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LABARBERA, JOE (1948– ). Trained initially by his father and later by legendary teacher Alan Dawson, LaBarbera had a more sporadic career than his brothers. Like his older brother Pat, Joe LaBarbera attended the Berklee College of Music. Army service briefly interrupted LaBarbera’s career in the late 1960s, but it was quickly put back on track in the 1970s when he was hired by Chuck Mangione and John Scofield. LaBarbera resided in New York during the 1970s and 1980s and was working with a variety of groups, most notably with innovative pianist Bill Evans. During the 1980s, LaBarbera also worked with singer Tony Bennett and many musicians associated with West Coast Jazz including Conte Candoli and Bud Shank. See also LABARBERA, PAT.

LABARBERA, PAT (1944– ). The oldest brother in a family of musicians, LaBarbera chose to pursue a career playing the tenor saxophone. LaBarbera was well educated, attending the Berklee School of Music in 1964, and was hired shortly after leaving the school by Buddy Rich. After several years of touring with Rich’s big band, LaBarbera decided to settle in Canada, where he would remain active both as a performer and educator, overseeing several jazz camps and serving on the faculty of many universities. His claim to fame ended up being his role in Elvin Jones’ groups in which he was a member beginning in 1975. LaBarbera’s career alternated between leading his groups and working with Jones. He is also a highly respected educator and has had several texts published, in addition to being a participant in many recording sessions. See also LABARBERA, JOE.

LABEL. See RECORD LABEL.

LACY, STEVE (1934–2004). Primarily playing the soprano saxophone, Lacy made a name for himself by developing an eclectic style and working with Avant-Garde musicians, in addition to Straight-Ahead musicians. Lacy had an on-and-off-again relationship with both Gil Evans and Thelonious Monk throughout the 1950s and 1960s. Lacy studied Dixieland as a youth but was willing to experiment with a variety of styles and was hired by artists including Cecil Taylor and Ornette Coleman. Lacy was very popular in Europe during the 1960s and worked with many of the top European musicians including Enrico Rava and Johnny Dyani.

Lacy developed a sterling reputation as a composer into the 1970s and wrote for a variety of groups that included the use of electronics, strings, and voice. Lacy also never gave up his love for the music of Monk and worked in collaboration with pianist Mal Waldron on a series of projects based on Monk’s music. Throughout the 1980s and 1990s, Lacy worked with musicians from many different countries including players from India, Japan, and South America. Lacy continued to develop his compositional prowess during the 1990s and wrote for big band, in addition to writing an improvised opera.

LADNIER, THOMAS “TOMMY” (1900–1939). Ladnier learned trumpet as a teenager and moved to Chicago from Louisiana before turning 18 to pursue a career in music. Ladnier was very popular during the 1920s and worked with many leading Chicago bands, most notably the group led by jazz icon King Oliver. Ladnier was also the lead soloist with Fletcher Henderson for two years before virtually disappearing from the jazz scene in the 1930s. Despite recording with soprano saxophonist Sidney Bechet in the late 1930s, very little of Ladnier’s playing was recorded before his early death.

LAFARO, SCOTT (1936–1961). A late bloomer on the bass, LaFaro did not pick up the instrument until he was already in college at Ithaca Conservatory. He was a very adept musician, however, and two years later he was already working in touring groups that brought him to Los Angeles, where he was heard by West Coast trumpeter Chet Baker, who used him in his group for a few years. After a visit to Chicago, he was hired by Sonny Rollins for a period of time until he decided a change was needed and he relocated to New York. LaFaro’s life was cut drastically short, but he made a few significant recordings with pianist Bill Evans before his early passing. LaFaro was an important figure in the development of the walking bass and helped establish a new style of playing that allowed the bass player to focus more on creating melodic lines. LaFaro died as a result of a car accident.

LAFITTE, DENIS FERNAND “GUY” (1927–1998). Born in France, Lafitte was an influential tenor saxophonist in the French jazz scene and was frequently hired by touring American bands. Lafitte ran several groups during the course of his career, in addition to constant freelancing. Highlights of Lafitte’s career include being awarded the Prix Django Reinhardt and performing with Duke Ellington in the 1960s.

