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.
Rumba En El Patio
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
En el patio del solar
Pero vengan, los rumberos
Y en el tumbador
Con golpe arrollador
Los cueros redoblan
Y el quinto llama
Un guaguancó, que dice así
Que dice así
INTERLUDIO –
Pero que vengan los rumberos, vengan todos los mulatos, para el solar...
AHORA SI, LA RUMBA ESTA BUENA
Que no se quede nadie mira sin bailar, que no se quede nadie mira sin cumbanchar
Pero que ahora si, si, si, Que ahora si, me vengo a inspirar
A la la le ale, a la la le ale - A la la le ale, a la la lea – que bueno está
Vengan- todos los soneros, vengan todos a gozar bongo
Para cumbanchar, bongo, para festejar, bongo, bongo
AHORA SI, LA RUMBA ESTA BUENA
MAMBO –
LA RUMBA ESTÁ BUENA
Para cumbanchar, bongo, para vacilar, bongo
Para festejar, bongo, para vacilar, bongo
Mira- y es que lo siento
Yo se lo canto señores con sentimiento
Vengan- todos los soneros
Vengan todos a bailar
LA RUMBA ESTÁ BUENA
MOÑA –
LA RUMBA ESTÁ BUENA
TRUMPET SOLO -
QUE LA PAGUE QUIEN LA ROMPE
Venga rumbero bueno
Que la pague, que la pague, que la pague quien la rompe
Yo se lo canto, con sentimiento
A la le ale, ale ale a lea le lei la...
Señores y es la verdad
Mira- ahora si estoy cantando
Con la Sonora Poncena mira estoy disfrutando
The song "Rumba En El Patio" by Sonora Poncena is an upbeat track that is driven by its lively rhythm and lively message. The song speaks of the formation of a vibrant rumba in the backyard of a home, but the excitement of the rumba is not limited to the confines of the location. The song beckons all rumba lovers and dancers to come and take part in the festive atmosphere.
The first verse of the song describes the formation of the rumba with the use of the tumbador, an instrument that produces a deep, rolling sound, matched with the thumping beats produced by the redobles of the drumheads. As the rumba progresses, the fifth call of the quinto, which is a type of drum, joins in to create an exciting atmosphere.
The second verse of the song repeats the invitation to all rumba lovers and dancers to come and join the festivities. The bongo, which is a set of drums, is mentioned as an essential instrument for cumbancha, meaning dancing and having fun. The song continues to build on the excitement of the rumba with its mambo section and trumpet solo.
Overall, the song is a call to come together and enjoy the vibrant atmosphere created by the rumba, where all are welcomed to join in the festivities.
Line by Line Meaning
La rumba se ha formado
The party has started
En el patio del solar
In the yard of the building
Pero vengan, los rumberos
But come, the party-goers
Y en el tumbador
And on the drums
Con golpe arrollador
With an overwhelming beat
Los cueros redoblan
The drums beat
Y el quinto llama
And the cowbell rings
Óyeme inspirador, que como entona
Listen to the inspiration, the way it resonates
Un guaguancó, que dice así
A guaguancó, that goes like this
Pero que vengan los rumberos, vengan todos los mulatos, para el solar...
But let the party-goers come, let all the people come to the yard...
AHORA SI, LA RUMBA ESTA BUENA
Now yes, the party is good
Que no se quede nadie mira sin bailar, que no se quede nadie mira sin cumbanchar
Let no one stay, watching without dancing, let no one stay, watching without cumbancha-ing
Pero que ahora si, si, si, Que ahora si, me vengo a inspirar
But now yes, yes, yes, I come to inspire myself
A la la le ale, a la la le ale - A la la le ale, a la la lea – que bueno está
To the la la le ale, to the la la le ale - To the la la le ale, to the la la lea - how good it is
Vengan- todos los soneros, vengan todos a gozar bongo
Come- all the musicians, come all to enjoy the bongos
Para cumbanchar, bongo, para festejar, bongo, bongo
To cumbanchar, bongo, to celebrate, bongo, bongo
MAMBO –
Mambo-
LA RUMBA ESTÁ BUENA
The party is good
Para cumbanchar, bongo, para vacilar, bongo
To cumbanchar, bongo, to vacilar, bongo
Para festejar, bongo, para vacilar, bongo
To celebrate, bongo, to vacilar, bongo
Mira- y es que lo siento
Look- and I feel it
Yo se lo canto señores con sentimiento
I sing it to you, gentlemen, with feeling
Vengan- todos los soneros
Come- all the musicians
Vengan todos a bailar
Come all to dance
LA RUMBA ESTÁ BUENA
The party is good
MOÑA –
Moña-
LA RUMBA ESTÁ BUENA
The party is good
TRUMPET SOLO -
Trumpet Solo -
QUE LA PAGUE QUIEN LA ROMPE
Let whoever breaks it pay for it
Venga rumbero bueno
Come good party-goer
Que la pague, que la pague, que la pague quien la rompe
Let them pay for it, let them pay for it, let whoever breaks it pay for it
Yo se lo canto, con sentimiento
I sing it to you, with feeling
A la le ale, ale ale a lea le lei la...
To the la le ale, ale ale to the lea le lei la...
Señores y es la verdad
Gentlemen, and it's the truth
Mira- ahora si estoy cantando
Look- now I'm singing
Con la Sonora Poncena mira estoy disfrutando
With Sonora Poncena, look, I'm enjoying myself
Writer(s): P. Hernandez, A. Bolona
Contributed by Henry J. Suggest a correction in the comments below.
@noeliaguzman-naf1237
Como me encanta esta salsa! Maravillosa 🎉
@irvingmisaelmanriquerodrig990
Chevere bongo
Esto si es musica brava esto es (salsa) mi gente quien la pague
Quien la rompe
@wagnercp6302
¡¡QUE SALSA, Compadre!!
Ésta Rumba la baila el Cojo, la escucha el Sordo, y la canta el Mudo.
¡¡Candela Pura!!
@luckylouie522
EN EL PATIO DEL SOLAR NO QUE HAY POLVO DE SAHARA !
@wagnercp6302
@@luckylouie522 tu eres Salsólogo y Meteorólogo.
Estás muy pendientes de los asuntos climáticos.
@luckylouie522
@@wagnercp6302 SALSA Y CONTROL !
@JulioZuniga-cr5eq
Tremendo tema con l maravillozaa voz de Yolandita Rivera sonera de las buenas
@joanpena7218
Con la gran yolanda metiendo mano🔥🔥🔥 saludo desde RD
@almeirosuarezsarmiento6785
Yolandita la mejor de todo el mundo.
Salsera y sonora de verdad
@francesrodriguez545
Cortes de piano magistrales del Maestrisimo Papo Lucca. Me encantan los arpegios de las trompetas🎉❤