Jump to content

Michael Laiskonis

eGullet Society staff emeritus
  • Posts

    676
  • Joined

  • Last visited

Posts posted by Michael Laiskonis

  1. I certainly don't think that there is a lot of skill, refinement or technique in making a "foam" or a "gelee". Often people jump on trendy techniques just because they are trendy. I believe that there is often too much going on in "modern dessert plating"- where ingredients are so manipulated that you are not sure what you are eating. Often to me it seems as a way to disguise inferior or out of season items. If you have a beautiful apple or mango or peach, why not focus on having the fruit taste  the best. A mouthful of gelatin is not appealing to me. I also wouldn't want it in my sabayon.

      Sometimes it seems to me that trends in pastry are more about "wowing" a person visually then thinking about taste.

     

    Hmmm... I understand your apprehension, but I'm afraid I must respectfully take issue with your post on a few levels.

    When new ideas (as already stated, we're not really talking about anything 'new') and techniques emerge, it is not uncommon to find abuses and a certain "let's-use-it-fast-without-really-thinking-about-it" mentality. As illustrated in your example of the foie gras dish, much depends on the skill, thoughtfulness, and execution of and by the chef and kitchen team. It is, however, very important not to paint with too large a brush. My having to endure many a crystallized ice cream, a grainy ganache, or a tough, too-thick pâte sucrée would never lead me to question the idea of those products, only the skill of the chef that produced them.

    There is, actually, a great deal of skill, experience, and thought required to produce a 'charged' foam, let alone a perfectly textured gelée or even a sorbet, and certainly as much as it takes to produce a decent bavarois. What makes more sense (not to mention providing much more versatility), mounting puréed raspberries with a bunch of cream or egg whites, or simply aerating that same raspberry purée under pressure? And the coolest part, the flavor of the 'charged' raspberry foam is arguably as, if not more so, intense as the original raspberry, due to the way the bubbles work on the palate. In my estimation, that is the ultimate in refinement! Your asserting that foam is about visual presentation alone makes me wonder if you've actually had the opportunity to taste one.

    In an effort to perfectly showcase a perfect piece of fruit, say that mango, I urge you try the following example...

    Transform that mango into a foam, a sorbet, a gelée (just enough gelatin/agar to hold at room temperature), a chip (puréed mango, a little sugar, acid, and egg white, then dried on a silpat in a low oven), a warm coulis, and a bit of fresh brunois. Arrange all of these components in a shallow soup bowl. All of a sudden you have six different expressions of mango with minimal extraneous ingedients and 'manipulation'. I can imagine the interplay of the different textures, temperatures, and flavors in my mind now, and I've never actually tried this all together. This is, however, what I see as what Steve Klc calls the 'modernist' approach to pastry. It is, in fact, all about taste. And if a few minds are blown in the process, well so be it. How else, by way of an example, would one focus on the flavor of that mango in a dessert? Of course, utilizing 'skill, refinement, and technique'?

    A quick side trip over to the Heartland forum, and Grant Achatz's broader explanations of some of these same concepts, in his Trio thread, might be of use as a corollary...

    At the end of the day, for me, the foam canister is not so much a revelation, but simply another tool in my batterie de cuisine. Let's be honest, though, nearly all pastry work is manipulation on some level.

    PS. I haven't posted to the boards in quite awhile, but I want to thank Steve and the powers that be for putting all of the pastry stuff in one area. I've noticed the quality and intensity of discussion in these topics reach a new level ever since!

  2. Just to add a comparison.... My two subsequent meals, both lunch... (yes, I save everything)...

    April 2001

    Le Menu Pierre Gagnaire (the standard tasting menu) 1100 francs/ meal total 1720 francs

    Again allowing for a 6.5 f to 1$ exchange.... $170/$265

    July 2002

    Le Menu Pierre Gagnaire 195 euros/ meal total 270 euros

    So the Marché can be a great alternative to the full blown experience. I should do a similar comparison between my four meals at Arpege. I'm guessing the prices there have doubled since 1998, and I think Passard has done away with the abbreviated lunch menu..

  3. Gagnaire has offered the Menu du Marché since at least the summer of 1999, when I sampled it on my second visit to the restaurant. I do not recall if it was available when I first dined at PG in February 1998. Regrettably, I do not have a copy of said menu, nor are my notes readily accessible (maybe tomorrow), yet it followed much as nightscotsman described. Below is l'addition...