L.A. FOUR. A popular jazz quartet formed in 1974. In existence for a little over 10 years, the L.A. Four toured and recorded in Los Angeles frequently. At various times members of the L.A. Four included Bud Shank, Ray Brown, Chuck Person, Shelly Manne, and Jeff Hamilton.

LAINE, CLEMENTINA “CLEO” (1927– ). Laine hails from Middlesex, England, and developed a reputation for being a standout vocalist in any genre. Laine married English jazz artist John Dankworth in 1958 and worked in a variety of venues including theater and performances with her husband’s groups. Laine’s diversity has brought her many accolades, the most notable being several Grammy nominations for Classical, jazz, and even Pop records.

LAKE, OLIVER EUGENE (1942– ). Lake’s early career was established by his passion for teaching and his willingness to dedicate himself to racial awareness. After living and teaching in St. Louis for several years, Lake formed the Black Artists Group (BAG) and attempted to bring the group’s message to France. Avant-Garde trumpeter Lester Bowie was a part of the group that Lake brought overseas. Lake returned to the United States in 1974 to pursue new musical ventures. Along with David Murray and Hamiet Bluiett, Lake founded the World Saxophone Quartet, a group that has remained active for several decades. Lake’s saxophone style always leaned toward the Avant-Garde despite attempts to venture into Reggae and other popular music. Many of Lake’s musical associations were with musicians of similar intentions and styles, including Andrew Cyrille, Anthony Braxton, Fred Hopkins, and, later, Geri Allen. Lake continued to work in Avant-Garde settings throughout the 1990s and 2000s.

LAMBERT, DAVID “DAVE” (1917–1966). Lambert initially entered the music scene in the late 1930s as a drummer but was hired by several bands to sing vocals. Gene Krupa and Harry James were bandleaders who employed Lambert’s vocal talents during the 1940s. Toward the end of the decade, after a brief association with Charlie Parker, Lambert began studio work and met fellow vocalist Jon Hendricks. Hendricks and Lambert maintained a close musical relationship throughout the 1950s and 1960s with the creation of the leading vocal jazz group Lambert, Hendricks, and Ross. Lambert’s career and life were tragically cut short when he was involved in a fatal car accident.

LAMBERT, HENDRICKS, AND ROSS. Founded by three vocalists in 1957, Dave Lambert, Jon Hendricks, and Annie Ross, the trio would be a leading and innovative vocal jazz group for decades. The group helped define the vocalese style in which the singers would put words or syllables to famous improvised jazz solos. The group stayed in its original context from 1957 to 1962, until Ross decided to leave. Although she was replaced, the group was never the same and ended two years later.

LAMOND, DONALD DOUGLAS “DON” (1920–2003). Lamond studied drums at the Peabody Conservatory and worked primarily as a Swing-style drummer during the 1940s. He worked with several significant jazz musicians in the late 1940s, including Woody Herman, Red Norvo, and Charlie Parker. Lamond had several one-year relationships with many significant artists in the 1950s, including Stan Getz, Marian McPartland, and Sonny Stitt. Lamond freelanced for most of the 1950s and 1960s. In the 1970s, he moved to Florida, where he would lead his own band and freelance with other groups that toured through the area.

LAND, HAROLD (1928–2001). Although he was born in Houston, Texas, Land grew up and received his first musical training in San Diego, California. He favored the tenor saxophone, and at the age of 28 he moved to Los Angeles to join the rising jazz group led by Clifford Brown and Max Roach. Land’s association with this group was influential to his career, and he left the group only for family reasons. Land pursued a solo career after leaving the Brown-Roach Quintet, in addition to freelancing with musicians who came through the Los Angeles area. During the 1960s and 1970s, Land worked with groups led by Slide Hampton and Blue Mitchell, and he maintained a steady working relationship with fellow California-based musician, vibraphonist Bobby Hutcherson. Land was a member of the jazz supergroup the Timeless All-Stars, which also featured Hutcherson, in addition to Billy Higgins, Buster Williams, and Cedar Walton. Land continued to record, tour, and perform until his passing in 2001.

