Tango No. 9 | Radio Valencia

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Tango No. 9

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World: World Traditions Latin: Tango Moods: Mood: Brooding
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Radio Valencia

by Tango No. 9

Tango Number 9’s second album Radio Valencia is a tribute to the story of tango. A delicate selection of tango dance tunes, from the well loved classics to the unknown gems of the extensive world of tango.
Genre: World: World Traditions
Release Date: 

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Tracks

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1. Felicia
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3:04 $0.99
2. Chique
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4:10 $0.99
3. Radio Valencia
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3:13 $0.99
4. Papas Calientes
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2:13 $0.99
5. Desde el Alma
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1:56 $0.99
6. Malena
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3:29 $0.99
7. Lagrimas
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3:19 $0.99
8. Oh, These Dark Eyes
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3:43 $0.99
9. Buen Amigo
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3:10 $0.99
10. La Punalada
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1:50 $0.99
11. Romance de Barrio
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2:06 $0.99
12. Tiempos Viejos
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3:02 $0.99
13. El Chamuyo
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2:30 $0.99
14. Araca Corazon
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2:36 $0.99
15. Caseron de Tejas
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2:27 $0.99
16. Pa'Que Bailen Los Muchachos
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2:36 $0.99
17. La Yumba
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2:37 $0.99
18. El Baquiano
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3:39 $0.99
19. Radio Valencia (Slight Return)
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4:08 $0.99
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ABOUT THIS ALBUM


Album Notes
It was in the little San Francisco restaurant, Radio Valencia, that Tango Number 9 first began performing. Violinist Catherine Clune formed the ensemble to explore the repertoire of Astor Piazzolla, the father of modern Argentine tango. Taking Piazzolla’s driving, complex compositions, Tango Number 9 created their own sound by arranging and adding improvisation. After making their first CD, All Them Cats in Recoleta and continuing to give their much loved performances in concert halls and festivals, the group decided it was time to dig even deeper into the history of tango.

Tango Number 9 took on traditional Argentine tango with a fury and so very quickly they were playing for milongas (tango dance parties). The songs are steeped in tradition and yet speak of the timeless emotions of passion, nostalgia, and struggle. In addition to falling in love with this repertoire, they found that accompanying dancers is another source of inspiration for improvisation. Collaborating with the Bay Area’s best tango dancers, the band learned to play off of the intricate improvised footwork and saw the dance partners moved by the emotions of the music.


Reviews


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David Landazuri

Radio Valencia
To me it sounds like Tango No. 9 plays with more authentic tango feeling than any other gringos I've ever heard. This is not intended as faint praise -- they're great! Further, the trombone adds an original flavor.

Robert Kaye -Global Rhythm

...talk about tight! It is rare for a US-based ensemble to sound so internationa
Explorations in 21-Century Tango abound in this well-crafted disc by Tango No. 9, hailing from San Francisco. The chamber ensemble was formed in 1998 by violinist Catharine Clune and also includes piano, accordion – not quite the same as Astor Piazzolla’s bandoneon – and trombone. The quasi-classical quartet approaches compositions with sincere gusto and highly accomplished musicianship. Most of the songs on this, their second CD, are the quartet’s own arrangements of time-honored tango compositions. A track such as “La Puñalada,” while relatively short (only 1:49 minutes), displays each musician’s instrumental proficiency, as well as the ensemble’s near-telepathic interplay; talk about tight! It is rare for a US-based ensemble to sound so internationally cosmopolitan; you’d swear they had honed their skills in Paris or Buenos Aires. Nonetheless it is a testament to the fact that Tango No. 9 is destined to thrill audiences for many albums and performances to come.

Sam Prestianni

(The ensemble) couples chamber music intimacy with jazz-band punch. The sum effe
Consider the red rose: the fiery hue, the intoxicating scent, the perilous thorns. It's the perfect symbol for Argentina's hot-blooded tango, an indigenous music and dance style that revels in the passion and sorrow of the heart. That such a romantic genre has found an enthusiastic audience in San Francisco is a testament to our windswept city's lust for life. On its second CD, named after the now-defunct Mission cafe where the quartet got its start in 1998, Tango No. 9 celebrates the art form's roots with evocative cover tunes dating from the first half of the 20th century. Imbued with grand dramatic gestures — weepy melodies, strapping rhythms, sweeping crescendos — the songs are black-and-white celluloid nostalgic, while the band's instrumental combo of violin, piano, trombone, and accordion couples chamber music intimacy with jazz-band punch. The sum effect? A provocative, enlivening sound that's good steamy fun.