    21/06/1999

    1 MENU DU MARCHE 520,00

    3 VERRE DE VIN BLANC 195,00

    1 VERRE DE VIN ROUGE 70,00

    1 FLUTE DE CHAMPAGNE BRUT 95,00

    1 CAFE 35,00

    NET A PAYER 915,00

    I don't recall the exchange, but figuring a safe 6.5 francs to the dollar, it indeed comes out to $80, with the meal in total coming in under $150. A solid bargain, though the food may be "safer" than the selections from the carte and tasting menu. From what I understand, one can also dine from an even more limited menu at the 'bar', though I haven't heard about this in awhile...

  4. There are so many issues here worthy of discussion!

    I'm short on time now, but I've quoted myself from a similar thread started over the summer. I would preface this by saying if I had the chance to do it all over again, I would have travelled and staged more when I had the advantage of youth and no commitments; I didn't have the money either, but that is beside the point! But I offer my methods of learning for whatever it is worth...

    For whatever success I've achieved (the personal gratification, though elusive to a lot of perfectionist pastry chefs, weighs more heavily than press, or even peer attention and must come first), I attribute tons of luck (meeting and impressing the 'right' people, chefs that have encouraged my enthusiasm for the new), self-motivation, and of course, all the hours of work and trial/error. And I can't emphasize enough the value of being able to taste as much as possible, potentially being geographically-challenged aside.

    As for formal schooling, I can't honestly voice too strong an opinion either way. I've seen a range in skills from recent graduates and I tend to look more at personal drive and practical work experience.

    I have taken on stages already running pastry kitchens, aspiring pastry cooks looking for experience, non-professionals just looking to learn, and coincidentally, this week took on my first 'career changer', who has no experience, but is looking to enter the field. It will be interesting to see how this works out, for her and for me!

    I really have to sign off, but look forward to checking in later and exploring some of chefette's (always!) probing queries!

    Wow, lots of great reading here!

    It makes me wonder what the heck I was thinking some 8 years ago as I embarked on this journey of a career! I never would have thought that the 'temporary' job in a tiny bakery would lead to where I've traveled since. Following the path of the 'self-taught' or on-the-job trial by fire can be risky, humiliating, and humbling, yet satisfying too. But then someone observing from the outside may say I haven't had much of a life, which may be true, but I'm proud of what I've accomplished...

    I will not do a disservice to Steve's amazing posts by trying to add to them, but I will offer some different thoughts...

    Lacking the formal technical training of pastry, and relying mostly on books and a ton of trial and error (and tasting, tasting, tasting), I saw some benefit in picking a particular style or individual pastry chef that I aspired to and locking on to their methods and ideas. This allowed me some focus and certain parameters in which to experiment. When I felt I exhausted that particular style (in a training wheels sort of way), I adopted another hero and set to the same task, though applying what I had learned from the previous source. I was free (and a bit ignorant) to keep or toss what was relevant to me. Mind you, this 'method' came to me later, as I wasn't conscious of doing it at the time. While I began reading anything I could get my hands on (the four volume Professional French Pastry series was a constant companion), my first big influence was Andrew MacLauchlin, formerly of Charlie Trotter's in Chicago. His first book blew my mind! He was cooking seasonally, minimally, with flavor as the priority, and stunning, elegant presentation that seemed to emerge as a mere afterthought. Once I felt I had 'graudated' Andrew (boy, was I naïve!), I moved to the quite different approach of Lindsey Shere and the Chez Panisse school. Here, again, the flavors and seasons and just the right products tought me more on how to taste, and the effort necessary to preserve that taste that nature offers. A beautiful collection of Le Bernardin-era desserts from Payard in an ancient Art Culinaire made me an instant fan of his. From Payard, I came to appreciate the updating of the French classics, but also I began to study the 'inner' architecture of his desserts. For the time, his plated desserts had some of the most stunning presentations, without resorting to overt architecturalism. I began to understand the interplay and balance of a dessert- just the right crunch, smoothed by a touch of cream, cut by the perfect amount of fruit...

    I moved on, and with each 'self-guided tour' I began to feel as if all these influences were beginning to filter through my own thought processes, which, by now, I had hoped, were strengthened by a foundation of accumulated technique. The luxury of time, not caring about my poverty, and working for a chef that encouraged this kind of growth certainly all counted in my favor.