LANDE, ART (1947– ). Lande made his mark on the modern piano jazz scene through innovations that took place during his early days working as a pianist in San Francisco. He worked with many of the jazz musicians living in the San Francisco Bay area, including Joe Henderson and Bobby Hutcherson. Lande started leading his own groups in the mid-1970s, most notably forming the group Rubisa Patrol, which included Mark Isham, Bill Douglas, and Paul McCandless. Lande would continue to maintain working relationships with these musicians for the next several decades in a variety of different contexts. Lande and McCandless formed an especially deep connection and would work together as a duo, with a vocalist, and with a variety of other groups.

Lande also left his stamp on the world of jazz education, first serving on faculty for a jazz school in Switzerland, followed by periods of time at the Cornish School of the Arts, Naropa Institute, and University of Colorado at Boulder. The majority of Lande’s career in the 1990s and 2000s was spent working in Colorado, forming various groups including the Russian Dragon Band and the Boy-Girl Band. Lande has recorded many albums in both solo and group format and is considered an important figure in the development of the modern solo piano.

LANDMARK. Created by noted jazz historian and author Orrin Keepnews, Landmark records made several substantial releases in the 1980s, including albums by Mulgrew Miller and Donald Byrd. Landmark also did some reissuing of previously released albums until it was sold to Muse records. See also RECORD LABEL.

LANG, EDDIE (1902–1933). Lang grew up with popular jazz violinist Joe Venuti and studied guitar in the early 1920s. After moving to New York, Lang’s popularity grew substantially, and he was hired by many of the popular touring bands including Jean Goldkette and Paul Whiteman. Lang was an important figure in the creation and popularity of the guitar in jazz.

LANG-WORTH. Founded before World War II, Lang-Worth records was established to record albums that would be aired on radio stations. Focusing on Early Jazz, Lang-Worth primarily recorded and issued album by stars of the 1930s, including John Kirby, Jimmie Lunceford, and Fats Waller. The label was eventually sold to the Jazzology record label.

LAPORTA, JOHN (1920–2004). LaPorta’s career was largely defined as an educator at the Berklee College of Music from the late 1950s into the 1980s. LaPorta made his mark as a saxophonist with Woody Herman and Charles Mingus before pursuing a bachelor’s degree in clarinet performance and a master’s degree in music education. LaPorta’s tenure at Berklee was marked with numerous awards and involvement in many of jazz’s premier educational organizations. In addition to education and remaining active as a jazz performer, LaPorta also had a significant Classical career primarily working with the Boston Pops.

LAROCCA, NICK (1889–1961). LaRocca was one of the many Early Jazz musicians who made the pilgrimage from New Orleans to Chicago during the late 1910s. LaRocca was famously involved in the Original Dixieland Jazz Band, which is credited as being the first jazz group to be captured on record. The group was under fire because the band was made up of all White musicians, and jazz was considered to be primarily an African-American based music. A cornet player, he continued to play with the Original Dixieland Jazz Band until it disbanded in the late 1930s, then relocated back to his home in New Orleans where he essentially retired from music. See also CHICAGO JAZZ.

LATEEF, YUSEF (1920– ). Lateef (originally named William Emanual Huddleston) is originally from Detroit, Michigan. He began his career playing alto saxophone before ultimately switching to tenor. He achieved a mild level of success in the 1940s working with bands led by Roy Eldridge and Dizzy Gillespie. Due to some family issues and his desire to return to school, Lateef took time off in the 1950s to study flute and composition. Lateef was one of the few musicians to convert to the Islamic faith during the civil rights movement.

Lateef would resume his performance career after moving to New York and would play with Charles Mingus and Cannonball Adderley until eventually stepping out on his own as a leader. The majority of Lateef’s work during the 1970s and 1980s was as a leader and composer. Lateef not only wrote jazz pieces but also composed larger works that featured flute and other instruments. Lateef continues to play regularly and has also been an active teacher.

