#icon charlie gillespie

[slashericons]

Blake Hughes — Totally Killer (2023)

[iconsrequestsworld]

like or reblog if you save. ♡

[gillespiepacks]

Charlie Gillespie Headers

@astridmirage or like/reblog if you save/use ♡

[cozysip]

*✶     charlie gillespie in totally killer

— semi-private commission — a total of # 54 gif icons ( 80x80 ) have been delivered. he’s white, was born in 1998. please cast accordingly and use appropriately. the sizes aren't the ones i normally use but i was takinga request so if you want to use my gifs, dm me and i will share the link.

trigger warnings : kissing and drinking

[jackietayllor]

*& charlie gillespie dash icons !!

( * 4 dash icons under the cut * )

[carlosreyeswrites]

💛  by pressing the keep reading button below - you will be  directed  to  88 GIF ICONS  of the beautiful CHARLIE GILLESPIE {mostly with his tarzan hair}  the  size  is  75px - please  like  /  reblog if  you  find these useful.

[ctrlsugar]

✨ through the LINK BELOW you will find +115 GIFS of CHARLIE GILLESPIE in the movie LOVE YOU ANYWAY. all gifs were capped, cropped & edited by by sugar. you can edit them for personal use, or for gif icons - credit is appreciated. these are intended for roleplay/personal use only.

GIF PAGE

[sugarsource]

GIF PACK / CHARLIE GILLESPIE ( by sugarsource )

$$ free !! • ( or pay what you want !! )

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gif pack commissions are ; open.

please do not use these gifs in the following manners • to portray minor characters, k*nk/t*b*o roleplay, real life celebrity roleplay !!

do not steal, resell, or claim as your own work • these gifs can be cropped into gif icons, but credit is required if you release the pack ; you must credit me in the post !!

[halloweend]

#HALLOWEEND an independent multimuse featuring a number of muses from halloween-esque films & shows. as beloved & established by pluto.

affiliated with: @inspotlight (all blogs), @heartfe1t (all blogs), @percentstardust/@loomiskiller/@loomisheir, & @sixbillicnsouls credits: icon banner pumpkin patch by faegfx, psd rusted flame by jessource, pinned post graphic by sweetmelodygraphics

all muses are played at 18+ in their main ages. with the exception of max mayfield who is played at 14-18+ to reflect canon

shock - the nightmare before christmas. fc: india eisley (she/her, bisexual/biromantic)

wednesday addams - wednesday/addams family media. fc: jenna ortega (she/her, demisexual/demiromantic)

camryn barnes - twitches. fc: zendaya (she/her, bisexual/biromantic)

daphne blake - scooby doo. fc: abigail cowen (she/her, bisexual/biromantic)

robin buckley - stranger things. fc: maya hawke (she/they, homosexual/homoromantic)

sam carpenter - scream. fc: melissa barrera (she/her, bisexual/biromantic)

tara carpenter - scream. fc: jenna ortega (she/her, bisexual/biromantic)

joey (ana lucia) cruz - abigail. fc: melissa barrera (she/her, visuals/biromantic)

dani dennison - hocus pocus. fc: katherine mcnamara (she/her, bisexual/biromantic)

mavis dracula - hotel transylvania. fc: olivia rodrigo (she/her, pansexual/panromantic)

alex fielding - twitches. fc: zendaya (she/her, bisexual/biromantic)

sally finkelstein - the nightmare before christmas. fc: karen gillan (bisexual/biromantic)

pj halliwell - charmed. fc: katie douglas (she/her, bisexual/biromantic)

melinda halliwell - charmed. fc: danielle rose russell (she/her, bisexual/biromantic)

colette hughes - totally killer. fc: kiernan shipka (she/her, bisexual/biromantic)

sammy (jessica) hurney - abigail. fc: kathryn newton (she/her, bisexual/biromantic)

coraline jones - coraline. fc: isabela merced (she/her, bisexual/biromantic)

needy lesnicki - jennifer's body. fc: kiernan shipka (she/her, bisexual/biromantic)

johnny loughran - hotel transylvania. fc: joshua bassett (he/him, pansexual/panromantic)

wybie lovat - coraline. fc: jonathan daviss (he/him, bisexual/biromantic)

wyatt lykensen - zombies. fc: pearce joza (he/him, homosexual/homoromantic)

max mayfield - stranger things. fc: sadie sink (bisexual/biromantic)

randy meeks - scream. fc: charlie gillespie (he/him, bisexual/biromantic)

