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Steve Klc

eGullet Society staff emeritus
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Everything posted by Steve Klc

  1. Get ready for this news flash: Classic pastries are being redefined! What interests me is this is the same clueless Kristen Hinman who wrote that crappy article on Paris patissiers for Ed Behr and the Art of Eating newsletter a few months back, which took cheap shots at these very same patisseries. That discussion here: http://forums.egullet.org/index.php?act=ST...=kristen+hinman Since then she has clearly read a few press releases--"architects of emotion"--and now seems only a few years behind the times. Maybe in a few months she'll write something about Ferran Adria.
  2. I know I've discussed this before but can't find it--yes, Tan, you can easily do a Conticini-style liquid center cake ahead--bake at very high heat for a short time--I do it in aluminum timbale molds from JB Prince--pop them out freeze or refrigerate--and then simply zap in the microwave for a few seconds and drop it on the plate. We do that at Zaytinya for the "Turkish Coffee Chocolate" dessert--with high volume you can easily hold 20 or 30 of these in hotel pans or warming trays at any given time--you can even microwave say 10 at a time in plastic takeout containers--what you do will depend on your kitchen and circumstances. In a banquet situation you can have hundreds of these baked ahead, held warm and dropped on the plates quickly. I don't really like chocolate soufflees--in fact I loathe them--so have not ever experimented with that style of molten chocolate cake.
  3. Wendy--you're right about the molds, and it comes down to the rules of each particular competition. Where molds are allowed--say in the World Cup--you will then be judged against others and their use of molds--inventive, elaborate, intricate, etc. It's a level playing field and competitors push that as an edge because they can. If they don't, they will probably lose out to someone who uses molds more effectively and artistically. You're also right in that you can't just look at something like this out of context--for instance, in the Beaver Creek/Vegas Pastry Championships the rules specifically disallow molds like this. That's the Jacques Torres influence. As a competitor you cannot bring in an organic mold which either you made or you had made for you--say of a face or statue or sculpture. In this event you can use regular old geometric shaped molds--balls, squares, etc--but you cannot use molds with unique forms, like a face. Unless you actually make the mold during the competition--and that means you have to carve the shape you want to mold yourself. It's so time consuming most people don't even try. That put's the artistry back on the competitor--what you see is more of a true gauge of someone's artistic skills done live in front of an audience. In the World Cup what you see is the skill of whoever made the mold and then the basic skill of molding something off, which is not so skillful. This is also nothing new or unique to pastry--the best-backed best-financed best-equipped teams--be they pastry chefs or bobsledders or car racers--are more likely to innovate and win. And it is important to keep in mind that taste is always a key component to these things--usually more-so than the showpiece element. And that has nothing to do with molds.
  4. As I understand it Michael, small amounts of lecithin are present naturally in cacao and milk components of chocolate. It affects flow, fluidity and shelf life in chocolate and that's why a small extra percentage has always been added to chocolate since the 30's. Since chocolate is really a suspension, an amalgam of different ingredients like sugar, lecithin as an emulisfier helps keep chocolate, well, suspended and improves fluidity. It binds with the sugar particles and reduces viscosity--and from the manufacturer's perspective it probably allows them to use less cocoa butter! (There's some good really technical talk of this in Beckett's "The Science of Chocolate" and that "Sugar Confectionery & Chocolate Manufacture" textbook whose authors I forget at the moment.) What happened world-wide, and especially in Europe, was people started questioning genetically-engineered foods and began trying to determine the sources of lecithin used and whether these sources were GMO or non-GMO. Soy and corn were especially problematic to certify pure. Countries began to debate labelling standards as well and a few chocolate manufacturers bought up the whole (nascent) supply of non-GMO lecithin. What Cluizel gains by removing lecithin from their formulations is a marketing edge--the ability to slap "made from noble ingredients" on their labels, to appeal to a customer base sensitive to this issue, since the bulk of the lecithin supply cannot ever be certified non-GMO it's been too contaminated. The take home message I've observed is couvertures with lecithin tolerate water--like high ambient humidity--slightly better than Cluizel and store slightly longer. Cluizel has probably--and I'm completely guessing here--probably added back a minute additional percentage of cocoa butter to make up for the loss of the effect of lecithin in terms of fluidity. Cluizel themselves recognized this and began putting little stickers on their boxes of pistoles urging you to re-seal them tightly after use. You can't be as cavalier about shaking out pistoles and leaving the box open. Unless you are tempering and enrobing I doubt you'd notice a practical difference. And as long as you turn over your inventory, and don't keep Cluizel on your shelves for a long time, I doubt you'd notice a difference.
