La Sonora Ponceña is a Puerto Rican salsa band, founded in 1954 by Enrique … Read Full Bio ↴La Sonora Ponceña is a Puerto Rican salsa band, founded in 1954 by Enrique "Quique" Lucca Caraballo. Today Quique's son, Papo Lucca, directs the band. The band has stayed active for a remarkable amount of time, recording dozens of albums, including a 55th anniversary album. Singers included Tito Gómez, Luigi Texidor, and Yolanda Rivera.

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.

Timbalero
Sonora Ponceña Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

¿Qué le pasará al cantante, timbalero?
Que ya no quiere cantar la rumba buena
¿Será que ya no le gustan más los cueros?
Pero sin cuero no hay rumba ni tema

(Rumba buena, timbalero)
(Para que cante el sonero)

¡Escucha!

Y si no quiere cantar, eso no importa
La rumba se formará con los rumberos
Y si alguien quiere cantar, señor, que cante
Porque nosotros traemos lo importante

(Rumba buena, timbalero)
(Para que cante el sonero) ¿Cómo es?
(Rumba buena, timbalero)
(Para que cante el sonero)

Para que cante el sonero
Dale un golpe de timbal
Rompe cuero, timbalero
Pon el sonero a gozar

(Rumba buena, timbalero)
(Para que cante el sonero)

Primero se hace el arreglo
Se le pone to el sabor
Si no tiene quién lo cante
La letra no llega al pueblo

(Rumba buena, timbalero)
(Para que cante el sonero)

Esta rumba es pa mi pueblo
Adornada con tambor
Y mi corazón se agita
Bum, ka-ta-bum, ka-ta-bum, bum-bum

(Rumba buena, timbalero)
(Para que cante el sonero)

Jessie toca el timbal
Angelito el bongosero
Johnny Rivero en la conga
Viene repartiendo fuego

(Rumba buena, timbalero)
(Para que cante el sonero)

Ya tú veras
Ya tú veras, tú va′ a ver

(Rumba buena, timbalero)
(Para que cante el sonero)

Oye eso
Ese es el nene de Don Chu, ¡toma!
¡Guaya así, Colón!

¡Toma!
¡Ven pa'cá!, ¡ven pa′cá!
¡Toma!

Oye, cómo hay que bregar en esta vida

(Se oyó el timbal, del timbalero)
(Y a su compás, cantó el sonero)

No se le vaya a olvidar
A usted, mi amigo sonero
Que sagrada es su misión
De alegrar al mundo entero

(Se oyó el timbal, del timbalero)
(Y a su compás, cantó el sonero)

En unión al timbalero
Y la orquesta en general
Al pueblo pudo llegar
El mensaje del sonero

(Se oyó el timbal, del timbalero)
(Y a su compás, cantó el sonero)

Y con su porte sencillo
Jessie sonó su timbal
Acompañando al sonero
Puso la gente a gozar

(Se oyó el timbal, del timbalero)
(Y a su compás, cantó el sonero)

Se oyó el timbal
Del timbalero
Y el sonero le cantó
A toditos los rumberos

(Se oyó el timbal, del timbalero)
(Y a su compás, cantó el sonero)

¡Me voy!

El Brujo
¿Qué-Qué?

Overall Meaning

The lyrics of Sonora Ponceña's song "Timbalero" reflect the importance of the lead singer, or "sonero," and the role of the timbalero in creating the rhythm and energy of the rumba. The song begins by questioning what has happened to the timbalero, as he no longer wants to sing the "good rumba." The lyrics suggest that he may have lost interest in the drums, but without drums, there can be no rumba or theme. However, the song emphasizes that even if the timbalero doesn't want to sing, it doesn't matter because the rumba will still be formed with the other rumberos. If someone else wants to sing, they are encouraged to do so because the important element is brought by the collective.

The song continues to praise and highlight the importance of the sonero, encouraging them to give a stroke on the timbal, to break the leather, and to make the sonero enjoy. It emphasizes the need for the arrangement and flavor in the music, and if there is no one to sing the lyrics, the message won't reach the people. The lyrics also express the love for the hometown, the rhythm of the drums, and the excitement in the heart. The song gives credit to the individuals playing the instruments, including Jessie on the timbal, Angelito on the bongos, and Johnny Rivero on the conga.

Overall, "Timbalero" celebrates the role of the timbalero in creating the rhythm and backbone of the rumba, and acknowledges the importance of the sonero in delivering the message and engaging the audience.

Line by Line Meaning

¿Qué le pasará al cantante, timbalero?
What is happening to the singer, the timbalero?

Que ya no quiere cantar la rumba buena
He no longer wants to sing the good rumba

¿Será que ya no le gustan más los cueros?
Could it be that he no longer likes the drums?

Pero sin cuero no hay rumba ni tema
But without drums there is no rumba or theme

(Rumba buena, timbalero)
(Good rumba, timbalero)

(Para que cante el sonero)
(So that the sonero can sing)

¡Escucha!
Listen!

Y si no quiere cantar, eso no importa
And if he doesn't want to sing, it doesn't matter

La rumba se formará con los rumberos
The rumba will be formed by the rumberos

Y si alguien quiere cantar, señor, que cante
And if someone wants to sing, sir, let them sing

Porque nosotros traemos lo importante
Because we bring what's important

Para que cante el sonero
So that the sonero can sing

Dale un golpe de timbal
Give them a hit of the drums

Rompe cuero, timbalero
Break the drumskin, timbalero

Pon el sonero a gozar
Make the sonero enjoy

Primero se hace el arreglo
First the arrangement is made

Se le pone to el sabor
It is given all the flavor

Si no tiene quién lo cante
If there is no one to sing it

La letra no llega al pueblo
The lyrics don't reach the people

Esta rumba es pa mi pueblo
This rumba is for my people

Adornada con tambor
Adorned with drums

Y mi corazón se agita
And my heart beats fast

Bum, ka-ta-bum, ka-ta-bum, bum-bum
Boom, ka-ta-boom, ka-ta-boom, boom-boom

Jessie toca el timbal
Jessie plays the timbal

Angelito el bongosero
Angelito the bongo player

Johnny Rivero en la conga
Johnny Rivero on the conga

Viene repartiendo fuego
Comes distributing fire

Ya tú veras
You will see

Ya tú veras, tú va′ a ver
You will see, you will see

Oye eso
Listen to that

Ese es el nene de Don Chu, ¡toma!
That's Don Chu's kid, take that!

¡Guaya así, Colón!
Go ahead like that, Colón!

¡Toma!
Take that!

¡Ven pa'cá!, ¡ven pa′cá!
Come here!, come here!

¡Toma!
Take that!

Oye, cómo hay que bregar en esta vida
Listen, how we have to struggle in this life