The Lounge Lizards
| The Lounge Lizards | |
|---|---|
| Origin | New York City |
| Genres | Experimental rock, avant-garde jazz |
| Years active | 1978–1998 |
| Labels | EG, Europa, Antilles, Strange and Beautiful |
| Past members | |
The Lounge Lizards was an eclectic musical group founded by saxophonist John Lurie and his brother, pianist Evan Lurie, in 1978. Initially known for their ironic, tongue-in-cheek take on jazz, The Lounge Lizards eventually became a showcase for John Lurie's sophisticated compositions straddling jazz and many other genres. They were active until about 1998 with the Lurie brothers as the only constant members, though many leading New York City based musicians were members of the group.
The group's name was borrowed from American slang. A lounge lizard is typically depicted as a well-dressed man who frequents the establishments in which the rich gather with the intention of seducing a wealthy woman with his flattery and deceptive charm.
At its founding, the band consisted of John Lurie and Evan Lurie, guitarist Arto Lindsay, bassist Steve Piccolo, and percussionist Anton Fier. They recorded a self-titled album on EG Records in 1981. The album included two Thelonious Monk covers, but as one critic noted, "the two aforementioned Monk covers seem a strange choice when you actually hear the band, which has more in common with sonic experimentalists like Ornette Coleman or Sun Ra."
By the mid-1980s a new line-up included bassist Erik Sanko, trombonist Curtis Fowlkes, guitarist Marc Ribot, saxophonist Roy Nathanson, and percussionists Dougie Bowne and E.J. Rodriguez. This group recorded various live and studio albums and showcased John Lurie's increasingly sophisticated and multi-layered compositions.
In 1998 the band released The Queen of All Ears on John Lurie's Strange and Beautiful Music label and had added Steven Bernstein, Michael Blake, Oren Bloedow, David Tronzo, Calvin Weston, and Billy Martin. "The Lizards' music isn't jazz," said Fred Bouchard of JazzTimes, "but it is intelligent and rhythmically and harmonically interesting (it ain't rock either, in other words) and, despite the ultra-hip trappings, it has an almost innocent directness that can transcend stylistic prejudice."
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