[78-L] Department of Pseudonyms and Solos?

[Taylor Bowie]

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Taylor,
The Grey Gull names I can understand--presumably they were intended to
reflect the music on the records.

I can imagine a guy returning home from a day's pseudonyming work, being
greeted by his wife: "Thought up any good names today, darling?" I doubt
if any politician could be as obfuscating as these fellows.

I can't see that much point in pseudonymising names such as Ben Selvin,
Fred Rich, Sam Lanin (unless they were under contract to another
company) etc, but see the sense in Plaza and ARC/Brunswick using them
for studio bands to give their catalogue a semblance of character.

Regarding solos, did they help sell records or not? If they did, then
include them, if not don't.

      Julian Vein

Julian,  I'm not sure about all those Grey gull names reflecting the music. 
For example,  my record as by the Kitty Cat Jazzers is of Anchors 
Aweigh...and most kitty cats don't like water!

Perhaps the glut of pseudonyms was intended to give the consumer the idea 
that s/he was getting a wide choice of artists,  rather than the six or 
eight bandleaders who made most of the records.

I would guess that the inclusion of solos was because of some demand for 
"peppy" dance music.  What is even more curious to me is the number of very 
fine and often sophisticated arrangements you can hear on some of these 
records which sold for about a quarter.   The run of records under the 
direction of Adrian Schubert in 1929-30 never  cease to amaze me with their 
musical skill,  quality of arrangements,  and imagination,  both of the 
orchestra and the soloists.  This holds true for both throw-away "B" side 
songs ("We'll Be Married In June" and  more mainstream pop numbers ("Miss 
Wonderful").

Maybe it all comes down to the fact that the musicians wanted to take some 
pride in their work,  even if the records were just ground out like so many 
candy bars,  to be consumed and soon forgotten.

Taylor