LATIN JAZZ. A style of jazz similar to Afro-Cuban Jazz, in which Latin American music is fused with jazz. The usual constant for indentifying Latin Jazz will be the presence of Latin American rhythms and jazz-inspired improvisation. It is common for jazz musicians to use Latin rhythms in compositions like Dizzy Gillespie’s “A Night in Tunisia.” Latin Jazz sometimes serves as a generic term to describe music that is influenced by many South American and Central American cultures, including music from Brazil. See also IRAKERE.

LAWS, HUBERT (1939– ). Laws was a very strong flutist who had success with several groups before attending the prestigious Juilliard School of Music in the 1960s. His career after school was a mix of Classical and jazz-related ventures, many of which were connected to his brother, Ronnie Laws, a saxophonist. Hubert Laws was featured with several New York–based symphonies and orchestras in addition to recording several jazz albums. He is considered an innovator because of the recognition and fluidity he brought to the flute as a solo instrument.

LAWS, RONALD “RONNIE” (1950– ). Laws began playing saxophone professionally at the age of 21. Relocating from Houston to Los Angeles, he found work playing with jazz artists including Walter Bishop Jr. and Kenny Burrell, and Pop-related music with Earth, Wind and Fire, and Quincy Jones. Laws stepped out as a bandleader in the 1980s and was considered to be a contemporary Smooth Jazz soloist. See also LAWS, HUBERT.

LAY BACK. A style of phrasing in which the performer purposefully plays behind where the beat is felt, in order to establish a dragging or rather sluggish feeling.

LAY OUT. This term refers to purposefully not playing during a portion, or all, of a piece. It is common for a specific accompanist to lay out on specific solos to achieve a special effect. For example, a saxophone player in a quartet might ask the pianist to “lay out” for the first chorus of his solo so that he can interact more with the bassist and drummer.

LEAD. A reference to whoever is the principal player in a section, whoever has the primary melodic line, or whoever is responsible for cueing or coordinating the other members of the section. In a traditional big band setup, the first trumpet and the first alto are often referred to as lead trumpet and lead alto because they frequently have the primary melodic material for most pieces.

LEADER. A term used to describe whoever is responsible for directing a group in performance. The term can sometimes also imply that the person serves as musical director for a group, but this is not always the case. Leaders can also be performers with the band. Some of the most famous leaders in jazz include Count Basie, Duke Ellington, and Stan Kenton. See also BANDLEADER.

LEADERS. An Avant-Garde Jazz group formed in the mid-1980s that included Arthur Blythe, Chico Freeman, Don Cherry, and Cecil McBee. The group was in existence for almost 10 years before breaking up in 1994 after doing several tours and recording a live video.

LEAD SHEET. Very common to jazz and other popular music, a lead sheet provides the performers with a copy of the melody and chord changes to the song they are playing. Most fake books are made up with lead sheets of songs from the Great American Songbook, in addition to the jazz standards. Some lead sheets will also provide the performers with some of the rhythm section figures that are played on the original version of the song.

LEE, WILLIAM “BILL” (1928– ). Bass player Lee made his mark in the 1940s and 1950s by working with a variety of top-flight musicians in Chicago and New York, including Johnny Griffin, George Coleman, Clifford Jordan, Vernel Fournier, Philly Joe Jones, and Phineas Newborn. Lee never stepped out as a leader but was frequently used as a sideman for the majority of his career. His son, Spike Lee, would end up being a highly influential filmmaker, and the two collaborated several times on movie projects.

LEE, WILLIAM (1952– ). One of the first jazz musicians to play the electric bass as his primary instrument, Lee had great success playing in the 1970s with the Brecker Brothers, Billy Cobham, Sonny Stitt, George Benson, and Bob James. Lee became a highly utilized session player and made numerous recordings throughout the next few decades, eventually landing a position with the house band for the NBC show Late Night with David Letterman.