  5. It isn't always so easy. What you need to know doesn't necessarily come from the label--you sometimes can get that info from the salesperson or rep or spec sheet. With the brands we talk about most here--it is pretty easy--all of these are technically couvertures and work well in tempering and dipping applications straight out of the box: all the higher percentage Michel Cluizels, the E. Guittard 61% and 72%, the 4 Valrhona Grand Crus and also Caraque , Sharffen Berger, Cacao Barry 58.5% and 64%, the Cacao Noel varieties. With El Rey--the Mijao 61% and Apamate 73% are the ones with that extra boost of cocoa butter because people complained about the original Bucare 58% and Gran Saman 70% being too thick. I haven't used El Rey dark for years, so I have no idea if they've re-formulated these since--I also don't know anyone using El Rey anymore. (Though I still use and recommend the El Rey white and milk.) Be careful with the Cluizel--since it doesn't have lecitihin anymore if you let it sit around too long it will attract moisture and can seem thicker. If you don't know what chips you have--simply melt them over a bain marie. It will be very obvious--visually--whether you have a couverture with the right viscosity and fluidity. When it is melted, say at 115 degress, you should be able to stick a spatula in it and lift it up and have it pour readily off the spatula. It will run off. Then you know when you temper and work with it at 90 or 92 it will still be thin and fluid enough.
  6. Well, you do have to be careful. It is possible to be "chocolate" and not also "couverture." There are a lot of real chocolates out there that aren't couvertures--meaning they don't have a high enough percentage of cocoa butter (31%) to be fluid enough to "cover" well, especially in confectionery applications. Some of the lesser expensive chocolate formulations from Barry-Callebaut's group, for but one example, are not technically couverture and you will not see the word on the label. Some manufacturers also sell "ganache" chocolate formulations--which are "real chocolate" but formulated to be thicker and not with a high enough cocoa butter percentage to qualify as couverture. Wendy's right in that most of the chocolate we talk about and use are couvertures--but I think it might be better to approach it by asking what it is you want to do with the couverture first. For instance, there are varieties of El Rey which are technically "couverture"--meaning they have more than 31% cocoa butter-- but that are not fluid enough to temper and dip or enrobe well. So there are couvertures and then there are couvertures.
  7. How soon they forget who the go-to guys are around here. Gelatin sheets come in different strengths, bloom and weight. Silver is one of the standard formats. Gelatin works a lot better in eggless, dairyless espumas than agar-agar. A very basic fruit puree espuma--say with a Boiron or Ravifruit puree-- is 4 or 5 sheets gelatin to a L of puree--sweeten to taste. The more you experiment, the more you will find out little tricks about preserving or enhancing flavor, using fresh juice, herbs, etc. but usually gelatin gets you that fluffy volume--a volume which holds its shape for a while. Reduce the gelatin, reduce the charge, you get something lighter, more ethereal, quicker dissipating. But, if you are after "bubbly airiness" rather than foam--you don't use the iSi you do it other ways--usually with an immersion blender--and then spoon of the bubbles. The base recipes for hot and cold espumas by Adria in the booklet which accompanies the iSi are excellent starting points. Learning is the real trend, not foam.
