He studied music at the Tokyo Art College High School. While a student, he began buying second-hand records, most likely left behind by American soldiers. His early influences were Duke Ellington, Miles Davis and Thelonious Monk.[1] After graduating, he joined Lionel Hampton's Japanese touring band.[4] He started a quintet with Terumasa Hino but soon after left for the US after winning a scholarship to study at Berklee College of Music.
With Terumasa Hino (cornet), Steve Grossman (soprano sax, tenor sax), Dave Liebman (soprano sax, tenor sax, flute), Richie Morales and Victor "Yahya" Jones (drums), Hassan Jenkins(bass), James Mason, Butch Campbell, Marlon Graves, Barry Finnerty and Billy Paterson (guitar), Alyrio Lima, Aiyb Dieng and Airto Moreira (percussion), Sam Morrison (soprano sax), Ed Walsh (synth programming)
1980–81
One-Way Traveller
CBS/Sony
1982
With Terumasa Hino (cornet), Steve Grossman (soprano sax, tenor sax), Richie Morales and Victor "Yahya" Jones (drums), Hassan Jenkins(bass), James Mason, Butch Campbell, Marlon Graves, Gass Farkon, Billy Paterson and Ronald Drayton (guitar), Alyrio Lima, Aiyb Dieng and Airto Moreira (percussion), Sam Morrison (soprano sax)
1983–86?
Earth (地, Chi)
Geronimo
1988
"Six Elements (六大, Rokudai)" series. Solo synthesizer.
1984–86
Water (水, Sui)
Geronimo
1988
"Six Elements (六大, Rokudai)" series. Solo synthesizer.
1984–86
Fire (火, Ka)
Geronimo
1988
"Six Elements (六大, Rokudai)" series. Solo synthesizer.
1984–86
Wind (風, Fuu)
Geronimo
1988
"Six Elements (六大, Rokudai)" series. Solo synthesizer.
1984–86
Air (空, Kuu)
Geronimo
1988
"Six Elements (六大, Rokudai)" series. Solo synthesizer.
1985–87
Mind (識, Shiki)
Geronimo
1988
"Six Elements (六大, Rokudai)" series. Solo synthesizer.
1986–89
Aurora
Rhizome Sketch
1989
Solo synthesizer. Four variations of the track "Aurora" in previous album Water (水, Sui).
1989
Attached (未練, Miren)
transheart
1989
Solo piano
1989–90
Dreamachine
transheart, Pioneer
1992
With Bernie Worrell (synthesizer), Bootsy Collins (space-bass), Bill Laswell (bass), Nicky Skopelitis (guitar), Aiyb Dieng (percussion)
With Toshiyuki Goto, DJ Katsuya and DJ Hiro (mixing), Mike Barry (guitar), Scott Wozniak (keyboard), Aiyb Dieng (percussion), Papa Jube, Veronica White, Bongo Gaston and Jean Baaptiste (vocals), David Dyson (bass), William "Space Man" Paterson (guitar), Darryl Foster (tenor sax)
In the late 1970s, Kikuchi lived in New York City and rented a loft apartment on W. 20th Street. The large apartment, over 1700 square feet, was in a formerly commercial building adapted to artists spaces and mixed studio and apartment space. His space was filled with musical instruments and recording equipment; it contained a creative work space as well as living space. In late 1977, a health spa equipment sales business moved into the floor above Kikuchi's studio. A series of damaging water leaks, noise, and eventually large-scale building renovations began. These leaks and activities severely interfered with his work and daily living; eventually, Kikuchi sued his landlord, asserting that the combined events and activities breached the covenant of quiet enjoyment of his apartment. Importantly, he also claimed that the construction work effectively excluded his use of a generous swath of the loft apartment, that is he was constructively evicted by the landlord's acts and failure to act (related to the upstairs tenant). Despite the massive disruptions, he continued living in the apartment during the legal dispute. As per common law, an essential element of claiming constructive eviction is the tenant's moving out; the logic of the common law rule is rooted in proof: the landlord's actions must be so severe and materially impact the tenant that no one would continue to stay there under the circumstances.[9]
The case was finally decided by the N.Y. Appellate Division in 1988. The Court's ruling in favor of Kikuchi established the notion of partial constructive eviction; that is, a partial exclusion from the quiet use and enjoyment of the property. The rule established in this case entitled a partially constructively evicted tenant to a pro rata rent reduction in proportion to the portion of the property they were unable to use. Importantly, the court held that leaving the premises was not required under this new concept. This rule has not been widely adopted in the United States and is a minority rule. The case, 528 N.Y.S.2d 554 (App. Div. 1988), is featured in contemporary property law case books to illustrate the concept of partial constructive eviction.
