La Sonora Ponceña, founded in 1954 by Enrique Lucca, is one of the most memorable bands of the musical history of the Caribbean, not only because it has been known since the first time accurately recreate the sound that they came from Cuba (though initially had a lot to owe to the ubiquitous Sonora Matancera, orchestra orchestras, and the sound of Arsenio Rodríguez), adding, clarostá, that touch boricua needed to make a little distance and make it more intimate, if possible.
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| Papo Lucca (Diego R. Bravo) |
Over time, moreover, has been creating his own style (thanks to the virtuosity of Papo Lucca, a brilliant pianist and musical director, who will speak more and better in the future) that maintains 57 years later, that intention and that taste. A watermark that began to be felt much more when, in the mid 70's, took away from the tedious repetition I was experiencing made Latin music in New York to shine with light itself .
Despite having been playing at parties and dances of his native Ponce for many years, with some dabbling in other cities of the island (and a trip to New York in the early 60's, which was the formal presentation to Puerto Rican colony located in the city), it was not until 1968 when he recorded his first Ponceña long duration, had little impact outside the island. Of course, they care little detail: in those days, most of the musicians what sounded Puerto Ricans in New York seemed alien and English with a rather unfortunate, too.
It would take several years before they could create those bonds that unite the sounds of the islands.
Just one of those first was the album ends From Puerto Rico to New York , produced by Larry Harlow in 1972 and still expands the traditional sound, although the virtuosity of one of the Papo- best pianists of the term, only 26 years marked some differences: his love of jazz and debugging when dwelling on the magnificent solos that drops in almost all subjects are, Paradoxically, as advanced as what was playing in NYC at that time. Perhaps the lack of the orchestra-by-call them that had more to do with the album in general (it was said that it was a format orchestral sound that sounded a whole ), his arrangements were a little behind what was listening, and hard-United States, plus the choice of themes, which still had a lot of debt with the Cuban theme, more rural than urban.
And that's a key point: for the urban Caribbean music lovers proposal Ponceña in those years was still a little, how to say, naive away from the neighborhood and their experiences.
singers in the orchestra, the great sonero and bolero singer Tito Gómez and the equally great Luigi Texidor, provide an interesting nuance to the band, which marked its sound with four trumpets, trombones no sight- also low, conga, bongo, piano, three and a guiro. This is reflected in issues such as Tomb Jibarito cane (the Matancera), yes With skill, a slow Son Montuno allowing Lucca melodically expound the influence of Oscar Peterson on keys, merengue Force 'and face and three boleros: I forget, can not be and The door is open. It is also Turn the stove, with a letter rather macho, typical of the Caribbean in those years, that opens the record and intentions Antilles. It is also interesting
The guaguancó born in Havana, a spade a spade-composed and sung by Texidor-and Mayí Oh, in honor of the perennial Cuban deities.
It is definitely an album with lots of flavor that has a freshness that still did not overshadow the New York salsa production. It is also a good way to go finding out how Papo Lucca is virtuous when facing the piano, Latin music and arrangements. The germ disc as impressive as those who scored the late 70's can be found here.
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