It was the beginning of the so-called „Young Lions“ movement, which, in itself, is a ridiculous term. Many of the major labels were looking for their respective golden goose that would serve as a representative or „face“ for them in that movement. They were seeking out musicians who were young, articulate, dressed and played well, etc. I was also being courted heavily. But I knew that I wasn’t ready. For one thing, I knew that I didn’t have enough life experience behind me to give my music much substance. I still needed some apprenticeship, some time on the road, and I needed to cultivate more of my own expression. I also needed to be taken under the wing of some notables who had the goods that I wanted. So I resisted the record deals. A lot of people who recorded too early and who were thrust into the public eye prematurely were exploited, dissected, and discarded.
ausführliches interview mit greg osby auf aaj.
interessante einblicke in eine afroamerikanische musikersozialisation in den späten 70ern/ frühen 80ern (krass immer wieder, wie segregiert die aufgewachsen sind), das nebeneinander dieser ganze späteren stars in berklee usw., bevor sich dann durch das label „young lions“ die szenen trennen. man versteht hier auch ein bisschen, dass die m-base-leute damals einen wirklich neuen weg versucht haben, nicht nur musikalisch, auch strukturell, in zeiten, in denen mit „jazz“ ja kurz durchaus wieder geld zu verdienen war.
leider nichts über kikuchi.
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