LEVALLET, DIDIER (1944– ). Levallet, a bass player born in Arcy-sur-Cure, France, he was used frequently by house bands in Paris, in addition to working with many touring American jazz musicians. Being fluent in many jazz styles, Lavallet was adept in playing Bebop and Hard Bop but made significant strides in more creative, Avant-Garde styles during the 1970s and 1980s. Groups led or influenced by Lavallet varied in size from a quintet to a big band and sometimes involved the use of stringed instruments. He contributed greatly to the French jazz scene with the creation of the Association pour le Développement de la Musique Improvisée (ADMI), a group focused on spreading jazz and presenting concerts.

LEVEY, STAN (1926–2005). Born in Philadelphia, Levey’s career was peaking as a late teenager when he was working with Dizzy Gillespie, Coleman Hawkins, and Thelonious Monk before turning 19 years of age. Levey relocated to New York to play with these musicians and continued to play with a who’s who of jazz throughout the 1940s. Artists who performed with him included Charlie Parker, Art Tatum, Stan Kenton, George Shearing, and Stan Getz. Levey opted for a change of scenery in the mid-1950s and moved to California. He capitalized on the studio and commercial scene in Los Angeles while also working steadily as a sideman for many West Coast Jazz innovators including Art Pepper, Chet Baker, Frank Rosolino, and Howard Rumsey. However, music lost its appeal for Levey during the late 1960s and early 1970s, and he opted instead for a career as a photographer.

LEVIEV, MILCHO (1937– ). Leviev’s greatest contributions to jazz include his piano playing, composition, and his influence on the Bulgarian jazz scene. Before leaving his native Bulgaria in the 1970s, Leviev worked as a leader of many groups, for which he wrote compositions. After moving to the United States, Leviev worked with many Fusion artists including John Klemmer and Billy Cobham. Leviev also started his own Fusion band, Free Flight, although the group was not received with high praise. Leviev showed his diversity in working with other genres of jazz, including performances with Art Pepper and Charlie Haden.

LEVINE, MARK (1938– ). A significant contributor to the San Francisco jazz scene as well as the development of the Latin Jazz scene, pianist Levine made his mark playing with touring groups led by Woody Shaw, Joe Henderson, and Mongo Santamaría. In addition to playing, he has also been a highly influential teacher and has published several significant jazz and piano texts.

LEWIS, GEORGE (I) (1900–1968). Lewis was an important clarinetist in the New Orleans region. He played with many of the early New Orleans jazz groups, including the Olympia Orchestra and the Eureka Brass Band in the 1920s. In the 1940s, after suffering from some dental problems, he began actively playing again and moved back to New Orleans after spending part of the last decade in New York. Lewis led his own groups in New Orleans and remained an important figure in the preservation of the Early Jazz tradition.

LEWIS, GEORGE (II) (1952– ). Lewis took up the trombone before the age of 10 and spent much of high school mimicking the tenor saxophone solos previously played by jazz masters. Lewis completed a music degree at Yale University and returned to Chicago, where he would become a leading figure for several of the movements going on there. An active member of the Association for the Advancement of Creative Musicians (AACM), Lewis was influenced by several of its members, including Lester Bowie and Muhal Richard Abrams.

LEWIS, JOHN (AARON) (1920–2001). Despite growing up in rural New Mexico, Lewis moved to New York in his twenties and got his first big break when he was hired to play with Dizzy Gillespie. Lewis had his academic life interrupted several times during the 1940s and 1950s when he was invited to tour with Gillespie and other jazz artists. Lewis completed a master’s degree in the early 1950s and resumed playing shortly thereafter when hired by Charlie Parker, Miles Davis, and Ella Fitzgerald.

Lewis’ biggest accomplishment was his affiliation with vibraphonist Milt Jackson and the formation of the Modern Jazz Quartet (MJQ). The MJQ was a formidable jazz group for almost five decades and recorded many albums. Lewis would be hired to serve as music director for the Monterey Jazz Festival for almost two decades starting in 1958. Lewis was also an active teacher and served on the faculty of several schools in addition to working as a director for summer camps sponsored by the Lenox School of Jazz.