pam miller - totally killer. fc: olivia holt (she/her, bisexual/biromantic)

zed necrodopolis - zombies. fc: milo manheim (he/him, bisexual/biromantic)

marnie piper - halloweentown. fc: emilia jones (she/her, bisexual/biromantic)

sidney prescott - scream. fc: danielle campbell (she/her, bisexual/biromantic)

tatum riley - scream. fc: madison iseman (she/her, bisexual/biromantic)

alex russo - wizards of waverly place. fc: fiona palomo (she/her, bisexual/biromantic)

justin russo - wizards of waverly place. fc: froy gutierrez (he/him, bisexual/biromantic)

enid sinclair - wednesday. fc: emma myers (she/her, pansexual/panromantic)

sabrina spellman - sabrina the teenage witch. fc: sabrina carpenter (she/her, bisexual/biromantic)

hannah stine - goosebumps (2015). fc: odeya rush (she/her, bisexual/biromantic)

xavier thorpe - wednesday. fc: felix mallard (he/him, bisexual/biromantic)

cassie traske - hocus pocus 2. fc: maude apatow (she/her, bisexual/biromantic)

addison wells - zombies. fc: meg donnelly (she/her, pansexual/panromantic)

nancy wheeler - strangers things. fc: natalia dyer (she/her, bisexual/biromantic)

[blueelectricroom]

Coming up on a quarter of a century ago I had the great joy of interviewing Burt Bacharach for Black & White. This was on the tail end of his 1999 South American tour and a couple of weeks before the Birmingham show.

Still can't believe how generous he was with his time, and it cracks me up that, while I have most of his music in my very DNA, I can't hear any of those iconic tunes without thinking of what Bacharach's kitchen prep sounded like. Here's the chat from November of 1999.

What’s New, Bacharach?

It’s 11:30 a.m. in Los Angeles at Burt Bacharach’s house, and judging from sounds picked up by the speaker phone, he’s rambling around trying to put some kind of breakfast or brunch together. He arrived last night from a tour in Argentina, and in his own words, he’s “kind of whacked.” Nonetheless, his conversational tone is as bright and pleasant as…well, a Bacharach tune, with a kind of stop-start inflection that keeps one guessing if more words are to follow.

“Hold on a second, don’t go anywhere”, he says before going after what sounds like more ice. A full minute later, “Are you there? Okay, good.”

Black & White: Let’s talk about your youth, specifically that time when music first began making a deep impression on you.

Burt Bacharach: 52nd Street. The jazz club scene, without question. In the late ’40s, when I’m a teenager seeing Dizzy Gillespie, Charlie Parker, those guys. I was hooked. I got caught up in what they were doing in terms of, first of all, the excitement and stirring quality of the music, but technically speaking those artists were inventing possibilities. Not merely new songs, but new sounds.

B&W: Considering the tremendous transitions in popular music from 1946 to 1966, your music seems to fall somewhere between the American songbook, Tin Pan Alley tradition, and the less mainstream realm of sophisticated time signatures, chord shifts, and other elements of the jazz sound that impressed you so much.

Bacharach:  Elements. That’s a good point. Yes, I’m sure my influences, in terms of composition, come from that, but I was also profoundly impressed, in my music studies, with Ravel and Debussy. I was intrigued very early by that music. If you want to say my songs are sophisticated, I have to credit those influences. I see what you mean by tremendous range, that’s one of the best aspects of late popular music, but you really don’t have to cover a span of 20 years. Just start with Harry James and move to Charlie Parker and you have a tremendous shift in music.

B&W: It seems that the odds would be against a songwriter, such as yourself, using complicated elements to make popular music or hit songs.

Bacharach: [laughing] Are my songs complicated?

B&W: I’ll put it in terms of a paradox: keeping time with “This Boy’s In Love,” or “I’ll Never Fall in Love Again” is a challenge. They are tricky songs, you must admit. Yet for those of us growing up in the ’60s and ’70s, your music was ubiquitous, a new song every 3 or 4 months, each with a melody that is now instantly recognized and adored.

Bacharach: Well, I certainly don’t try to make things difficult for the listener. [laughing] Sorry about that. You’ll have to admit, on the other hand, that I’m not writing anything now nearly as—let’s say complex—as “Promises, Promises.” But all along I was just trying to stay with what pleased me, what I thought sounded good. More importantly, I have always written what I was comfortable with, which meant staying with certain musical values; I wasn’t deliberately trying to be “sophisticated.” But you don’t want to write cheap, you know? It’s like being involved with a person really, when you create a song. You want to get up the next day or the next week and feel good about yourself. If a certain phrasing or 7/8 chord sounds good, I think you have to stay with it. You don’t try to anticipate what the public will like. You stay with the values.