  8. Oh, one thing I forgot to mention Lesley--the US/World Pastry Championships--which Colleen competed in twice and I competed in three times--is a French competition. I mean, it was created by two Americans, held in America, but the driving forces behind how it is organized, what it values, what it rewards, is essentially French. Jacques (MOF) is the chairman of the Jury, his right hand, who he most definitely deferred to at times is a Belgian MOF, another key for the organizers was Olivier Bajard (MOF.) So it's essentially Americans competing on French terms, and when the World teams come they're competing on French terms. That's an inherent problem, though--French taste and tenets are not American taste and tenets. I expect the organizers to move away from this--or at least give the appearance of moving away from this as the event matures. If not, it will remain right where it is in terms of niche influence and relevence--another option beside the ACF--but both largely irrelevent when it comes to most working restaurant pastry chefs. But it was created and designed specifically with the Valrhona/World Cup in mind. I agree with you about the respect issue--I guess my point is it is a begrudging respect, a recognition that MOF insularity will only get them so far. That's why in the previous two World Cup competitions Herme first and then Conticini were asked to lead the French team. They're not dummies. It was quite a sight for Colleen and me (we were demoing in Paris that weekend) to see Conticini--a lone large man up on stage in Paris as President of the French jury--lined up with about 25 other pastry chefs, red/white and blue collared MOF's all. And as you know, Conticini's young team won the World Cup. Rules are established which serve each competition well--usually specifying some term of residency or employment. Sometimes only the Captain has to be a citizen of the country represented--as I believe the case is with the World Cup. French guys have always been on the US team though not as Captain. But each country is allowed a lot of leeway in team composition and selection--one team might have an open competition, very public and very accountable where everyone has to try out--this was the case in France for their World Cup team, their very public tryout was held during the Salon du Chocolat; another team might have one esteemed figure pick the entire team and not even have a tryout competition--this was the case with the US team and Roland Mesnier a few years ago; after widespread, fairly public, dissatisfaction with that closed process as anti-democratic, tryouts were instituted. A core group of US power brokers still ostensibly selects and nurtures the team they want but there is at least a tryout. That's for the World Cup. I believe the US World event goes by residency primarily--where pastry chefs actually work and for how long. Organizers pick the one pastry chef to entrust in each country--a Bajard, an Adria, in essence they partner with these chefs who guide and then sit on the jury. Of course no American-based pastry chefs will ever compete for France in any event. For that to happen you'd have to encourage Americans to compete in France and then after a while have precedent for a non-French MOF in pastry and frankly, you'll never see that. Competing is hard--frankly you'll see competition decline in France as well. The young French guys are still coming here and don't care about their MOF chances. They see freedom, dollars and a wide-open market here. Soon only US hotel pastry chefs will compete, be they French or otherwise. Which, of course, bears directly on Michael's topic of the culture of French pastry--it's one reason why the MOF is devalued and becoming increasingly irrelevent internationally. It's part of the French insularity. At least Michelin recognizes it's possible to attain three stars in Spain with a Spanish chef at the helm doing Spanish cooking.
  9. Two quick thoughts: Mckay--as far as recognition, I think it is important to realize there are two kinds of recognition--professional recognition and popular or public recognition. Historically, most pastry chefs in France, most MOF's, are not popular household names--if they followed the old model--vocational school, apprenticeship, working under the right chef, paying their dues in long and arduous fashion, kissing up to the right political power brokers, trying out for the MOF, earning the MOF, all of this taking place behind the scenes--yes as Lesley said these guys are set--they tour and teach all over Europe especially in schools which still admire and want to emulate what the MOF represents. This is simplistic--but then guys like Herme and Conticini break through worldwide--they're the anti-MOF's--couldn't care less about not being able to do a pulled sugar showpiece, couldn't care less about the rigidity of the French system, the conservatism, they create freely, they're moved by the freedom of spirit here in the US and they are very good with the media. Remember, Steingarten didn't extoll the virtues of Thuries or any other "old" MOF--he extolled the virtues of Herme, then Conticini and This. The smart MOF's have realized it takes more than being a MOF--that professional respect is not necessarily a guarantee of career success--it is OK, indeed savvy, to seek popular success as well. They've looked at the model Jacques Torres has shown them--he achieved the ultimate in professional respect with the MOF and then proceeded to achieve the ultimate in popular respect. He did not want to follow in the footsteps of the old French MOF crowd and he charted a new course. Known and respected professionally, known and respected popularly. And with respect to Lesley saying "it means the Americans should be mortified they had to settle for an all-French team to represent them at the World Cup. That was ridiculous. I bet the French had a good chuckle over that one" I'd just add it isn't as simple as that. In fact, I bet the French establishment power brokers--and especially Valrhona and the World Cup and all the MOF's lined up behind Valrhona and the World Cup were