In the 1980s, Lewis resigned from his post at the Monterey Jazz Festival to continue to make a living primarily as a performer. He was also a distinguished composer who wrote for big band, in addition to his small groups and the MJQ. See also THIRD STREAM; VIBRAPHONE.

LEWIS, MEADE (ANDERSON) “LUX” (1905–1964). An important innovator of the Boogie Woogie piano style, Lewis spent the majority of his career in Chicago. Lewis played with Joe Turner, Charlie Christian, and Edmond Hall during the 1930s and 1940s. Lewis recorded several popular hits, including the song “Honky Tonk Train Blues.” Lewis died in 1964 in an automobile accident.

LEWIS, MELVIN “MEL” (1929–1990). Lewis made his professional debut as a drummer at the age of 13 when he filled in for musicians who had been drafted to serve in World War II. Lewis first caught on as a big band drummer with Boyd Raeburn, Tex Beneke, and Stan Kenton in the late 1940s and 1950s. Lewis was equally adept at small-group playing and worked extensively with groups led by Frank Rosolino, Hampton Hawes, and Bill Holman. Lewis would spend much of the late 1950s and early 1960s working with musicians who defined the West Coast Jazz scene including Art Pepper, Stu Williamson, Bill Perkins, and Pepper Adams, among others.

After several tours with jazz icons Gerry Mulligan and Dizzy Gillespie, Lewis relocated to New York and started his own group with the help of trumpet player and composer Thad Jones: the Thad Jones–Mel Lewis Orchestra. The orchestra gained much popularity and was made up of many of the top jazz musicians. Jones broke away from the orchestra in the late 1970s and left sole leadership to Lewis. During the 1980s, Lewis filled the orchestra with many rising jazz stars including Dick Oatts, Ralph Lalama, Tom Harrell, Joe Lovano, Kenny Werner, and Jim McNeely. The band would continue to work after Lewis’ passing and became known as the Village Vanguard Orchestra and would continue to play many of Lewis’ and Jones’ pieces.

Lewis was also a fully capable small-group player and played with many artists in the 1980s including Warne Marsh, Gil Evans, and Jon Faddis. He had a section of the University of Missouri Library named in honor of him.

LEWIS, RAMSEY (1935– ). Born and educated in Chicago, Lewis entered the professional world leading his own groups at the age of 15. He was involved with a quartet featuring Wallace Burton for almost 15 years that garnered much national recognition. Lewis gained further recognition in the 1970s by changing his style to a more popular electronic, contemporary sound, for which he received some criticism. Lewis recorded frequently and is one of the rare jazz musicians to make numerous appearances on the Billboard charts. Lewis had several television programs in the 1980s and continues to be a key element to the creation of the BET Jazz channel.

LIBERTY. A record label founded in 1933 and owned by the Liberty Music Shop in New York. The Liberty Music Shop label did very little recording and primarily released albums recorded by ARC.

LICK. A term used to describe a specific phrase or sequence of notes. Learning specific licks or patterns as a developing jazz musician is a primary educational tool for learning to play over certain chord progressions.

LIEBMAN, DAVID “DAVE” (1946– ). Liebman’s youth was spent studying with two significant jazz artists, learning theory with Lennie Tristano and saxophone with Charles Lloyd. During the 1970s, Liebman would play both tenor and soprano saxophones with several important groups, including the groups of Elvin Jones and Miles Davis. Liebman would also focus on leading his own groups, most notably starting the group Lookout Farm in the mid-1970s. The pianist from that group, Richie Bierach, would work with Liebman frequently throughout the next few decades, including duo projects and larger works.

Throughout the 1980s, Liebman balanced freelance work with artists including Elvin Jones and Wayne Shorter, while continuing to lead his own groups. Liebman started the Dave Liebman Group in the early 1990s, a group with members that included guitarist Vic Juris, pianist Phil Markowitz, and drummer Jamey Haddad. Frequently working as a sideman for most of the 2000s, Liebman also took a greater interest in education and is the author of several important jazz texts. See also SOPRANO SAXOPHONE.