    These days I still have my idols, but the learning process has changed somewhat. With experience comes a fair amount of intuition, self-ignited bursts of creativity, and a 'style' that continues to evolve and approach, I hope, greater levels of refinement. But I revel in the fact that this job will continue to be a learning experience and that the lessons most often come from those I consider my peers now.

    Being in the position of meeting and interviewing my share of up- and -coming pastry cooks, I often ask two questions: Whom in the profession do you admire most and why? What goals do you intend to reach in two years? Five years? Ten years? Those basic questions can speak volumes about a person. For anyone getting started those are the questions that matter most. And as time goes on, one has to keep asking those questions, because old goals are achieved, or may have to be altered, and new faces and forces become worthy of our admiration. Once asked, one might find the answers to other questions...

    ...whom do you admire, and what goals would you set for yourself in the near, mid and far futures?

  5. Participation in the IHMRS and Chocolate Show allowed me the opportunity to spend a week in the city... a little work, a little PR, and a range of dining experiences that ranged from good to excellent.

    I was excited to have finally met Steve Klc, Chefette, and Patrice in person, as well as a very brief introduction to Bux, his wife, and Suvir. I was happy to have dined with Cabrales, who had the time and was comfortable in doing so. To the group who made it to Rhone last friday, I tried, but it just wasn't in the cards. I had also wanted to meet Wingding, but I missed that opportunity as well.

    I was mildly disappointed with my own performance at the IHMRS demo, though Steve's format was unique and fun and the interactive quality turned the individual contributions into something much more valuable.

    I enjoyed my first role in the Chocolate Show, and the demo went well. Again, thanks to Steve for stepping in and being my "MC"! The overwhelming consumer aspect of the show left me wanting more for 'me', but I think it was a great forum to educate and elevate the craft and expose the public to new ideas and flavors. Perhaps next year I shall participate in the Chocolate Fashion exhibit. Very fun.

    Monday brought dinner at Ilo, which had been on my list for awhile, but was missed on previous visits. I had a very good meal, with the simple prix fixe, a few extra desserts, and wines by the glass (or by 'measure' as the menu states... each pour is a third of a bottle- perfect for me for that night). I took in a nice sweetbread 'tartlette' and the pan roasted rabbit. With these I drank a Savennieres and a Pernand-Vergelesse. Pastry Chef Patrick Coston executed a beautiful (presentation and flavor) flight of desserts and petits fours. Interesting how we think alike in many respects, and we both come from the 'self taught' background, yet our desserts are quite different! Thanks to Patrick also for opening his kitchen and allowing me space and time to work on my second demo.

    Le Bernardin came Tuesday. Eric Ripert has become a friend of the restaurant, and I was excited to revisit the Le Bernardin after five years. My first visit then was very memorable (the skate sautéed in goose fat still counts as one of my favorite dishes of all time), but, for whatever reason this recent meal rated just an overall 'good.' I was offered a tasting menu with wine pairings. I did not take notes (here, nor anywhere all week), but I did notice most courses were not part of the official listed menus. The standouts may have been the tuna and hamachi sashimi, a linguine with sea urchin, and halibut with mushrooms and orange/ginger infused dashi broth. I finally met Pastry Chef Oscar Palacios, with the restaurant for a little over a year, who sent six of the eight desserts on his menu. All simple, clean and promising of a good future. The service was surprisingly warm, perhaps due to the attention I was receiving from the kitchen.

    While I can't point to any flaws necessarily, I found myself simply content, and not blown away by much of the meal. I admire Eric's cooking style and the strive toward simplicity, but this experience highlighted just how difficult that can be, and how special it can be in the hands of someone like Alain Passard. I’ve been following the recent thread on high-end New York restaurants, and I share some of the same feelings expressed there.

    Earlier Tuesday, I finally paid a visit to Jacques Torres Chocolate in Brooklyn. Jacques was there, caulking a sink(!), but was gracious enough to share his time and show us around and give us a peek at his expansion/renovation. Enjoyed the spicy hot chocolate and a pain au chocolat- perfect for the wet, windy morning. I also stopped by Richart, just for look, but no purchases made...