the mortified ones. They were hardly chuckling when Michael Schneider and Norman Love and the US/World Pastry Championships got MOF's from several countries to compete in their competition--actually compete. In fact, it was those two Americans chuckling all the way to the bank! No MOF ever competed, ever, after winning the MOF. That never happened in France but it did happen in the US--twice! You got the MOF in France you were beyond competition--as I said you toured, you taught, you gathered in your little circle of fellow MOF's and probably made catty comments about the success of Herme or Conticini. It took two savvy US guys, a lot of pooled US sponsor money, and the hungry US pastry scene to get these MOF's back competing. Remember--that immediately rendered the World Cup less "important" because only very young (non-MOF) French guys competed in the World Cup--the World Cup was a stepping stone to the MOF. All of a sudden, the World Pastry Championships in Beaver Creek now Vegas became where the MOF's moved on to compete. The French sent a MOF-led team to the US and lost to the French-led MOF team of guys working in the US. That wasn't surprising to me since modern pastry and certainly this competition is built around French principles--it's not like the Spanish pastry chefs are making a curd or anglaise based on some other principles, so really it's not surprising a 300 year tradition is still so strong, still influential. In competitions--the best "at competing" usually come out on top, and nationality will probably become less relevent over time. And since I've competed at this level I'll just say that competing has it's own culture and strategies that is distinct from actual work being done in restaurants and pastry shops. Anything that involves judging panels and imposed criteria is subjective. The best competitors are not necessarily the best pastry chefs. The winning teams in these competitions are the best competitors according to the competition criteria. Oh, and Herme has already set up pastry shops and chocolate production here in the US with more on the way. Granted it is Herme-lite, no fleur de sel, lychee and rose petals, but the Wegmans boutiques are turning out stuff superior to anything in their areas.
  10. Oh, gosh Russ, no offense intended. My bad. That stuff was as interesting and well-written as our best newspaper food sections get. I guess puff popped too freely into my head because it was all so nice, gentle and uncritical. Now that I know how serious a diss that word can seem I will use it much more sparingly--and in more appropriate instances. Thanks. Let's not forget most of my last post was giving you credit--more credit than it appeared the paper gave you for your efforts behind the scenes.
  11. Yes, KA&L only accepts phone orders.
  12. That's a pro book, aprilmei, and specifically a pastry shop/patisserie book. For me, the book I appreciate the most--still an underappreciated gem--is "Plaisirs sucres" from 1997 which is French only and roughly analogous to the first Dorie book. I find Plaisirs more creative, more interesting, more evocative of Herme--and also much better visually. Of course, it is in French. Have you seen that book yet Night? I paid 65 bucks for it from Kitchen Art & Letters. I was one of those slightly underwhelmed by the first Dorie/Herme book. The writing and thought behind the project was superb. But the text and recipes, no matter how evocatively or clearly written, were dumbed down to volume only--scant cups of this and 3 and 1/2 tablespoons of that. One difference between the first Dorie book and the second Dorie book is the recipes in "Chocolate Desserts by Pierre Herme" have weight. It was a lost opportunity, however, that even in this smartly conceived and executed second book for the US home audience, there was not a discussion of weighing ingredients--a brief paragraph explaining why Pierre and all pastry professionals in France AND the US weigh ingredients even if doing small batches--and that you at home should as well. Note that recipes in "Paris Sweets" include weight as well.
  13. You wouldn't in all honesty claim that as your recipe Russ because the article was an interesting puff piece about you hanging out with the chefs and shopping for fish: "How Chefs Go Trolling." Those specific recipes are supportive, indeed integral, to your piece and the way your paper wanted to highlight these local chefs. I think "most" other choices, and certainly what we're speculating about here, would be less clear cut. I don't see us as disagreeing here about much Russ. Your observing this distinctive sardine dish is similar to my caution against someone using that distinctive Jody Adams recipe for inspiration with minor changes and without attribution. But actually, online, the credit for the sardine recipe says "from" rather than "adapted." Personally, I prefer your distinction--and as a reader--I think I would prefer to know the backstory--that Suzanne's recipe came from her and that you watched this other guy make his dish--and then went into your demo kitchen and essentially developed and tested the recipe. That's credit you are due publicly. I'd rather know when a food writer cribs and when he actually develops. While you may not have created the dish, you developed the recipe in this case. A a result of your time and effort you served your readers well--you did not create that dish but you at least co-developed or co-created that recipe and you weren't a thieving magpie. I'm also glad you and Paula weighed in, because like many things in food and food writing, there often isn't a clear answer, a clear right way to resolve things. I think that's something important Ms. Wolfert added--that usually she finds her own way to attribute and credit others who inspire her--she developed a uniform style--and readers come to know that style over time. So in a sense, given her last paragraph, I'm not sure you and she are in much disagreement--and I don't sense any of us are in disagreement with Shaw's take home message--that there is an honest way and a dishonest way to make a recipe your own.
