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.
Juana Bayona
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
juana bayona juana bayona dura de corazon negra.que no perdona
disen que un mulato malo por dentro sin corazon y haora juana bayona a nadie le da el perdon
oye oye se llama juana bayona esa negra no perdona no pero nunca se encojona
no perdona no no no no no que no perdona no no no no no yo deje a juana bayona y con migo se enfogono
oye juana juana juana oye juana tu estas cañona
yo se que tu sabes mucho mas que yo pero te estas haciendo la bobona
ven con migo pero conmigo no no no no no que tu no moja
va cantando el jivarito el son de la lona
un mulato malo pero que corazon y haora no perdona
no me vengas con ese cuento haora no te hagas la bobona
va cantando el jivarito el son de la lona
a la una cumbanchera tu ers una oye campeona
The lyrics to "Juana Bayona" by Sonora Ponceña tell the story of a woman who joined the revolution and fought for the rights of the campesinos. She was a woman of inspiration with a pure soul and good intentions, but she was also willing to sacrifice herself for the cause. Juana Bayona's hands were stained with blood as she fought against the tyranny, and she ultimately fell and died for her noble cause. She may have been black and her life may have been a tragic one, but she has gone down in history as a hero who achieved victory and toppled the oppressors. However, the lyrics also speak of a "mulato malo" who Juana Bayona does not forgive, suggesting that not everyone was on the same side in the revolution.
Line by Line Meaning
llego la revolucion rugieron los campesinos
The revolution came and the peasants roared with hope.
pero llego una mujer a viernea del camino
But then a woman named Juana Bayona appeared, carrying her spirit from the road.
juana bayona mujer de inspiracion
Juana Bayona, a woman of inspiration,
de alma limpia de buenos sentimientos
with a pure soul and good intentions,
quien te recordara sus mano ensangrentadas
even though she had bloody hands, she would be remembered,
sacrficaba su alma de un tiro cayo abatida
She sacrificed her soul and was eventually shot down,
moria por noble causa estaras en la memoria
but died for a noble cause and would be forever remembered,
de todos los campesinos negra y triste fur.tu vida
by all the peasants, whose lives were made black and sad by your fate.
maldito fue tu destino
Your destiny was cursed,
pero ya todo acabo tu nombre paso a la historia
but it has all ended now and your name has gone down in history,
tumbaste la tirania as logrado tu victoria
you overthrew tyranny and achieved victory,
juana bayona oye juana bayona juana bayona
Juana Bayona, oh Juana Bayona
dura de corazon negra.que no perdona
tough-hearted black woman who does not forgive,
disen que un mulato malo por dentro sin corazon
They say there was a mulatto man, bad inside and heartless,
y haora juana bayona a nadie le da el perdon
and now Juana Bayona grants no forgiveness to anyone.
oye oye se llama juana bayona esa negra no perdona no
Listen, listen, her name is Juana Bayona, the unforgiving black woman.
pero nunca se encojona no perdona no no no no no
But she never backs down, never forgives.
yo deje a juana bayona y con migo se enfogono
I left Juana Bayona and she got mad at me,
oye juana juana juana oye juana tu estas cañona
Listen, Juana, Juana, Juana, you are hotstuff,
yo se que tu sabes mucho mas que yo pero te estas haciendo la bobona
I know you know more than me but you're acting like a fool.
ven con migo pero conmigo no no no no no que tu no moja
Come with me, but not that way, you won't get what you want,
un negrito malo que se fure sin corazon
A bad little dark-skinned man who's heartless
y haora juana no perdona
and now Juana doesn't forgive.
va cantando el jivarito el son de la lona
Jivarito sings and plays the lona (an instrument)
un mulato malo pero que corazon y haora no perdona
A mulatto man, bad but with a heart, but now he doesn't forgive.
no me vengas con ese cuento haora no te hagas la bobona
Don't come at me with that story now, don't act dumb.
va cantando el jivarito el son de la lona
Jivarito sings and plays the lona (an instrument)
a la una cumbanchera tu ers una oye campeona
At one o'clock you are a cumbanchera, you are a champ.
Contributed by Leo K. Suggest a correction in the comments below.
@larrysan9731
Tremendo Classico y intro de Miguelito Ortiz y el Negrito del Sabor como lo Conocemos muchos Luigi Texidor Sabrosura en vnyl LP's
@manuelklinger2664
Mucho tema, saludos de desde Colombia,
@ricardochavezoliveros1593
Salsaludo desde sanluisito Cali Colombia
@kellymartinez3886
diablo como encanto esta cancion k viva puerto rico la isla del encanto!!
@alfredoaranahidalgo1785
Puro sentimiento en esta inspiración de lo gigantes del sur
@emiliomontiel3284
Dios mio...que temon
@peruviancargosac7000
Tremendo Tema De los Gigantes del Sur en la Voz Del Gran Luigui Texidor
@odiliofeliciano2111
La sonora num. One
@leonardojosearteagarodrigu5870
muy pero muy buen temaso... pa bailar y pasar una buena noche salsera... que viva la salsa ay na ma.!
@jhoncaruci8835
Tremendo clásicote