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.
El Tiempo
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lo mas importante de ayer de siempre es el amor.
Y si esta en el tiempo cuando lo vere.
Siempre, siempre pensare' si el amor existe para mi.
El tiempo nos demostrara' y mientras tanto tengo esperar.
Tiempo ya que puedo hacer preguntarle al viento o llorar.
Si es cierto que mi amor vendra hasta el fin del tiempo yo sabre esperar.
Tiempo ya que puedo hacer preguntarle al viento o llorar.
The lyrics of Sonora Ponceña's "El Tiempo" reflect on the importance of time in relation to love. The opening lines of "todo esta en el tiempo, esta el presente, esta el ayer" suggest that everything is determined by time - the present, the past, and the future. The focus then shifts to the importance of love, and how love is the most important thing from the past that still matters. The singer wonders when they will find love, and acknowledges that it may be in the future, as it is "en el tiempo," but they will always think about it and wait for it.
The repetition of "tiempo ya que puedo hacer preguntarle al viento o llorar" emphasizes the singer's sense of impatience and frustration, but also their willingness to wait and endure in the face of uncertainty. The lyrics express a sense of hope and belief that love will come, but also a recognition that it is not guaranteed. Ultimately, the song encourages listeners to have faith in the transformative power of time, and to trust that whatever is meant to happen will happen "hasta el fin del tiempo."
Line by Line Meaning
Todo esta en el tiempo, esta el presente, esta el ayer.
Everything is within the bounds of time, including the present and the past.
Lo mas importante de ayer de siempre es el amor.
Love has always been and will always be the most important thing from the past.
Y si esta en el tiempo cuando lo vere.
And if love is within the bounds of time, when will I see it?
Siempre, siempre pensare' si el amor existe para mi.
I will always wonder if love exists for me.
El tiempo nos demostrara' y mientras tanto tengo esperar.
Time will show us and in the meantime, I have to wait.
Tiempo ya que puedo hacer preguntarle al viento o llorar.
Time, I can either ask the wind or cry.
Si es cierto que mi amor vendra hasta el fin del tiempo yo sabre esperar.
If it's true that my love will come until the end of time, I will know how to wait.
Tiempo ya que puedo hacer preguntarle al viento o llorar.
Time, I can either ask the wind or cry.
Si es cierto que mi amor vendra hasta el fin del tiempo yo sabre esperar.
If it's true that my love will come until the end of time, I will know how to wait.
Writer(s): Enrique Caceras, Alfredo Gil
Contributed by Riley O. Suggest a correction in the comments below.
@elmundodejesusdavid7346
Sin comparación,orquesta y voz fuera de serie,fantastica letra
@javierenriquejoyayamunaque517
Hermoso tema con la participación del gran Pablo Milanés obra de arte total
@felipevidal5600
Tremenda salsa dura con la combinación perfecta, el maestro Pablo Milanés como compositor y la inigualable Sonora Ponceña creando ésta maravilla de obra, grandes recuerdos de mi amada Gloria que se fue así como el tiempo, bendita seas Gloria Luna. Gracias maestros de la mejor, la sonora Ponceña!!!.
@orlandocornejo3261
Hoy escuché este tema por primera vez! Como dicen por acá "Flipé"
@davidgiraldo7088
Esta canción me refleja ahora que estoy joven cómo la vida se me puede ir en un abrir y cerrar de ojos sino la aprovecho a plenitud. ¡Grande Manuel Manix! y fascinante la sonora con su álbum "Into The 90's", año (1990) salsaludos desde Cali - Colombia
@pabloisidoro78
Tema de temas , grande la sonora Ponceña saludos de Barranco, Lima, Perú.
@johnnyalexandertobar6861
No entiendo como este tema, diría yo una de las obras maestras de la Sonora, tiene tan pocas visitas. Impecable Pappo en las teclas
@zaettav
Melodias Imperdonables en las Rumbas Colombianas ..
@joseeduardoarteaga873
Una joya musical por su letra y música!!! Excelente la Ponceña
@carinbarbaran5263
Temón