  14. It's your own in my book. Stuffed pork tenderloin is very basic. It's everywhere. Unless there is some inventive Ducasse-like low-temp cooking process in this recipe, or some very unique language in the recipe steps that you have not changed--like "massage the loin with your knuckles, kneading lengthwise as if giving a backrub" I think you're fine. I mean, if you're going to rip off Ducasse, you better mention him. The porcini broth scores big on my "making it your own" scale. Are you including the process to make the broth? Specifying a grape rather than white wine less so. There are a bunch of more experienced writers and editors on this site, maybe they'll see this and weigh in, but to be really extra safe--you could look up a bunch of other tenderloin/sauce in the pan recipes from just about every cookbook ever written and see how unique this process is. They're usually all variations of the same basic marinade, sear briefly, roast in the oven, create a sauce. Now, if you changed a very personal very distinctive recipe, say the Jody Adams "Grilled and Roasted Pork Tenderloin with Toasted Pumpkin Seed Sauce" merely by replacing the chicken stock with porcini broth--and kept all the other very distinctive stuff the same--like her neat use of lime in the sauce and her use of serrano pepper, anise and paprika in the marinade--save for time adjustments--that wouldn't be making it your own.
  15. So you've changed the recipe? How exactly have you edited it? You've made it your own--not just tweaking the amounts but also the process and language? Personally, I'd try to steer clear of the "adapted from" language and referencing a website. It's weak. Most recipes and processes you'll find in books and the web have all been adapted themselves--there is little new, little that hasn't been stolen or borrowed or copied or emulated. Either use that exact recipe with full attribution and permission secured OR use your own. If there is something that really inspired you--perhaps mention that inspiration in the text--like my recipe for Winter squash "so and so" was inspired by "insert famous food writer my editor will recognize"--Paula Wolfert, Julia Child, Dorie Greenspan, Richard Olney, etc. As long as you made it your own somehow, it will be "your" recipe but ethically, morally and "paying your dues food writer suckup-wise" you will still have attributed your creative inspiration. Best of both worlds.
  16. Perge--I think your defense was excellent--with young kids everything is out the window. I think it would be very tough to bring kids that young to a Party of the Senses--given the nature of the format where seating is limited and you have to walk from station to station to get dishes. I think it would be almost certainly impossible to enjoy a reserve wine dinner with very young kids. I understand completely the position you are in and flexibility and spontaneity are your allies. What I'd like to know is--do you eat often enough at Jiko to recommend that I give it another shot this Fall? I've only been disappointed there so far. Should I reconsider? To refresh--my plan will pretty much be just like last year: dinners at Ca Grill twice, Coral Reef once, Artist Point once; at least one lunch at Canada. For me, Jiko and trying Flyish Fish would be the wild cards and I'd have to bump something. I'm sorry you won't be able to make either one of the events Colleen and I are doing this year--I just found out for our reserve wine dinner we're cooking with Roland Muller from Coral Reef, which is great. And it looks like Tony will be there so someone will have to tell him the super-secret eGullet handshake by then.
  17. The newest issue has a really nice picture (taken by the talented John Uher) of Michael Joy on the cover of September 2003. It used to be PAD was very cryptic about its issues and dates--using obtuse things like Vol. 3 Issue 4 or Fall 1997 instead of an actual month and year. I always thought it was so old issues left on the newstand would still sell--people wouldn't know they were 2 or 4 months old.
  18. Anyone seen the cover of the new PA&D?
  19. Yes, despite the pr, and intent at opening, Finale is a regular restaurant/cafe type place. I've been twice and it does a better job with the food than the desserts. Very disappointing. Alana--you're talking about Espai Sucre and that Amanda Hesser article. She did a really good job with that piece. Dig around the site, you'll find that article and Jordi have been mentioned a lot in the Spain and Pastry forums. I hope this place succeeds on its own terms and is appreciated for what it is trying to do. We need another model, a more ceative model, beside restaurant, hotel, bakery and pastry shop.
