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Mar 28, 2024 · It was modern jazz’s annus mirabilis. As James Kaplan writes in his book about trumpeter Miles Davis, saxophonist John Coltrane and pianist Bill Evans — three mid-century geniuses — 1959 ...
- Jonathan Derbyshire
Summary. The year 1922 has been known as the annus mirabilis (“miracle year”) of Anglo-American literary modernism, chiefly because of the near-simultaneous publication of T.S. Eliot’s “The Waste Land,” James Joyce’s Ulysses, and Virginia Woolf’s Jacob’s Room.
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Their output comprised an eclectic set of recordings that encompassed the key styles of the day—cool, modal, hard bop, avante garde—and consisted primarily of tunes penned by the leaders, yielding classics such as “So What,” “Take Five” and “Naima.”
On or About 1922: Annus Mirabilis and the Other 1920s; By Michael Levenson; Edited by Vincent Sherry, Washington University, St Louis; Book: The Cambridge History of Modernism; Online publication: 21 January 2017; Chapter DOI: https://doi.org/10.1017/9781139540902.009
- Michael Levenson
- 2017
In January 1922, Ezra Pound dated a letter to T. S. Eliot ‘An 1’. The letter not only celebrated the completion, a few months earlier, of Joyce’s Ulysses as the start of a new calendar, but also contained Pound’s notes on another work that would cement 1922 as the ‘annus mirabilis’ of modernism: The Waste Land.
A series of victories by the British armed forces in 1759 in North America, Europe, India, and in various naval engagements caused that year to be referred to, on occasion, as William Pitt 's annus mirabilis. It was the turning point of the Seven Years' War.
Jazz was the non-European music with the greatest impact on composers of modernist music. Aside from contributing materials to new music, it provided a much-desired musical link to cultures thought to be “primitive”, whether those of the African continent or the American South.
