The "blue" section of this jazz composition is made up of a foundation of tom tom rhythms, a syncopated ride cymbal played near the bell, and a bass ostinato that accompanies a quirky keyboard figure in the left hand that consists of stacked fifths in the lower register. The progression is based on an unusual type of chromaticism that presents the basic pattern for two bars then presents the exact same pattern up a half-step for two bars and then continues this cycle.
The "green" section of the piece immediately follows the blue. This more standard section features a very normal ii/V modulating chord cycle that is common to many be-bop classics. The proggression modulates down by a step twice and then segues to an alternate tonal center that serves as a point of harmonic resolution. The solo that follows the head begins with a quick triplet run and is folowed by some quirky melodic devices. After the solo is done, the head is then repeated and the piece ends.
This song is the embodiment of the chameleon and its ability to change colors to fit its surroundings. Whether the chameleon is in the normal state of healthy green nature or a more blue metropolitan setting, it knows how to live and thrive. Thus, the lizard lives to see another day. Thus, the lizard lives to hear another tune. Thus, the lizard lives to smell even more flowers. Thus, the lizard lives to catch another fly with its abnormally long tongue. Thus, the lizard does not need to be the Lizard King. He is just a lizard; that is all that he needs to be.
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