  20. Kenk--I hear what your saying, I really do. But there is a difference between what "should" happen and what does happen. I find my experience dining out supports slkinsey's observation. I think servers prepare espresso far more often than busboys--and frankly, I couldn't care less who makes my espresso as long as it is good. Hell, I'd be happy if my espresso in restaurants didn't actively suck, let alone just wasn't good. I know what should happen. I also know what does happen. I know how many espressos I've received in restaurants without crema. To a few of your points--in my experiences, and I go into a lot of kitchens but by no means am I a coffee industry pro, "most" fine dining restaurants don't have fully-automatic machines--someone still has to measure out the grounds, tamp, and pull. I have a Rocky/Sylvia setup at home so I at least know enough to know how variable this can be in unskilled, rushed, uncaring hands. It's never just two clicks out of the grinder, it's never tamped properly--even if some of the rest of the process is automated like fineness of grind and water temp/timing. I always thought a solution which would work better in restaurants given the rushed nature of servers pulling shots was pod machines. Pop a premeasured pod in and pull. Perfectly acceptable--though not great or God--every time. I'd settle for pod "acceptable." Except pods are much more expensive compared to buying and grinding beans--twice as expensive according to the Illy or La Colombe folks. Tell that to a chef or owner and that's it. No pods. Which goes back to the original post and the seeming hypocrisy of the best chefs, the best ingredients, and shit espresso. I agree with that observation. Another factor--even in a house with good training and caring staff--you'll find dirty machines, abused equipment, settings changed, fallen out of calibration, etc--which undermines a good shot even with a staff devoted to preparing one. As far as a brand that competes, I'm using Espresso Vivace these days, and sometimes Graffeo. I find it better than the stuff we use in the restaurants, which are various La Colombe roasts. http://www.espressovivace.com/
  21. Irishcream--my question to you was genuine as well. I'm somewhat familiar with what's been written about Adria and El Bulli, in fact, since this site began we have quickly become the leading international media source and repository for discussion of Ferran and El Bulli: we've discussed articles, meals, explained techniques, debated the significance and influence of both the chef and the restaurant for years. eGullet has already answered your question over and over and over--all you have to do is search our site. There was someone--from the UK I believe--who found neither the food delicious nor enjoyed his experience at El Bulli. I'm sure his comments are still on the site. Then there are numerous other eGulleteers who have found the food "delicious," as if that is some objective term, and have been able to discuss what Ferran is trying to do with his food. You are left with trying to come to grips with all of these people's palates and their perspectives and knowledge--by reading other posts of theirs--and then you make up your own mind. Everyone brings different perspectives and experiences to the table. Your response to me--which came across as basically go Google yourself I don't have the time--doesn't seem to encourage the kind of discussion, the kind of interaction, I think most members want to have here. I apologize if I've misinterpreted your reply. You had no problem asking others to spend time addressing something you wanted to know--and you've replied to say your question was genuine. I don't doubt you. In return, I'd sincerely like to know who and what you read--just some of the--"many"-- sources you've found outside of eGullet which may be giving you this impression. We've linked to and discussed a wealth of articles and reviews of Adria and El Bulli here--and even linked to the El Bulli media website which has reproduced just about every article ever written in every language on them. That's quite a resource for you and your husband to peruse as well. I also want to thank you for that link--I was aware of that piece and thought at the time here's a really talented writer who brought an agenda to the table, someone whose experience and bias rendered him unprepared to appreciate a meal on the chef's terms. He brought his terms with him. The first time I read it I didn't catch the fact that the author was involved with those cheesy Iron Chef USA debacles. That show made Rocco and The Restaurant seem like, well, Masterpiece Theater.
