{"id":2464,"date":"2011-03-25T01:05:51","date_gmt":"2011-03-25T08:05:51","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=2464"},"modified":"2011-03-24T16:21:39","modified_gmt":"2011-03-24T23:21:39","slug":"correspondence-on-tour-in-earthquake-country","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2011\/03\/correspondence-on-tour-in-earthquake-country\/","title":{"rendered":"Correspondence: On Tour In Earthquake Country"},"content":{"rendered":"

Bill Mays writes from Japan, where—despite earthquake, tsunami and radiation—the Phil Woods Quintet is on tour: Mays, piano; Woods, alto saxophone; Brian Lynch, trumpet; Steve Gilmore, bass; Bill Goodwin, drums.<\/p>\n

Food and bottled water have not been a problem here in Tokyo. Transportation has posed no problem. Radiation levels are “safe.” We are avoiding milk, tap water, other questionable items. I was a little paranoid the first two days here and ate\"\"<\/a> nothing but bananas and trail mix. Have felt 5 or 6 mild aftershocks. Aside from streets being not as crowded and neon signs off, life in Tokyo appears normal.<\/p>\n

Phil’s group is holding up well, and concerts are near sold out, and that at 8000+ yen a seat (more than $100 U.S.) They are starved for the music, what with all the groups that have canceled. <\/p>\n

Boy did we have a soulful audience in Yokohama tonight. They just about ate us up. There were young (all of them girls) alto sax players lined up to have Phil sign their alto cases–so cute).<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Bill Mays writes from Japan, where—despite earthquake, tsunami and radiation—the Phil Woods Quintet is on tour: Mays, piano; Woods, alto saxophone; Brian Lynch, trumpet; Steve Gilmore, bass; Bill Goodwin, drums. Food and bottled water have not been a problem here in Tokyo. Transportation has posed no problem. Radiation levels are “safe.” We are avoiding milk, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2464","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2464","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=2464"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2464\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2464"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2464"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2464"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}