    Lunched Wednesday at a Korean restaurant on 32nd, the name escapes me, but it’s the place with the piano up near the cieling, and for the season, I assume, a very large inflated snowman. Though I’m not fluent in Korean cuisine (not much to be had here in Detroit), I enjoyed it- the various array of side dishes, a fried rice dish, and a hotpot which contained many unknown but tasty components.

    The aforementioned board member met me for dinner on Wednesday. After much indecision, we settled on Blue Hill, which became the most anticipated meal of the week. Cabrales offered an excellent overview, to which I cannot add much. Many thanks to Michael, Maya, and Christopher for the wonderful evening. The restaurant lived up to all of the good things I've read and heard! Standouts were the mushroom ‘tart' (the similarity in presentation to an old Adria dish was noted by both Cab and myself), striped bass(?), and capon dishes. I appreciated the white truffle ice cream, though almost too subtle in flavor for me. In addition to the quince and pear foam dessert, we also tried the pain perdu, almost more of a charlotte in presentation, that Dan and Mike demo'd at the IHMRS and Cab described in detail elsewhere. And even face to face, Cabrales and I still found things to disagree on!

    Reservations for Thursday had to be cancelled at the last minute due to an invitation to be a guest for dinner at the Beard House. The food was good, the wines OK, the company warm, and simply being there, whether cooking or eating, is inspirational. Having cooked there for the first time several years ago, it was fun to be a part of someone else’s big night at the House.

    A trip to Kitchen Arts and Letters has become a must when I visit NY, but I feared the temptation of spending more than I can afford. I discovered a couple of the Japanese bookstores on my last visit, Kinokuniya and Asahiya. I’ve become a fan of a few slick, beautifully photographed Japanese pastry magazines, and stocked up on the latest issues, while skipping Kitchen Arts/Letters as well as my usual stop at Payard on the way back down Lexington.

    I ended the week with what may have been the best meal I’ve had in well over a year, not counting a few in France. I’ve missed or had to cancel dinner at Café Boulud twice before and was hellbent on going this time. My reservation (made by someone else) was somehow screwed up, but Dante Camara was able to seat me (at albeit possibly the worst table, practically in the bar) almost immediately, at 8pm with a full house, no less. A glass of Cuvée Daniel arrived at once, and I was told that I would not see a menu as Andrew Carmellini had his own plans for me (despite the res. snafu, he knew I was coming). I was delighted and four hours later departed having been amazed with the following (no notes taken, but from memory)...

    -An eight part amuse that included an oyster, smoked salmon, a ceviche, a fried brandade filled dumpling, an ‘arancia’ style truffled risotto, and more that I'm forgetting.

    -A frothy artichoke soup with an oyster ‘surprise’ paired with an Alsatian Pinot Blanc.

    -Bay scallops with celery, fennel, and tangerine with a California Marsanne.

    -Black sea bass given a Thai-inspired treatment and a bright coconut based sauce with a New York state Chardonnay.

    -Grilled hamachi and ... with a Meursault.

    -Oxtail Ravioli and an Italian Sangiovese.

    -A polenta and egg 'en cocotte' with a generous portion of shaved white truffle.

    -Partridge with cabbage and a foie gras based sauce with a Chateau Meyney 199?.

    -Apple soup with fresh grated apple and sorbet.

    -Quince and goat cheese layered ‘napolean’ style with a Sauternes.

    -A delicate chocolate mousse dome and a duo of ice creams.

    - Warm madeleines, a digestif, and shop talk with Andrew.

    Regrettably, I missed seeing Pastry Chef Remy Funfrock, but his desserts are also some of the best I've ever had in NY. The experience joins meals at Clio and French Laundry as the best in recent memory. A perfect end to an inspiring week. There is always too much to do for the time I get to spend there. Now I just need a lucrative job offer so I can move to New York. I'm only half-joking!

    :wink:

  6. Patrice Caillot's pre-dessert...

    Just to clarify and offer some news, Patrice has left and moved on to other things. Is his name still on the menu? When informed, the name of his replacement was not familiar to me, but is also a Frenchman.

    Enjoyed reading this discussion. Lespinasse was on my "maybe" dining list last week as well... no longer disappointed that I couldn't squeeze it in!

  7. Some of the dishes I've heard about for Monday's demo are pretty interesting--I'll let the pastry chefs involved reveal the final versions ahead of time if they so choose.  You know how chefs are--things can change right up until the last moment.  