LIGHTHOUSE CAFÉ. Located in Hermosa Beach, California, the Lighthouse was a popular jazz club during the 1950s that featured West Coast musicians, including Shorty Rogers, Miles Davis, Chet Baker, Howard Rumsey, and the “Lighthouse All-Stars.” Rumsey maintained a weekly engagement there for several years.

LIMELIGHT. A record label in the 1960s that released albums recorded during the same time by artists including Art Blakey, Rahsaan Roland Kirk, and Dizzy Gillespie. Albums released on the label were eventually reissued during the 1970s.

LINCOLN, ABBEY (1930–2010). Vocalist Lincoln (born Anna Marie Wooldridge) made her initial mark on the jazz scene during the 1950s and 1960s while working with Sonny Rollins, Thelonious Monk, Benny Carter, and her husband for most of the 1960s, Max Roach. Lincoln was very active in the civil rights movement along with Roach, and she used her popularity to work in films toward the end of the 1960s and 1970s. Lincoln resumed her jazz career in the late 1980s and worked with Stan Getz, in addition to working as a leader.

LINDBERG, NILS (1933– ). Born in Uppsala, Sweden, Lindberg was a very prominent composer and pianist during the 1950s and 1960s. Lindberg played with Duke Ellington’s orchestra in the 1970s but was primarily considered to be a composer who wrote in a variety of jazz-influenced styles.

LINDSTROM. An important company created in Europe by Carl Lindstrom that recorded much material released on the popular record labels Odeon and Parlophone. After a successful run and expansion into the American record business, Lindstrom was sold to record powerhouse Columbia in the mid-1920s.

LINDSTROM, ERIK (1922– ). A Finnish bass player who was considered a first-call bassist in his native country.

LIP. A term used by musicians to describe the process of altering one’s pitch by making adjustments with the embouchure to sharpen or flatten a note. Frequently brass players are asked to lip a note up or down for intonation or effect.

LISTON, MELBA (1926–1999). Liston’s first professional experience as a trombonist came when her family moved to Los Angeles and she began working with local bands including the band of Gerald Wilson. Throughout the 1940s, Liston steadily picked up work as an arranger and trombonist, playing with groups led by Dexter Gordon, Dizzy Gillespie, and Billie Holiday.

In the 1950s, Liston spent time working as an actress before resuming her jazz career by developing a steadily working relationship with pianist Randy Weston. Liston would work on and off with Weston for several decades and became an important contributor to many of his groups. Liston also worked with Quincy Jones, Charles Mingus, and Clark Terry during the 1960s, while also continuing her career with Weston. For most of the 1970s and 1980s, Liston led her own groups and contributed arrangements for various Pop acts. In 1985, she suffered a stroke, which would greatly limit her performing career, although she continued be an active arranger and composer until her death.

LITTLE, BOOKER (1938–1961). Considered the heir apparent to Clifford Brown, Little’s life was tragically cut short, but not before he left his mark on the jazz world. Little learned to play the trumpet when he was a teenager and worked with Phineas Newborn, Johnny Griffin, and Max Roach during the 1950s. Little’s most substantial work took place in the early 1960s, when he formed a quintet with Mal Waldron and Free Jazz pioneer Eric Dolphy. Little worked briefly with John Coltrane before passing away due to complications from uremia.

LITTLE CHICKS. A small-group version of Chick Webb’s famous band during the 1930s, although sometimes Webb was not included in the group. Members of Little Chicks included Wayman Carer, Teddy McRae, and Louis Jordan.

LLOYD, CHARLES (1938– ). Part of the Memphis school of musicians, Lloyd grew up around jazz musicians Frank Strozier, Booker Little, and Phineas Newborn. Lloyd relocated to California to pursue college, during which time he met many West Coast Jazz musicians including Harold Land, Gerald Wilson, and Chico Hamilton, with whom he had his first professional performance experience. After a short tenure with Cannonball Adderley, Lloyd began to lead his own groups, which used many rising jazz stars including Herbie Hancock, Keith Jarrett, and Jack DeJohnette.