B&W: There is another paradox in many of your songs: those infectious, upbeat melodies are accompanied by lyrics that convey poignancy or even melancholy. These songs are mindful of the pitfalls of romance, the tension involved.

Bacharach: Well, I think when you can get something like that going, that contrast, and you can put a meaningful story there, that’s what you’re after. Hal [Hal David, longtime Bacharach collaborator] is great lyric writer. He has a terrific way of taking care of certain notes, matching the right vowel with a high note, you know what I mean? A love song deals with the heart, and so with that passion everything is heightened, “I’m gonna live forever”; “each day I’m falling more in love,” that sort of feeling. We have a lot of songs like that,  I think “Anyone Who Had a Heart” gets those ideas across.

B&W: Have you ever been surprised by a particular interpretation?

Bacharach: [laughing] There have been all kind of surprises. One record that I love, really love, that’s kind of different from the way I wrote it, is Aretha Franklin doing “Say a Little Prayer.” Oh, it’s brilliant. And a surprise, certainly.

B&W: What kind of music are you most likely to listen to today?

Bacharach: Brazilian music. We just finished a South American tour; that may be why. But really it’s a kind of music from which I’ve always derived a lot of pleasure. When I worked with Sergio Mendes, and he’s great, Sergio’s wonderful; I enjoyed Brazil so much.

B&W: You are also enjoying  a new generation of fans right now. Elvis Costello, Michael Myers, and the electronica and lounge-core crowds seem universally to admire your music.

Bacharach:  I think it’s great; you can’t plan that. It’s gratifying. These kids weren’t even born when this music was first recorded. It’s not a revival, they’re hearing it for the first time. I was just so pleased that Michael Myers wanted me to be a part of the Austin Powers movies. Great guy. He’s brilliant and hilarious. Very quick. In those two scenes in those pictures, I was just laughing and smiling through the entire shot. I wasn’t acting; I found it all just too much.

B&W: Has there been a moment at which you thought to yourself, “Wow, I’ve written the soundtrack to a good portion of the 20th century?”

Bacharach: Actually, no, I’ve never said that to myself. I don’t think I will. I’m approached sometimes with compliments like that, people who talk in terms of my contribution to popular music, and it is certainly flattering. I’m very uneasy with that kind of idea, though. I’m extremely happy to do what I do for so long, with so much success, but I just can’t look at it in those terms. Having a show go well, I mean, giving a good performance is much more appealing to me.

B&W: From where you’re standing, do you know the way to San Jose?

Bacharach: Ha! Oh gosh. Well, you know I have found my own way there a couple of times. I worked with the symphony and it’s a really nice town. For specific directions, I think you’d have to ask Hal David.

[tartrazeen]

One of the leading musicians to emerge from Detroit's modern jazz explosion in the 1940s and '50s, Harris remained indefatigable into his early 90s. He led weekly workshops in New York, appeared in clubs and concert halls and traveled the world to teach and spread the gospel of bebop — the post-war style that became the lingua franca of the music.

Harris channeled the language and spirit of bebop's founding fathers — alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, pianists Bud Powell and Thelonious Monk — through his own foxy wit, vivid harmonic imagination and distinctive rhythmic rumble. But he was more than a sterling soloist and keeper of the flame. He was a Talmudic scholar of bebop; a beacon of artistic integrity and generosity; and a swinging Socrates, guiding students in a quest for truth, beauty and the hippest chords to play on "Indiana" and "Embraceable You."

At a time when the traditional apprentice system all but collapsed in jazz, Harris represented a direct link to the pantheon. His authority descended from a lifetime of bandstand and recording experience with countless iconic figures.

[brushandneedles]

Thelonious Monk: Architect of Jazz Innovation and Uniqueness

In the rich tapestry of jazz history, the name Thelonious Monk stands as a beacon of innovation, unpredictability, and sheer artistic brilliance. Born on October 10, 1917, in Rocky Mount, North Carolina, Monk emerged as one of the most influential figures in the world of jazz, leaving an indelible mark on the genre with his distinctive approach to composition and improvisation. Step into the enigmatic world of jazz with our Thelonious Monk-inspired T-shirts, a sartorial ode to the timeless eccentricity and musical genius of the legendary pianist.