    Uh oh. Somehow Steve has read my mind. I think I'm going with my plan B...

    Was initially going to play with spaghetti squash, but the response to my recent sweet potato sorbet has been favorable. Will pair it with a warm, spiced chocolate "emulsion", milk jam, maple, hazelnut biscuit, and a touch of Maldon sea salt. Maybe.

    At least I know where I'll be eating every night next week!

  8. In the end however, I am more convinced it is the food that succeeds and "the blending" of flavors is key. Somehow, in many other creative restaurants in France and in most American "fusion" restaurants, I can taste the separate flavors distinctly and in a way that reminds me they are an unusual combination. It's a distraction and I'm aware of a contradiction in my mouth. Earlier, in fact soon after eating there, I said "One of the hardest preconceptions to give up is what a particular ingredient should taste like." This is another way of looking at that "blending." To an extent Gagnaire successfully destroys the flavor of an ingredient to come up with a new flavor. I think a lot of people find this offensive both intellectually and as a gut reaction. It certainly is an approach that is at odds with a line of other chefs I admire and it's at odds with my own usual preferences. So what? It doesn't keep me from both admiring and enjoying Gagnaire's work. If a chef is going to take me in this direction, he had better be damn good however, and Gagnaire is.

    Good posts, Bux!

    I pretty much agree with your assessment, and I, too, admit to a having conflicted thoughts, reconciling my admiration of Gagnaire's food with wanting a carrot to taste like a carrot. What wins me over is his ability to strip a particular foodstuff down to it's primary taste sensations, and then manage to reconstruct it into a coherent dish, no matter how strange the juxtaposition of component parts might appear. I think I know exactly what you are driving at, but I might take issue with Gagnaire's destroying the flavor of an ingredient. I can't necessarily think of a better word, but I do think there is a lot going on in the kitchen on a technical level that doesn't show up on the plate, which might explain how he can get away with what he does. As opposed to Adria, from what I can observe without having eaten at El Bulli, the technique is more in-your-face, where Gagnaire doesn't seem to be flaunting it as much.

    I also agree with your thoughts on wine and cheese...

    On the trend toward more sweetness in savory cooking, I did subtly address the issue in the Blumenthal Q&A, but as a question within a question, mostly pertaining to pastry. I've tasted examples both good and not so; I just find it an interesting phenomenon... The turbot dish I had at Gagnaire over the summer with fennel, apricot, and a Guiness-Jurançon sauce was, actually, rather amazing!

  9. Not that it matters necessarily, but am I correct in having heard that servers at CT earn a straight salary and not the tips directly from their particular section?

    How exactly would this gratuity policy differ from, say, France, where the gratuity is built into the menu, and presumably, the wine prices? If he tacked another $25-30 to the tasting menu to cover gratuity, would there still be an issue?

  10. mike,

    Thanks for the honest report. I visited three years ago, not long after Tru opened. Perhaps I was carrying a certain amount of political baggage (not necessarily my own) going in, but I left relatively unimpressed. I too dined solo, but thought the service actually outshined the food. Neither Rick nor Gale were present. I did the big Chef's Collection menu, though I think my wine was comped. Desserts, for me, were not as good as I had expected. I've become intrigued within the last year, however, after hearing many positive comments, mostly from chefs (some of them among us on the site). I was almost thinking of giving it another try.

    How would Tru rank among other Chicago restaurants, in your opinion, attempting to attain that level of service and food? Have you eaten at Trotter's, Trio, etc.? Do you think chefs like Sandro Gamba, Paul Kahan, or Shawn McClain are actually doing as good, if not better food, in less formal settings?

    No pressure. :wink:

  11. While I can't offer much in the way of a comparison to anything else in NYC, I really enjoyed my meal there in July. I sat at the bar with my boss, a Japanese chef... which, perhaps inspired Nao to improvise a few things he might not have otherwise... there were a couple of dishes that were described to me as sort of Japanese comfort/soul food. We did the six course kaiseki with Kobe. We had a great time, though I always had it in my head that kaiseki was more of a solemn, contemplative experience, which Sugiyama is not. Would return, but perhaps I would like to try some other places first...

  12. At the table next to us were 3 business men--two seemed to speak fluent French, but the third was an American who did not.  Their server translated the entire menu for him very graciously and answered his questions very patiently.  Another example of the fine service at Arpege.

