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Ignaz Schick has its origin in the New Improvisers Ensemble (N.I.E., a pool of 15 Munich improvising musicians), remaining the only ongoing group of the collective. In the beginning a strictly free-improvising band the trio started working on composed material (mostly written by Schick) and on a special Don Cherry memorial program after changing the drummer in 1995. DeCollage 3 uses the tunes a raw material for extended improvisation, exploring a very individual approach in the acoustic trio context, combining the experiences of new music, (free) Jazz and abstract improvisation. A CD with interpretations of tunes by Don Cherry, Albert Ayler and Ornette Coleman is released in March 1997, by David Records/Munich. Ignaz Schick was born 1972 in Trostberg/Germany. After meeting Don Cherry and Jim Pepper at the age of twelve years, he studied the altosaxophone for several years. While college already touring with Bob Rutman’s Steelcelloensemble and the French trombone player Marc Boukouya. After school working as a freelancing composer and musician in the jazz, contemporary music and the improvised music context. Leading several smaller bands (Sprachlos, Zangi Trio, DeCollage 3, ...) and bigger Ensembles (New Improvisers Ensemble, Zangi Ensemble). For the latter and his composition "Liebe macht blind" awarded with the "Förderstipendium für Music" by the city of Munich in 1994. From 1992 a three years collaboration with the new music composer Josef Anton Riedl as an assistent and musician (Festival Neue Musik München, Neue Musik im Städel Frankfurt, Donaueschinger Musiktage 1995, ...). Living in Berlin since 1996, working with numerous bands and musicians of the younger generation, being active in the very diverse styles of avantgarde music. Dance projects with the japanese dancer Takako Suzuki and collaboration with the chinese traditional multiinstrumentalist Wu Wei. Performed/ worked with Arurmukha, Zoro Babel, Matthias Bauer, Marc Boukouya, Tony Buck, Don Cherry, Gesine Conrad, Fried Dähn (Ensemble Modern), Abdourahmane Diop, Jason Kahn, Aleks Kolkowski, Kalle Laar, Jim Pepper, Bob Rutman, Marc Sanders, Micheal Svoboda, Sebi Tramontana, Der Volz (The Blech), Wu Wei, ... Georg Janker (b) born in 1969, is considered as one of the most promising bass players of the young generation in improvised music. He participated in workshops with Barre Phillips, Wayne Darling, Red Mitchell, Sigi Busch and David Friesen and his working in the jazz and freemusic scene 1987.Also playing in new music ensembles and composing for theatre pieces. As a bass player, he is performing and touring Austria, Switzerland, Germany and the USA with "Motionless Movie Productios", a live comic show by Steffen Haas since 1992 (Comicfestival Munich 1993 & 1995, Comicfair Erlangen 1994, Art Academy Vienna, Luzern 1996, Nwe York 1996 as well as TV broadcasts for BR and ZDF).As a free improvising bass player he is (has been) part of the trio Scapelands (since 1993, CD), New Improvisers Ensemble (until 1995), Ignaz Schick's DeCollage 3, ...Georg Janker is engaged in various projects with dancers, poets and actors as well as playing silent films. Sunk Pöschl (dr) Born in 1955. Sunk Pöschl studied drums at the Jazzschool Munich from 1970 to 1974 and classical percussion from 1977 to 1979. Since then being active as a freelance drummer in the contemporary jazz scene. His interests and activity cover improvised music, modern jazz and mainstream jazz. For three times he was winner of the "Deutsche Phonoakademie". He performed festivals in Saalfelden, Frankfurt, Bregenz, Ingolstadt, Munich, Würzburg, Offenburg, Maur, ... and took part in Radio and TV productions with numerous bands. Touring Germany, Switzerland, Austria and Italy from 1981 to 1985 with the Dave Burell Trio. Since 1986 steady collaboration with the Any Lutter Trio/Quartet. Worked, performed and recorded with: Bill Bickford, Hermann Breuer, Dave Burell, Wolfgang Dauner, Bob Dorough, Peter Frei, Rudi Fuesers, Heiri Kaenzig, Art Lande, Tony Lakatos, Max Neissendorfer, Larry Porter, Allan Praskin, Mark Ramsden, Ken Rhodes, Adelhard Roidinger, Roman Schwaller, Markus Stockhausen, Leszek Zadlo, ... Press The music on this CD gives best proof of Ignaz Schick’s living sense for creative art. Although the trio clearly plays in the free mind of the sixties, it achieves new facets of expression in each of the eight tunes. An apt choice for his alto style, the disc starts with Ornette Coleman’s "Lonely Woman", first recorded by the composer in 1959 with Don Cherry on trumpet. You hear this moving, ballad-like tune in a fascinating re-arrangement that makes fine use of diverse receipts from the free-jazz esthetics but adds a distinguished kind of dramatic feeling to the music creating that rare thing known as beauty. Following the spirit of the opener, the CD continues walking on the edge between "in" and "Out" - with heavily swinging passages and fundamental rubato parts, memorably nice themes and strong personal statements from all players. Of Cherry’s own tunes, the disc presents the floating "Complete Communion" (from the legendary Blue Note album of the same title), Buddhist-inspired "Chenrezig" (from "Brown Rice") and African-rooted "Guinea" (from an "Old and New Dreams" album) - all played in a very pure and joyful way. You can’t help but be impressed and pleased by Ignaz Schick’s tone and phrasing and the congenial support he gets from bass and drums. The same is true for the trio’s renditions of Albert Ayler’s ecstatic, yet frolicsome hymns "Ghosts and "Holy Spirit" he first recorded in 1964 with Don Cherry in his band. Here the trio tunes up the energy level screaming like one man - until they get calmed down by Chick’s unaccompanied saxophone introduction to "Guinea". Hans-Jürgen Schaal, December 1996 "Etwas anders", das trifft die Musik von Schick recht gut; eine breit angelegte Collage ohne feste rhythmische Struktur, mit extremen Dynamiksprüngen, mit Halbtönen, die sich reiben, mit Melodiebögen, die mal an den Freejazz der 60er von Albert Ayler oder Ornette Coleman erinnern, dann wieder an Werke der Zwölftonmusik oder an die Noise-Szene um John Zorn und Fred Frith. Die Partituren bestehen aus herkömmlichen Noten, aber auch aus Dreiecken, Blitzen und Anweisungen wie "Micky Mouse Imitations" oder "Death Scream". Für den Maler und Musiker Ignaz Schick sind Komposition und Graphik gleichberechtigte Ausdrucksmittel. "Mein Ziel ist es, Klänge sichtbar und Landschaften hörbar zu machen", sagt er. Schicks Landschaften gehören zu einer Welt, in der "etwas anderes" jederzeit möglich ist. Wolfgang Farkas, SZ, 7.12.94 Tracks: Lonely Woman  Complete Communion  Traum eines Verrückten  Chenrezig *  Sarah * Ghosts * Holy Spirit * Guinea

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