Betty Glamann's Christmas album (and why discography matters)

In the 1950s, when record equipment improved noticeably at the same time as engineers were becoming very experienced and cash-flow in American record companies allowed for whatever experiment came to producers' minds, harp had a brief fling with jazz. In the second half of the decade you could find the names of Dorothy Ashby, Betty Glamann or Janet Putnam on the cover of their own albums—at least Ashby's and Glamann's—and in numerous sessions, mostly in the studio but sometimes in clubs too, like Glamann in Oscar Pettiford's band in 1957 and 58.

A precocious talent, Glamann was already performing with a symphony orchestra twice a week on NBC radio when she was 13. From there, she played in the Baltimore symphony, then joined the eccentric but demanding Spike Jones and appeared on Garry Moore and Steve Allen's TV shows. She can also be heard on jazz records, like Duke Ellington's A Drum Is a Woman, Kenny Dorham's Jazz Contrasts, Michel Legrand's Legrand Jazz and in Oscar Pettiford and his Orchestra's Vol. 2 (reissued as Deep Passion).

In the mid-1950s, she recorded two albums, Poinciana for Bethlehem, and Swinging on a Harp for Mercury, as the co-leader of a small group with bassist Rufus Smith, featuring top-rank sidemen like Barry Galbraith, Osie Johnson or Eddie Costa. And some time around 1967 she did a Christmas record for the obscure Vicson Music Company.