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. 

Party at the Barnes's!!! (part II)

George Barnes

I hope you enjoyed yesterday's video of "Liza", from George Barnes's Guitars Galore album, released in 1961. The beautiful montage was produced by Alexandra Barnes Leh, daughter of George's, who's also producing the George Barnes Legacy collection. This website is not to be missed, especially if you're in the least interested in the history of the guitar in America. Barnes was a true, multi-faceted pioneer, one of those larger-than-life characters, who was gone too soon, in 1977.

At the end of this text you can see some screenshots taken from the video. From the smiling faces, it’s pretty clear that everybody had a ball. Musicians from this era are remembered for their witticisms, their pranks, their humour… their ability to have fun in any given situation. Thanks to Alexandra and her mother, and wife of George's, Evelyn Barnes, we have some details from this actual party. Our deepest gratitude goes to both of them.

Party at the Barnes's!!! (part I)

This may sound over the top, but I think we will not have a clear idea of how much American popular music of a certain age was soaked in jazz until we have a proper discography (with the names of all musicians involved) of the Columbia and RCA labels, and their subsidiaries. Being those two the biggest labels in the 1950s, it's sort of a wet dream for some of us in all our splendid nerdiness.

Of course music is music, and being able to listen to it should suffice to appreciate all the flavours in it. Still, impressions are affected when you know who's actually playing in whatever record, and it does seem that jazz musicians, or at least musicians with a heavy jazz slant, or big band veterans whose early days were spent playing music with a high jazz-octanage, were everywhere in American popular music from the 50s and 60s. And it's not just Sinatra's albums featuring members of the Stan Kenton ot the Count Basie orchestras. There's much more.