Early Years and Musical Upbringing

Thelonious Sphere Monk's musical journey began in his early childhood. Raised in New York City, Monk's exposure to music came primarily through the church, where his mother, Barbara, served as the church organist. Monk's early interest in the piano was nurtured by his family, and by the age of 11, he had already begun to showcase his prodigious talent.

Innovations in Jazz Harmony and Rhythm

Monk's impact on jazz is perhaps most prominently felt in the realm of harmony. His unique approach to chord voicings and dissonant intervals challenged the conventional norms of the time. Monk's compositions, such as "Round Midnight" and "Blue Monk," are characterized by their unconventional harmonic structures, marked by angular melodies and unexpected chord progressions.

His use of dissonance, often incorporating clusters of notes played in close proximity, created a sense of tension and release that was revolutionary in the jazz landscape. Monk's harmonic innovations laid the foundation for future generations of jazz musicians to explore new possibilities in tonality and expression.

The Pianistic Genius

Monk's distinctive pianism is immediately recognizable. His percussive and angular playing style, coupled with his penchant for dissonant chords, created a sonic signature that set him apart from his contemporaries. The rhythmic complexity of Monk's playing, characterized by unexpected accents and pauses, added an additional layer of intrigue to his performances.

His influence on piano technique and style extended beyond his compositions. Monk's idiosyncratic approach to the instrument, with his use of staccato accents and unexpected pauses, challenged the conventional norms of jazz piano playing. His innovations continue to resonate in the work of countless pianists who have drawn inspiration from Monk's groundbreaking style.

The Birth of Bebop and Monk's Role

The 1940s saw the emergence of the bebop movement, a revolutionary shift in jazz characterized by rapid tempos, complex harmonies, and intricate improvisation. Monk played a crucial role in shaping the bebop sound, collaborating with pioneers such as Charlie Parker and Dizzy Gillespie. His compositions, including "Well, You Needn't" and "Epistrophy," became emblematic of the bebop era.

While Monk's contemporaries were often at the forefront of the bebop movement, Monk's own unique contributions were sometimes overshadowed. His compositions, though revered by fellow musicians, did not always find immediate commercial success. Nevertheless, Monk's uncompromising commitment to his artistic vision and his refusal to conform to established norms set him apart as a true innovator.

The Legendary Monk Quartet

In the mid-1950s, Monk formed the legendary Thelonious Monk Quartet, a group that featured John Coltrane on tenor saxophone, Wilbur Ware on bass, and Shadow Wilson on drums. This quartet, often hailed as one of the greatest in the history of jazz, produced some of Monk's most iconic recordings.

The partnership with Coltrane, in particular, was a meeting of two musical giants. Coltrane's fiery and expressive playing complemented Monk's idiosyncratic compositions, creating a synergy that elevated both artists to new heights. The recordings from this period, including the album "Thelonious Monk with John Coltrane," are celebrated as masterpieces of jazz collaboration.

Monk's Compositional Legacy

Thelonious Monk's compositions have become an integral part of the jazz repertoire. His tunes, characterized by their memorable melodies and intricate harmonic structures, continue to be studied and performed by musicians around the world. "Round Midnight," arguably Monk's most famous composition, has been recorded by countless artists and remains a jazz standard.

Monk's compositional style was rooted in a deep understanding of the blues, and his ability to infuse bluesy sensibilities into complex harmonic settings contributed to the enduring appeal of his music. His compositions often featured unexpected rhythmic twists and turns, keeping both musicians and listeners on their toes.

The Jazz Vanguard: Monk's Impact on the Genre

Beyond his contributions as a pianist and composer, Monk played a pivotal role in shaping the broader landscape of jazz. His unapologetic commitment to originality and innovation encouraged other musicians to explore their own unique voices. Monk's impact extended beyond the confines of bebop, influencing the development of post-bop, free jazz, and avant-garde jazz.

Monk's insistence on individual expression and his rejection of musical conventions opened doors for future generations of jazz artists to embrace their creative instincts. His influence is evident in the work of avant-garde musicians such as Cecil Taylor and Ornette Coleman, who drew inspiration from Monk's fearless approach to musical exploration.

Challenges and Recognition

Despite his undeniable genius, Monk faced challenges in his career. His unorthodox playing style and sometimes unpredictable behavior led to periods of public misunderstanding. In 1951, Monk's cabaret card was revoked in New York City, a setback that restricted his ability to perform in local venues for several years.

