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.

Tu Y Yo Na Ma
Sonora Ponceña Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

A la, la, la, la, la, A la, la, la, la, la
A la, la, la.

Mucho cante para entretenerte
y mucho te complací, para que tu me amaras...

Nunca te ofendí, para que no lloraras...
tu llanto hipócrita de mujer...

Y por eso digo yo
déjate de boberia, yo siempre a ti te decía...
que no jugaras, con el diablo.

(Tu y yo na' ma)
(Tu y yo na' ma)
Tu y yo, tu y yo, tu y yo, na' ma
(Tu y yo na' ma)
Pero yo siempre... te lo decía
(Tu y yo na' ma)
que no jugaras mama con el diablo
(Tu y yo na' ma)
El día que yo me case contigo, no salgo todito el día
(Tu y yo na' ma)
Que yo no quiero a nadie mas en la cama mía.

(Tu y yo na' ma)
Oye!
(Tu y yo na' ma)
(Tu y yo na' ma)
(Tu y yo na' ma)
(Tu y yo na' ma)
Na' ma, na' ma, na' ma, na' ma, na' ma
(Tu y yo na' ma)
Oye! tantas veces que yo te lo decía
(Tu y yo na' ma)
Que tu me decías a mi que yo era una porquería
(Tu y yo na' ma)
Tu y yo, tu y yo, tu y yo vamo' a gozar
(Tu y yo na' ma)
Cuando yo me case contigo mamita mía
(Tu y yo na' ma)
Tu y yo, tu yo, pero que bueno va
(Tu y yo na' ma).

(Tu y yo na' ma)
.

Pero tanto que yo te quiero mamita mía
(Tu y yo na' ma)

Na' ma, na' ma, na' ma, na' ma, na' ma
(Tu y yo na' ma).

Overall Meaning

The lyrics of "Tu Y Yo Na Ma" by Sonora Ponceña tells the story of a man who loved and cared for his partner unconditionally. He sang and entertained her, made sure she was happy, and did everything he could to avoid offending or hurting her. The song also references how the woman sometimes played games or tested their love. However, the man always reminded her to stay away from the devil and not to play with his heart. He tells her that he wants to marry her and be with her forever, and that he loves her more than anything else in this world. The song is a beautiful testament to a loving and dedicated relationship despite some difficulties and conflicts.

Line by Line Meaning

Mucho cante para entretenerte
I sang a lot to entertain you

y mucho te complací, para que tu me amaras...
and tried my best to please you, so that you would love me

Nunca te ofendí, para que no lloraras...
I never offended you, so that you wouldn't cry

tu llanto hipócrita de mujer...
your hypocritical tears as a woman

Y por eso digo yo
And that's why I say

déjate de boberia, yo siempre a ti te decía...
stop being foolish, I always told you...

que no jugaras, con el diablo.
not to play with the devil