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.
Con Mana Si
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
hierro con maña se rompe.
Hachero con su poder
un palo taló en el monte
Hachero con su poder
un palo taló en el monte
Y yo como soy herrero
Hierro con maña se rompe,
hierro con maña se rompe.
Con fuerza no es con maña sí
y tu verás como es verdad
Con maña se rompe
Hierro con maña se rompe,
hierro con maña se rompe.
Hierro con maña se rompe.
Hachero se fue pal monte
Como no pudo con ella
Con maña quiso romper
Con maña, con maña.
Con maña se rompe.
Con maña quiso romper.
Para que bailen los pollos.
Para que baile Miguel.
The song Con Maña Si by Sonora Ponceña is a celebration of skill, power and perseverance. The opening lines "Hierro con maña se rompe" which translates to "Iron is broken with skill" sets the theme for the song. It suggests that brute force alone is not enough to achieve something, but it requires intelligence and wisdom to get things done correctly. The song speaks to the idea of mastering one's craft and utilizing skills to overcome obstacles.
The song goes on to describe the prowess of the "hachero," who can fell trees with ease, and the "herrero" who has the skill and finesse to manage iron. The chorus, "Hierro con maña se rompe," is a call to anyone who faces a challenge to use their intelligence and resourcefulness to overcome it. The lyrics imply that with hard work, skill, and dedication, anything is achievable.
Additionally, the song has an element of humor as the last verse is about making the chickens dance and Miguel to dance. The song is a testament to the skill of the hachero and the herrero, emphasizing the importance of mastery over one's craft. The song encourages listeners to embrace their abilities and to approach life with creativity and intelligence.
Line by Line Meaning
Hierro con maña se rompe,
Iron is broken with skill,
hierro con maña se rompe.
Iron is broken with skill.
Hachero con su poder
A lumberjack with his power,
un palo taló en el monte
cut a stick in the forest,
Hachero con su poder
A lumberjack with his power,
un palo taló en el monte
cut a stick in the forest.
Y yo como soy herrero
And I, as a blacksmith,
con maña quiero romper.
want to break with skill.
Hierro con maña se rompe,
Iron is broken with skill,
hierro con maña se rompe.
Iron is broken with skill.
Con fuerza no es con maña sí
It’s not with force, but with skill,
y tu verás como es verdad
And you will see that it's true.
Con maña se rompe
With skill it’s broken,
Hierro con maña se rompe,
Iron is broken with skill,
hierro con maña se rompe.
Iron is broken with skill.
Hierro con maña se rompe.
Iron is broken with skill.
Hachero se fue pal monte
The lumberjack went to the mountain,
Como no pudo con ella
As he couldn't do it,
Con maña quiso romper
He tried to break it with skill,
Con maña, con maña.
With skill, with skill.
Con maña se rompe.
With skill it’s broken.
Con maña quiso romper.
He tried to break it with skill.
Para que bailen los pollos.
So that the chickens dance.
Para que baile Miguel.
So that Miguel dances.
Contributed by Owen I. Suggest a correction in the comments below.
Luis Ramírez
Sensacional canción, además de solo genial
Jose Gomez
Superb version!
Jose Sanchez
Eluno excelente tema con son y melodia más salsa que pescao.
Armando Zarate
Vaya que chevere se subio la espuma subeleeeeeeeee
Ramon Bou
Sonora con pura maña está es la escuela no lo podemos olvidar palo duro salpica y con riki arenca pa k aprenda a gosaaaa palo monte chapiao y cuidado k t enfanga pa la escuela con los nenes
José M. Mercado
Cheomercado Sonora PONCEÑA con Maña sé Rompe
RAICES REENCUENTRO 2020
Papo Lucca, el papá de los pollitos.