However, Monk's fortunes began to change in the late 1950s and early 1960s. With the support of fellow musicians and growing recognition of his artistic contributions, Monk experienced a resurgence in his career. In 1964, he appeared on the cover of Time magazine, a significant acknowledgment of his status as a jazz innovator.

Later Years and Recognition

In the latter part of his career, Monk continued to tour and record prolifically. His later albums, including "Monk's Dream" (1963) and "Criss-Cross" (1963), showcased his enduring creativity. Monk's impact on jazz was further recognized when he was awarded the prestigious Grammy Lifetime Achievement Award in 1997, a fitting tribute to his lasting contributions to the genre.

Monk's Persona: Quirks and Eccentricities

Thelonious Monk's persona was as distinctive as his music. Known for his distinctive sense of style, which often included distinctive hats and sunglasses, Monk's onstage presence reflected his offbeat approach to life. His penchant for abrupt pauses during performances, as well as his sometimes enigmatic behavior, only added to the mystique surrounding the man and his music.

Legacy and Influence

Thelonious Monk's legacy endures not only through his recordings but also through the impact he had on the evolution of jazz. His uncompromising commitment to originality and his fearless exploration of musical possibilities continue to inspire musicians across genres. Monk's influence can be heard in the work of pianists ranging from Herbie Hancock and Chick Corea to modern innovators like Brad Mehldau.

Monk's compositions remain a rite of passage for jazz musicians, a testament to the enduring power of his musical vision. His contributions to jazz harmony, rhythm, and composition have left an indelible mark on the genre, ensuring that Thelonious Monk's legacy will resonate through the ages as a testament to the boundless possibilities of artistic expression in jazz. Embrace the avant-garde flair of jazz with our Thelonious Monk T-shirt, embodying the quirky elegance and groundbreaking creativity of the legendary pianist.

[brokenhcrt]

PINNED POST!

indie sideblog for my fandomless ocs. this blog is 21+, and my partners are to also be 21+. mun is 27

follows from: drummerdaines

low / sporadic activity. default muse is MADDOX LAKE if no muse is stated. opens memes navigation

maddox lake, model & bridesmade for hire, 25, sabrina carpenter | witch, bisexual phoenix hastner, receoptionist for a law firm, 25, joe keery, gay storm simms, lead guitarist & writer for vulgar crown, 22 - 29, joe quinn, pansexual theodora winifred, jobless, 140 ( immortal ), grace van dien, bisexual ashlee georgia, job tba, 25, miles robins | ghost human hybrid, bisexual mylene baines, librian, 48, leigh anne pinnock ( main ) | demon,bisexual sky carpenter, telemarketer, 50, mackenyu ( main ) | demon, bisexual whitney gibbs, horror com youtuber / gamer / twitch streamer, 25, adeline rudolph, bisexual tiffany 'tink' bell, retail worker, 26, katherine mcnamara, pansexual bianca winters, ice rink employee, 26. courtney eaton | winter spirit, pansexual harlow beaumont, ex childstar, waiter, 24 ( subjected to change ), charlie gillespie bisexual alexander wright jr, mechanic, 25 ( subjected to change ), jeremy shada, bisexual lavender henderson, lead singer of unholy martyr, 27, karen fukuhara bisexual mary castro, guitarist for unholy martyr, 26, camilla mendes lesbian

mun uses animated icons for ooc posts

blogroll:

drummerdaines ( oc drummer for a heavy metal band ; FOLLOWS FROM HERE )

piecedpirates ( mumu one piece ; main prioity / fixation )

wiildhcartsrun ( resource / writing blog ) 

hollowkidds ( ma.yahart & fark.leminkus )

rules:

basics

21+ for rp partners. this is a sideblog so follows will come from drummerdaines, who is a muse linked with storm

once sm.ut starts to happen, icons / gifs will be dropped out of respect for those who created the ones i use, a banner will be used in it's place , this made by cafekitsune

nsfw comes in many forms and i welcome all types as i do like my horror

blog runs on a queue & is low priorty ; i mainly work with muse instead of trying to force it

i am open to writing on discord, and have many more muses avalaible there too, including canon characters

will give out my discord to those intersted in it

due running three other blogs, i will be putting focus onto replies for here on saturdays and sundays. with piecedpirates getting most of my attention during the week though of course if something is giving me dopamine, i will chase that

will not

ship with muses under 18, prefered to not interact with muses under 18

ship minor x adult, incest ( inlcuding foster, adoptive & step )

write with characters like the grabber or pennywise

banned faces are: the dead, abusers, john.nydeep, amb.erheard, no.ahschnapp, chi.naannemc.lain, tay.lorswit, jos.huabassett

specfic bans, these fc aren't banned overall, i just wont engage in a romantic / shippy plot with: bar.rykeoghan fc with maddox and jose.phquinn fc with theo, gracevandien fc with storm. sorry h3llch33r fans ruined this for me

write with people writing real people, including wwe stars as their 'characters'