    On my last vist, I was seated next to a table of four Japanese women, and Laurent ( the Maitre d') was able to translate nearly all of the menu into Japanese. I was indeed impressed. Despite a few missteps in timing and such, I've always found the service warmer and friendlier than the other three stars I've visited. I feel it is even better now that I've realized I received a couple of extra courses (solo or repeat diner?) when I ordered the identical menu!

  13. There are lots that I have yet to try here in the US... Ganache Chocolate (Norman Love in Ft. Meyers, FL), Garrison Confections (Andrew Schotts, NYC, http://www.garrisonconfections.com/), and my newest hire, fresh out of the CIA tells me that Dan Budd, formerly of Park Avenue Cafe, etc., now an instructor at CIA, has a chocolate business on the side...

    I've sampled only once, but Jacques Torres is doing some nice stuff... http://www.mrchocolate.com/

    In France, Maison du Chocolat and Jean-Paul Hévin are definite must-tastes... This summer I embarked on my own little degustation of chocolates from Pierre Hermé, Peltier Patisserie (Philippe Conticini), and Lenôtre (a new branch of which had recently opened in 'our' neighborhood).

    On a pure technical level, Hermé shined with the thinnest and cleanest coatings and the smoothest, silkiest ganaches. Peltier wins in the creativity category, utilizing spices and herbs and really pushing the flavor envelope (I appreciate this, yet am a little skeptical regarding Vosges' wasabi truffle- I think that may be where I draw the line!). I also liked the range of techniques, offering little mendiant tablets and bars and a line of different rochers, not to mention molded chocolates in addition to enrobed. Lenôtre offered a great product, which is a feat, considering that there must be some level of mass-production going on. While I thought the range of flavors were a little narrow (lots of variations of praline and gianduja), I thought it was great to see Lenôtre utilizing some of the decorative trucs that have come onto the chocolate scene in the last few years- vividly colored cocoa butters, wisps of metallic colored dusts, and textured acetates, for example.

    I've only tasted Richart once or twice. A couple months ago, I went to visit their shop on 55th Street (and Fifth, across from the St. Regis, in NYC) but 'twas closed. Will make a point to go again in a couple of weeks. The flavors and presentation are interesting, but I wonder if they hold up on a technical level to the likes of Maison du Chocolat...

  14. As a pastry chef here in the US, I try to keep aware of developments in France and Spain, and surely, the work you are doing as well. Do you employ or collaborate with a pastry chef, or are all of the desserts conceived by you? Is your approach the same... a dish is a dish? How might the dessert courses play a specific role in your menus, in relation to what came before? Given the now common (I'm sure you will argue the historical examples!) exchange of 'pastry' techniques in savory cooking, and 'savory' ingredients in pastry, do you have any general thoughts on the matter? If you have the time, I would love to hear a breakdown of some of your desserts; perhaps one that has interested me is the chocolate fondant with avocado and corn...

    You've given us all a great deal of your time in answering our questions. Thank you!

  15. I've never tried Jean-George's apple confit, and not sure what it entails, but I have a version that I'd be happy to share! Slip me a PM...

    While I don't tend to cook from the "coffee table" books (as much as I love browsing them!), I do take issue with the pâte de fruit recipes (Yuzu and Concord grape, if I recall) in the FL book just on the basis of reading the recipes. Pâte de fruit can be tricky to nail and something just tells me they won't work... Anyone have success with them?

  16. I'm on lizziee's side with regard to Gagnaire, but I've been quiet due to my tendency to embarass myself when the topic comes up! :sad:

    I agree with wingding on the argan oil issue. While I've never experienced the abuses on the same level to which truffle oil has been used, I've never understood the big deal. I bought some in Paris a few years ago when the novelty was new, but frankly never put it to much use.

    My last meal at PG did include the stuff, in a composed cheese course consisting of a tomme and arugula dressed in argan... the effect was by no means egregious; the spice of the greens overshadowed whatever subtle characteristic the oil offered. On the whole, however, I enjoyed the cheese course, though apparently lizziee did not. The other two plates were a chevre frais perched atop a honeyed craquante and a creamed bleu de Trizac with a cold cauliflower preparation and a thin leaf of an agar based gelée. I didn't notice, have they totally abandoned the cheese cart?

    This meal also included a guinea hen course, however completely different than the one described, and no "special oil"! . Mine was...

