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Although trained on the clarinet, Glantz adopted several other reed instruments after his arrival in America, including the alto saxophone, tenor saxophone, soprano saxophone, C-melody saxophone, and bass clarinet.
Glantz made his first recordings in December 1916 for the Victor Talking Machine Company with banjoist Fred Van Eps. He also recorded with Wilbur C. Sweatman for Emerson Records, whose playing influenced Glantz's style. In 1919 he appeared on the hit recording of “Dardanella” with Ben Selvin and His Orchestra for Victor and Paramount, performing the melody line on saxophone.
During the 1920s Glantz worked as a session musician in New York. He recorded with bandleaders including Sam Lanin, Dave Kaplan, Domenico Savino, Max Terr, Louis Katzman, Harry Raderman, Emil Coleman, Justin Ring, Charlie Fry, the Rega Dance Orchestra, and Joseph Samuels, with whom he was especially active from 1921 onward. He also accompanied singers such as Mamie Smith, Sophie Tucker, Frankie Marvin, Blossom Seeley, Vaughn De Leath, Oscar Grogan, Will Donaldson, J. Donald Parker, Byron G. Harlan, and Seger Ellis.
His orchestra recorded under his own name and numerous pseudonyms for labels such as Columbia (including its budget imprints Harmony, Diva, and Velvet Tone, often as the Manhattan Dance Makers), Okeh, Emerson, Grey Gull, the Plaza/ARC group, Paramount, Puritan, Edison, Gennett, and Pathé Actuelle. He employed arrangers including Max Terr, Jack Stillman, and Bill Perry.
Glantz also led the Florida Four, a quartet featuring Dave Kaplan, Harry Reser, and an unidentified accordionist, which recorded for Edison.
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