[highaltitudedude]

Jazz Evolution: A Journey from the Soulful Streets of New Orleans to the Global Stage

Jazz music, with its intricate melodies and compelling rhythms, is a dynamic and evolving art form, often regarded as America's original "classical" music. It has traveled a fascinating path from its nascent roots in New Orleans to diverse, innovative forms around the world. Let's embark on a musical odyssey to explore jazz's rich tapestry, its transformative journey, and its eternal essence of improvisation.

1. The Birthplace: New Orleans

In the early 20th century, New Orleans was a melting pot of cultures and musical influences. It was in this eclectic environment that jazz was born, blending elements of blues, ragtime, and brass band music. The city's vibrant atmosphere and diverse community fostered an environment where musicians could experiment, collaborate, and fuse different musical elements, giving birth to the unique sounds of jazz.

2. Jazz and Improvisation

At the heart of jazz is the soulful art of improvisation. It is this spontaneous creation that allows each musician to bring their individual expression and emotion to a performance, making every rendition of a piece distinct. This improvisational nature is the lifeblood of jazz, allowing it to remain dynamic, responsive, and ever-evolving.

3. The Jazz Age: Spread and Evolution

In the 1920s, jazz spread like wildfire across America, symbolizing the spirit of freedom and innovation of the era. Cities like Chicago and New York became jazz hubs, fostering the growth and transformation of this genre. It was during this period that notable subgenres such as swing and big band emerged, along with iconic figures like Louis Armstrong and Duke Ellington who reshaped the jazz landscape.

4. Bebop Revolution

Post-World War II, jazz experienced a transformative phase with the emergence of bebop. Characterized by fast tempos, complex harmonies, and intricate improvisation, bebop was a departure from the danceable tunes of the swing era. Musicians like Charlie Parker and Dizzy Gillespie were the pioneers of this movement, pushing the boundaries of jazz expression.

5. Fusion and Contemporary Jazz

The late 20th century saw jazz embracing elements from various music genres, resulting in the birth of fusion genres like jazz-rock and Latin jazz. Miles Davis’ experimental albums paved the way for a new era, blending jazz with diverse musical elements. Today, contemporary jazz artists continue to explore and expand the genre, integrating it with modern music styles and technology, ensuring its continual evolution.

6. Global Jazz: A Universal Language

Jazz has transcended its American roots, resonating with audiences worldwide and influencing music cultures globally. From the vibrant jazz scenes in Europe to the infusion of local musical elements in African and Asian jazz, the genre has adapted and evolved, reflecting the diverse musical landscapes it has permeated.

7. Jazz: A Living Art Form

The journey of jazz is a testament to its resilience, adaptability, and enduring appeal. It has metamorphosed, yet its core—improvisation—remains unchanged, allowing it to retain its unique character and vibrancy. Whether it’s the sultry tones of a saxophone in a smoky jazz club or the innovative sounds of contemporary jazz fusion, the spirit of jazz continues to live, breathe, and evolve.

Conclusion

Exploring the evolution of jazz is like traversing a rich, multifaceted musical landscape. From its cradle in the vibrant neighborhoods of New Orleans to its myriad avatars across the globe, jazz has been a musical chameleon, absorbing, adapting, and enriching itself with every transformation. It's not just a genre; it’s a journey, a living entity, and an eternal conversation between tradition and innovation.

Stay tuned as we continue to explore the harmonious chronicles of music, understanding its roots, its journey, and its boundless possibilities.

[iconsalska]

like or reblog, credit on twitter: @shewantscamren

[ctrlsugar]

( REPOST ) GIF PACK / CHARLIE GILLESPIE 

$$ free !! • ( or pay what you want !! )

capped, clipped, cropped & edited by ; ctrlsugar project source ; deltopia trailer | youtube get the gif pack ; payhip

gif pack commissions are ; open.

please do not use these gifs in the following manners • to portray minor characters, k*nk/t*b*o roleplay, real life celebrity roleplay !!

do not steal, resell, or claim as your own work • these gifs can be cropped into gif icons, but credit is required if you release the pack ; you must credit me in the post !!