Al Valenti - Plectrum's Segovia
Born in New York in 1914, Al Valenti got his start in music by playing the mandolin under the instruction of his father who was a professional musician. A friend of John D’Angelico before he was building his own guitars, Al Valenti found himself an endorsee of the D’Angelico brand by the time he was 20. At that time Valenti was already regarded as a virtuoso on the plectrum guitar and touring with big bands traveling both coasts.
Though Valenti performed regularly with Joe Reichman and his Orchestra on WABC in the 30s and was employed as a studio guitarist for Decca Records where he recorded with Bing Crosby, the Andrew Sisters, Connie Boswell, and Tony Martin; he is perhaps best remembered for his pioneering of classical piano and guitar arrangements for the plectrum guitar.
The best description of Al Valenti's ability and virtuosity can best be described by quoting Frank Victor’s article taken from the December 1936 issue of Metronome Magazine [as taken from Mel Bay’s Masters of the Plectrum Guitar]:
“Although on 21 years of age he is already being referred to as a genius. Still practices eight hours a day, (ouch.) Until recently he was featured on the Joe Reichman program via WABC Saturday nights. His rapid-fire runs and fill-ins were a pleasure to this writer’s ears. But one of the most amazing things that ever happened to me was when this boy eased his way into my studio, and without a warming up started in to give his conception of the classics and how they should be played with a pick. One would think it is almost impossible to play so many notes and skipping of strings, especially when it must be taken into consideration that these particular compositions are arranged for fingerstyle, where the artist employs the use of four fingers. But this makes no difference to Al. He has proven beyond doubt that this type of music is playable with a plectrum.
One of the pieces in particular that caused yours truly to sit up, was the Tremolo study recorded, and recently featured by Andres Segovia in his concerts [Tarrega’s Recuerdos de la Alhambra perhaps?]. Just imagine one playing (with a pick, mind you) a tremolo of 32nd notes on the top E string, a counter melody on the inner strings, and the bass notes to boot, all in one beat.”
One of my favorite transcriptions by him is of Riccardo Drigo's Serenade from Les Millions d'Arlequin below. Thas arrangement can be found in Mel Bay's MOTPG. Additional arrangements by Valenti can be found in Mel Bay's Classic Solos for Pick-Style Guitar. Not my best playing but, boy howdy, what a workout on the fretboard! I originay heard Serenade from a YouTube video of "The Tampa Jazzman". He does a wonderful version and I encourage you to see his as well.
Below is a a video of the Joe Reichman Orchestra with whom appears to be Al Valenti on guitar (unconfirmed). I believe Valetni played with Reichman until 1936 and this movie was released that same year. If this isn't Al Valenti, it at least gives us an idea of the type of society and dance music Valenti was playing during those years.
Sources:
1. Frank W. M. Green, D'Angelico, Master Guitar Builder: What's in a Name? (Hal Leonard), p24.
2. Mel Bay, Masters of the Plectrum Guitar (Pacific MO, Mel Bay Publications), p122.
