UWE OBERG & ULI BÖTTCHER: SAME RIVER
Oberg and Böttcher play together since the late 1990s, occasionally in combination with silent avantgarde-films, such as by Man Ray,
Fernand Leger, Luis Bunuel a.m.o. In 2012 they performed at the Wiesbaden festival "Fluxus 50".
Böttchers electronic vocabulary is based on „Record/Play“, using computer and microphone, mixing bits of pre-recorded sounds with bits of live-recordings of Oberg's (sometimes prepared) piano, treating and twisting the signals. Sounds are flowing back an forth - the control is on both sides, and at the same time isn't. Everything is connected delicately.
Ottmar Klammer / ORF wrote about the pianist Uwe Oberg: "Oberg is one of the few, that really join american with european improvised
music;(...) one of the most intriguing pianists at the fascinating intersection of New Music and Free Jazz, who impresses mainly with an
economic style." In 2007 he received the "Hessischer Jazzpreis" and plays with LACY POOL, Evan Parker, Frank Paul Schubert, Paul Lovens,
Eric Plandé and many others.
Böttcher first studied arts. Beside his work as an artist he played percussion in various Salsa-bands. In 1993 he discovered improvised
music, started to play drums and shifted the emphasis of his work to live-electronics. He performs at festivals and collaborates with musicians
like Roger Turner, Dirk Marwedel, Uwe Oberg, Wolfgang Schliemann, Claus van Bebber, Carl Ludwig Hübsch, Michel Waisvisz, Phil Minton,
Matthias Schubert, Erhard Hirt, Jörg Fischer, the Neuen Dresdner Kammermusik and Eugene Chadbourne. He is co-founder of the
HUMANOISE CONGRESS of the KOOPERATIVE NEW JAZZ in Wiesbaden/Germany.
"'Boettcher, a true virtuoso on his own chosen instrument, is hardly the guy to corral his comrade into something, uh, minimalist: the guy ingests deformed samples like Phil Daniels scarfing down blue pills at the end of Quadrophenia." (Dan Warburton)