Музыка и песни Baumann, Peter (Hans-Peter) / Baumann, Peter (Hans-Peter)

Artist: Peter Baumann Label: Bureau B

Artist: Peter Baumann Label: Bureau B

Artist: Baumann/Koek Label: Bureau B

From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound im - pact on electronic music. He produced a number of momentous al - bums at his Paragon Studio (by the likes of Conrad Schnitzler, Clus - ter, Hans-Joachim Roedelius) and also enjoyed success as a solo ar - tist. His first two solo works are now being reissued with extensive li - ner notes and rare photographs. The influence of Tangerine Dream can clearly be heard on “Romance 76”, although the arrangements are comparatively minimalist—a state of affairs for which David Bo - wie can be held partially responsible (see below). With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic Krautrock, sited somewhere between experi - mental electronica and progressive rock. Open to new ideas, Baumann’s positive aura and eagerness to experiment galvanized the band’s music al - most instantaneously. His catchy melodies, rich in positivity, propelled Tan - gerine Dream into the charts. After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums—including “Atem”, John Peel’s nominated import album of 1973—Baumann called time on his solo career with “Romance 76”. “We found some time between tours and record productions, so Edgar recorded a solo disc and helped Christoph and me to develop our own music too. ‘Romance 76’ resulted from the urge to create new music . I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isn’t quite so simple. I started to work on my own pieces . ” This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that’s another story . Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record “Romance 76”. Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig re - hearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened “The Big One” can be detected on “Romance 76”, for example, along with a Mellotron. Some tracks on the album, such as “ Romance” an d “ Phase By Phase” , are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: “We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: ‘Leave it as it is, there’s enough there already.’” At which point Baumann decided to look at the tracks in question as finished. Record Label: Bureau B Style: Electronica

From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berlin School which had such a profound impact on electronic music. He also enjoyed success as a solo artist. His first two solo works are now being reissued with extensive liner notes and rare photographs . „ Trans Harmonic Nights“, Baumann’s second solo album, sees him continue to break free from the gravita tional pull of Tangerine Dream. Hans-Joachim Roedelius was recording the „Jardin au Fou“ album at the same time in his Paragon Studio and some of his carefree positivity seems to have rubbed off on Baumann, judging by the music he came up with. The production phase for “ Trans Harmonic Nights” covered 16 months or thereabouts. Having built the studio and taken care of production on albums for Cluster, Asmus Tietchens, Conrad Schnitzler and Hans-Joachim Roedelius, many of which came out on the French label Egg, he had neither the time nor the inclination to focus on his own compositions. Numerous tracks on the album were actually created at the end of the working day, on downtime, just for fun in the unfinished studio. Peter Baumann explains: “It was a completely different time for music, everything we did was sponta - neous, in the moment. My first two records happened when I was working in the studio, simply expressing myself as a musician, sen - sing which emotions, timbres, rhythms and melodies were closest to me.” This approach shines through the music, underpinning its authentici - ty and making the album such a delight to listen to today: carefree, playful, unbelievably euphoric. Synth lines are exhiliratingly entwi - ned with synthetic plucks, experimental sounds crystallize into sweet melodies, building into ecstatic breaks. Majestic Mellotron choirs and added vocoder tones lend an ethereal, surreal touch. It is virtually impossible not to get caught up in this rapture, to be swayed by the infectiously upbeat nature of the music. Hans-Joa - chim Roedelius was producing his Jardin au Fou album at the same time and one might be forgiven for thinking that his carefree positivi - ty rubbed off on Baumann. Not long after releasing this album, Peter Baumann relocated to the USA where he recorded two more albums by the year 1983, domi - nated by wave and synth pop sounds. In 1984 he founded his own label, Private Music. In the late 1990s he withdrew from the music business altogether, only resurfacing in May 2016 with a new solo album entitled “Machines Of Desire” Record Label: Bureau B Style: Electronica

Artist: Peter Baumann Label: REACTIVE / ESOTERIC