After several years of successful touring, Lloyd was forced to take time off due to complications from health problems. Lloyd made several appearances during the 1980s but did not resume playing full time until the end of the decade and into the 1990s. Lloyd led several different groups and maintained a quartet of European musicians that included Bobo Stenson. Lloyd began to record for ECM in the 1990s and has recorded in a variety of contexts since then.

LOCKE, EDWARD “EDDIE” (1930– ). An important Early Jazz drummer who came to prominence during the 1950s. He was associated primarily with Coleman Hawkins but spent time working with several other groups, including those of Duke Ellington and Kenny Burrell. Locke spent most of the 1970s working with Roy Eldridge before freelancing and leading his own groups during the 1980s and 1990s.

LOCKWOOD, DIDIER (1956– ). A violinist, Lockwood was one of France’s top jazz musicians during the 1970s and worked with many American artists who were touring France during that time. Lockwood performed with Straight-Ahead jazz artists in addition to working with Fusion and popular music groups. He worked primarily as a leader during the 1980s and spent time performing and recording in New York with musicians including Michel Petrucciani, John Blake, Dave Liebman, and Mike Stern.

LONDON JAZZ COMPOSERS ORCHESTRA (LJCO). A culmination of work by several people (most notably Buddy Guy), the London Jazz Composers Orchestra was created in the 1970s as an opportunity for British composers to write creative music for a large ensemble. The LJCO included a majority of English musicians such as Kenny Wheeler, Evan Parker, Derek Bailey, and Tony Oxley. In addition to playing music written by members of the band, the LJCO also did collaborative projects with other musicians and groups, including Anthony Braxton and the BBC Symphony Orchestra.

LOOSE TUBES. A large English ensemble that was founded, in part, by Graham Collier. Loose Tubes frequently played concerts and made public appearances during the 1980s. Members of the group included Steve Berry, Django Bates, and Eddie Parker. Loose Tubes only remained active for six years, but did record two albums. See also ENGLAND.

LORBER, JEFF (1952– ). Lorber studied piano and keyboards at the Berklee School of Music in Boston before moving to the western coast of the United States in the early 1970s. After living in Portland for several years, Lorber relocated to Los Angeles and quickly became engaged in the Fusion scene. The majority of Lorber’s playing in the 1980s was with Fusion and contemporary groups and artists like Kenny G and Eric Marienthal. Lorber spent most of the 1990s working with Contemporary and Rhythm and Blues (R&B) artists.

LOUISIANA FIVE. Only in existence for two years, the Louisiana Five was a Traditional Jazz group formed in 1918. Despite their short existence, the group recorded many times but were not as popular as their Traditional Jazz peers, the Original Dixieland Jazz Band.

LUNCEFORD, JAMES MELVIN “JIMMIE” (1902–1947). Lunceford developed his acumen for bandleading at a young age, running groups as a teenager before being involved with many of the top bandleaders of the 1920s. Working with musicians such as Ed Wilcox and Willie Smith, Lunce-ford formed the beginnings of his orchestra in the early 1930s. The Jimmie Lunceford Orchestra became one of the most popular touring bands of the 1930s and recorded frequently.

In the late 1930s, Lunceford’s orchestra went through several personnel changes, and Gerald Wilson joined the band and assisted with arranging duties. Other famous musicians to pass through Lunceford’s orchestra included George Duvivier, Tadd Dameron, and Snooky Young. Lunceford’s tendency to not pay his musicians properly resulted in many of them leaving during the 1940s, although Lunceford managed to keep the orchestra active.

LYONS, JAMES LIPPINCOTT “JIMMY” (1916–1994). Founder of the Monterey Jazz Festival in 1958, he got his start in radio broadcasting.

LYONS, JIMMY (1933–1986). Born in New Jersey, Lyons had strong ties to New York and grew up learning jazz and saxophone from jazz masters including Elmo Hope and Bud Powell. Lyons strongly connected with the Free Jazz movement that began in the late 1950s and worked with Cecil Taylor. When Lyons was not working with Taylor, he relied on work outside of music to support himself for most of the 1960s. He became involved in music education during the 1970s and remained in education for the remainder of his life, in addition to working with Taylor or leading his own groups.