  22. Links to those "many" reviews, por favor?
  23. I just used fine art and sculpture books which deal generally with silicone mold making and found those helpful in making food-grade silicone molds. You just adapt by using special, expensive food grade materials. But when doing showpiece-only things you can work with non-food grade silicone (much cheaper) and even make molds for some things out of silicone caulk-type stuff from Home Depot. I haven't seen those Uster instructions but have used jars of the Ewald/Uster material and like it. I did take Ewald's moldmaking class years ago and it was super--he's a very commited instructor and it was the first of its kind. Back then, the other pastry chefs who knew how to do this stuff weren't so openly sharing too much of their info--they were gleaning from others or developing their own tricks and techniques and then using them themselves in competitions. (Side story: This silicone mold-making awareness coincided with a burst of beautiful chocolate sculptures--amazing shiny lifelike sculptures--showing up on the national and international scene--all supposedly "hand-carved" of course. You also started to see some which looked remarkably like (and even the same size as) knock-off modern abstract sculptural works on display in cheesy upscale Euro furniture stores. Judges at the time seemed really concerned about who carved--except they couldn't tell who carved and who molded and didn't seem surprised that pastry chefs all of sudden developed this amazing sculpting ability. Now--6 years later--at least the judges know the only hand carved pieces are the ones you actually see being carved.) I do think there is a book out on making silicone molds for chocolate and sugar though--by a guy in Chicago who collaborated with Jacquy, Ewald and Keegan and perhaps a few others. I came across it on the web somehow--what I saw online looked great-- but have not physically looked through the book. For all I know the guy is now teaching at FPS. So check there.
  24. Oh, prices. I hate it when people talk about a meal and don't at least speak generally about price. Including tax, before tip: Vermilion meal #1--seven apps plus that $20 gruner veltliner bottle--$70.95; Vermilion meal #2--six apps, the cobbler, the same gruner plus one glass of a nice Stump Jump red--$78.48
  25. Well Tony, that's always my first assessment, is it good? Good belies trend and has nothing to do with my preferences for certain styles. I try never to bring expectation or subjective preference to someone else's table. I try to appreciate something for what it is then take off from there. You should know, though, that while I thought that Vermilion cobbler was "pretty good," my wife who is also a pastry chef thought the cobbler part was too underdone and as a result didn't like it and only had a spoonful. (I bet a cobbler from Valerie at Majestic, if she's offering one, is twice as good.) Cobblers are really easy and to not get that essential part perfect ruined it for her. I guess I was just so grateful to get something that didn't suck I could be more forgiving of some percentage of raw dough. As they get more feedback about that cobbler, I bet it improves. I would be a little afraid to try the other desserts, some are outsourced and a few are done in-house by a cook, all are straightforward and predictable. I'll wait for you or Tom Sietsema to report on them! As far as Majestic and desserts, I'd use very good rather than "excellent." I really wish they were, Valerie and Susan are nice and talented, everyone that works there is nice--and hardworking and committed. Every now and then I have a "very good" dessert there. Now, the desserts I had at Cafe 15 in the Sofitel are truly excellent, the peach dessert tasting plate I had at Firefly last week was--surpise--really excellent! I'm careful about what I praise highly. Yes I value some precision and interest and refinement in presentation but it isn't necessary. I've just never appreciated the desserts at Majestic as much as I have the food--I think they are appropriate for and in the style of Susan's food just not as successfully executed or delicious as the food--and that can't be laid solely at the pastry chef's feet--dessert is a team effort. When I've said this in the past an anonymous user or two comes out of the woodwork to challenge me--as if I'm pumping myself up at the expense of others, as if chefs themselves are somehow not allowed to comment on the work of others. Believe me, that's not it and it's not personal. (I can do better work than I am doing, I'm still learning and improving, I receive constructive criticism all the time from Jose and I expect my programs to keep improving at Cafe and Jaleo and Zaytinya and anywhere else I work in the coming year.) As I said previously, if something is good, it's good--on one hand I feel Majestic is the best overall restaurant in Old Town--but on the other there is room for the dessert program to achieve more creatively and to achieve better end results even working within that more relaxed Luchetti/Silverton "Americana" comfort food approach which is all over town. How? When we last ate there, maybe 2 months ago, they still weren't making ice creams and sorbets in-house--Virginia has strange rules re: ice creams in restaurants--and that special place cries out for special homemade ice creams with seasonal fruits, etc. At Majestic, a bowl with a scoop or two of a great ice cream, made with simple fruit salads or fresh peaches, say, would be a great, appropriate and personal end to