomba for the conga.
Bomba-carambomba-carambomba-carambomba-carambomba
Bomba-carambomba-carambomba-carambomba-carambomba
No te dejes engañar porque la barriga está llenando
Don't be fooled, the belly is getting full.
Bomba, bomba de Cobadonga
Bomba, bomba from Cobadonga
Bombacará, bombacará, bombacará
Bombacará, bombacará, bombacará.
Pa'l paseo de Cobadonga
For the parade of Cobadonga.
Contributed by Evan H. Suggest a correction in the comments below.
@randuavila5677
Aqui hay tres versiones de ese tema de la cancion
1ero lo interpreto Rafael Cortijo y su Combo y lo canta Ismael Rivera
2do lo graba Los Gigantes del Sur lo que esta sonando y lo canta el negrito del sabor Luigi ACARA Texidor
3ero tambien lo interpreto el joyero de la salsa Angel Canales
Y la composicion original el es Miguel Angel Amadeo nada mas me quedo con los 3 excepto que 1ero lo interpreto el Sonero Mayor en los años 50 esto es sallllllsaaaa
@randuavila5677
Aqui hay tres versiones de ese tema de la cancion
1ero lo interpreto Rafael Cortijo y su Combo y lo canta Ismael Rivera
2do lo graba Los Gigantes del Sur lo que esta sonando y lo canta el negrito del sabor Luigi ACARA Texidor
3ero tambien lo interpreto el joyero de la salsa Angel Canales
Y la composicion original el es Miguel Angel Amadeo nada mas me quedo con los 3 excepto que 1ero lo interpreto el Sonero Mayor en los años 50 esto es sallllllsaaaa
@omarstabridis5899
Luigi Texidor es el mejor cantante que ha tenido la Sonora Ponceña
@Carlitoselguey135
@@omarstabridis5899 Acars
@letrascanciones3852
El compositor de esta canción es Alberto "Titi" Amadeo (puertorriqueño) y el título original es "Bacará", aunque en las versiones posteriores le añadieron "Bom Bacará" (Buen Bacará) y de allí derivó en "Bom Bacara Bomba", hasta terminar en "Bomba carambomba".
Como "Bom Bacará" lo interpretó el Cuarteto Marcano
y como "Bacará" lo cantó Davilita junto a Pepito López
y también se tituló "Bacará" la canción original del Grupo Amadeo de 1936, cantada por Pedro “Piquito” Marcano
Algunos han confundido a su compositor Alberto "Titi" Amadeo con Miguel Ángel Amadeo porque en los vinilos escribían "A. Amadeo" y de allí la confusión.
@MiguelReyes-cz9il
Cooomo yo no sabia eso, eso es papa
@kevinurban4929
Mi hermano hay 4 versiones faltó la de Jimmy Sabater y son boricua tremenda versión .
@nellymartinez2110
Una de las mejores Orquestas de salsa, toda su música es fascinante . Gracias Lucky👍👏👏😍😍🎵🎵🎵
@letrascanciones3852
El compositor de esta canción es Alberto "Titi" Amadeo (puertorriqueño) y el título original es "Bacará", aunque en las versiones posteriores le añadieron "Bom Bacará" (Buen Bacará) y de allí derivó en "Bom Bacara Bomba", hasta terminar en "Bomba carambomba".
Como "Bom Bacará" lo interpretó el Cuarteto Marcano
y como "Bacará" lo cantó Davilita junto a Pepito López
y también se tituló "Bacará" la canción original del Grupo Amadeo de 1936, cantada por Pedro “Piquito” Marcano
Algunos han confundido a su compositor Alberto "Titi" Amadeo con Miguel Ángel Amadeo porque en los vinilos escribían "A. Amadeo" y de allí la confusión.
@damelomio10
La Sonora Ponceña es un vicio. No me canso de escuchar a uno de mis orgullos 🇵🇷. Luiggi Texidor: un sonero ingenioso y de pueblo. Ahí le dedica un soneo al promotor y productor “Tony Conga” (Luis Rodríguez), cuyo fallecimiento se confirmó hoy, 14 de febrero de 2021. ¡Que en paz descanse!
@luckylouie522
QEPD !