    Suprême de pintade chaponnée cuite en cocotte aux herbes fraiches; papaye verte aux noisettes, oignon cebette et charlotte de Noirmoutier confite à l'origan.

    I thought it was a fairly straightforward dish, the green papaya not making enough of an appearance to really make much of an impression. The hazelnuts were nice, and capers were also incorporated. The charlotte was simply a wonderfully rich and melting Noirmoutier potato, I'm guessing here, slowly cooked in an oregano infused butter.

    lizziee, or anyone having extended experience with Gagnaire's cooking, I've been wondering if "sweetness" has always played a prominent role in his savory dishes? It is something I've noticed distinctly (in a good way), through the use of maple, honey, and dried fruits, among other items... though I've only eaten at the Paris restaurant, and only since '98. I've noticed this as an interesting, general trend over the last few years; where might it fit into Gagnaire's own evolution?

  17. Mr. Blumenthal, I thank you for your participation, and I eagerly anticipate the discussions that your responses will surely inspire...

    I am most interested in your methods and philosophy, generally, with regard to the creation of new dish. How would you describe your role, or any chef's role, as a 'problem solver'? If not directly from a specific scientific or procedural revelation, from where might your inspiration come? How much emphasis do you place on the 'process' (with perhaps a great deal of trial and error) in relation to the final resulting 'conclusion'?

    A second part to this question involves the balance of science and sensuality. For example, I have strong feelings and great admiration for the cuisine of Pierre Gagnaire, where the technical innovation often goes unnoticed due to the emotion a particular dish elicits. Broadening our batterie de cuisine can only increase our ability to express certain things through food, but some might argue that, in many cases, a chef's innovation comes at the expense of the diner's pleasure. How would you respond to that arguement, and to what extent might a sense of 'emotion' relate to your scientific curiosities?

  18. I have yet to see anyone put forth what they feel are Gagnaire's intentions nor and adaquate "description" of his cuisine. When I see a word like "shock" or "bombardment" being thrown around, I can't help but think maybe some people really don't "get it". As a chef, believe me, I've picked apart his food as much as anyone might, but I see in Gagnaire something I've never sensed in a chef or one's cooking before or since. Beyond the "flavor combinations" and innovations inspired by Molecular Gastronomy... beyond ingredients and "perfect" technique... beyond the need for signature dishes or codification... I was thinking while at work all day since this thread began, "What do I see in all this and why has Gagnaire produced the greatest meals of my life? Why do I cook and what do I hope to achieve?"

    I truly feel his is the food of life. Expression. I think he's laying it all out, trying to say something (and not necessarily about food); we often debate here whether a chef is an artist. I think one can be, surely, the great majority are not. What differentiates art from just a pretty picture is intent. I'm not ashamed to see Gagnaire in the light of any other artist- his medium just happens to be food. His food has spoken to me on different levels, not least of which is on an emotional one. Maybe I've bought in to his cult, maybe I'm submissive, perhaps I'm one who holds "unjustified reverence"... Gagnaire's food makes me smile, laugh; it has given me a pleasure and excitement that transcends a mere "meal". Really, I haven't been smoking anything!

    As a chef I can only hope to one day realize the ability to elicit an emotion, not about food, but through food. I may never get to that point, and I'm not really sure yet how to go about it. I think Gagnaire has tapped into it, and that is why I admire him. Since I cannot speak for him, I'll end with a quote of his...

    "My goal is to infuse my cooking with feeling and intelligence. People need poetry, tenderness, and well-made things... and being 'good' means opening up the range of emotions."

    Thank you, and goodnight.

  19. And I certainly appreciate Cabrales opinions, given her extensive dining experience, confidence in her taste, and her willingness to return as often as she has. Gagnaire may not be for everyone, and I don't think disdain is a reflection on anything but the subjective experience.

    As a pastry chef, I obviously look to the dessert as an important anchor to the meal and I pay extra attention to the transition and its context in relation to the dishes that come before. I surely love the concept behind the Grand Dessert, but I will concede not every dessert item I've sampled reached the highest level for me. But then my own desserts have their shortcomings as well! In general, I do find the dessert courses in line with the rest of the menu, more so than most restaurants I've visited. Perhaps the focus on fewer items would remedy the sometimes uneven result of a dessert 'storm.'

×
×
  • Create New...