that meal in that location. That's not all on Valerie--that's on ownership (and Susan!) for not buying a Pacojet or batch freezer. (One Pacojet in that place would be perfect.) Build several frozen cream style desserts, a parfait say, around the crumble, baked goods like tarts and cookies they're already doing very well. It's also important to remember, despite my feelings, that Majestic is doing this style of dessert better than most around town (certainly better than the similar stuff at Cashion's) and Tom Sietsema--the professional who gets paid for his restaurant opinions--singles out Valerie and her desserts and layer cakes at Majestic for praise as among the best in our area. So as with anything, taste is subjective--and you have to taste and compare and judge for yourself. It might even be unrealistic to expect more of a small place, where Susan as chef/owner is stretched in so many directions every day and night just trying to make a go of it. My comments on eGullet about this "rustic Americana slice of cake or pie" dessert approach are more general--tied in a sense to that "pastry chef recognition" thread--and are more a cranky observation of why I thought the DC state of dessert affairs has historically been underwhelming, which Sietsema agrees with. There's altogether too much of the tired, not really done well "American comfort/Nancy Silverton" style, too much bakeshop "baking" being passed off as restaurant "dessert," too much is outsourced, underwhelming, boring or just plain conservative--and though the scene is getting better too many diners I'm afraid have become innured to it and just don't expect more. I don't think Phyllis Richman, historically, cared too much about dessert as a critic, nor did she appreciate what was possible within or the best efforts of our sweet discipline. That set our area back. For too long standards have been too low, too many undertrained bakers had climbed into "pastry chef" positions around town making $9 an hour, diners lacked awareness and diner expectations remained low. It isn't that these bakers and pastry chefs couldn't do better work or didn't want to do better work--it's often that they aren't given the support--and that all comes back to the chef and owners who control the pursestrings. That's the take home message: too many of the aging/local/celebrity chefs, themselves now mailing it in, are unwilling to find, hire, pay and support top pastry talent--talent that is their equal in the kitchen and/or capable of adapting to their cooking. Local critics and national media let chef/owners get away with desserts that don't achieve the same standard as their food while still worshipping at their savory altar. And if these celebs aren't doing the dessert thing right, their sous chefs and local friends and hangers-on now in other restaurants emulating them are less likely to care as well. Again, not unique to DC and all themes we've discussed elsewhere on the site. But I am seeing more good stuff out there, we just have to stay open to finding it and then get behind it. And as Tom starts drawing attention to people who are making the effort dessert-wise--say with the new guys at Nectar--it can only help get everyone else thinking maybe we can do a little better as well--maybe we have to do better--and maybe more diners will should expect more. Recap of by-now-predictable mini-rant over. Back to Vermilion--besides the dishes I mentioned already--which we've ordered twice and are quite good especially for the price--apps are like 6-8 bucks and very generously portioned--here are the other dishes we had that were either good, just ok or less successful, that I probably wouldn't order again: Hummus--red pepper, thick, chunky and tasty Crostini--boring Oyster--deep fried, soft, flavorless Calamari--dry, overcooked but tasty Spinach salad--just ok Entrees, as observed being carried through the room and devoured by others, seem generous and fairly priced in the mid-teens. We've yet to have an entree but I'd expect them to be safe and middle-of-the-road in terms of interest. If the oysters were perked up just a bit and the calamari re-worked or cooked better, both dishes could be really good. But remember, this is Virginia and Old Town we're talking about, old money and conservative diners and what's more likely to happen is the stuff that is actually good now will become, well, a little more conservative, more sloppy, a little less flavorful, a little less interesting. I saw it happen at Seven in Tysons Corner and I just hope it doesn't happen here. This place has a vibe about it--a refreshing vibe with culinary interest and potential--I just hope they don't lose sight of it like Seven did. (Offtopic: Bethesda Jaleo this weekend--only two desserts? That's easy--1) the Basque cake w/ leche merengada--just about everybody's favorite of the new dessert program and 2) the Casta Diva gelee/berry/lemon granite dessert--my personal favorite while berries are still strong. The recipe for the Casta Diva is on Starchefs here: http://www.starchefs.com/chefs/pastry/SKlc...tml/index.shtml It's a very straightforward attempt to showcase interesting flavors in a more elegant presentation than you usually see at this very low price point, hopefully you will find it clean and refreshing and the flavor of that great Spanish dessert wine will come through. And yes, despite the rapidly rising price of vanilla, we will continue to use the real thing: plump, soft, moist, intoxicating vanilla beans from Madagascar.)
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