Welcome to the eG Forums, a service of the eGullet Society for Culinary Arts & Letters. The Society is a 501(c)3 not-for-profit organization dedicated to the advancement of the culinary arts. These advertising-free forums are provided free of charge through donations from Society members. Anyone may read the forums, but to post you must create a free account.
By David Ross
Ah, the avocado! For many of us, this humble little fruit inspires only one dish. Yet the avocado has a culinary history that is deeper than we may understand.
The avocado (Persea Americana) is a tree thought to have originated in South Central Mexico. It’s a member of the flowering plant family Lauraceae. The fruit of the plant - yes, it's a fruit and not a vegetable - is also called avocado.
Avocados grow in tropical and warm climates throughout the world. The season in California typically runs from February through September, but avocados from Mexico are now available year-round.
The avocado has a higher fat content than other fruits, and as such serves as an important staple in the diet of consumers who are seeking other sources of protein than meats and fatty foods. Avocado oil has found a new customer base due to its flavor in dressings and sauces and the high smoke point is favorable when sautéing meat and seafood.
In recent years, due in part to catchy television commercials and the influence of Pinterest, the avocado has seen a resurgence in popularity with home cooks and professionals. Walk into your local casual spot and the menu will undoubtedly have some derivation of avocado toast, typically topped with bacon. Avocados have found a rightful place back on fine dining menus, but unfortunately all too often over-worked dishes with too many ingredients and garnishes erase the pure taste and silky texture of an avocado.
When I think of an avocado it’s the Hass variety. However, a friend who lives in Ft. Lauderdale, Florida, can buy Choquette, Hall and Lulu avocados in the local markets. This link provides good information about the different varieties of avocados, when they’re in season and the differences in taste and texture. https://www.foodrepublic.com/2012/10/18/know-your-avocado-varieties-and-when-theyre-in-season/
I for one must challenge myself to start eating and cooking more avocados. I think my recipe for guacamole served with chicharrones is superb, and the cobb salad with large chunks of ripe avocado is delicious, but as a close friend recently said, “one person’s ‘not especially new’ is another’s “eureka moment.” Well said and as history tells us, we’ll find plenty of eureka moments as we discuss and share our tales and dishes of avocado during eG Cook-Off #81: The Avocado.
Fun fact: The name avocado derives from the Nahuatl word “ahuacatl,” which was also slang for “testicle.”
See the complete eG Cook-Off Index here https://forums.egullet.org/topic/143994-egullet-recipe-cook-off-index/
I got to thinking after the disgusting job of separating globs of fat from sous vide short ribs and debating never doing them that way again. If the fat renders out in a braise, but not in the sous vide, what temperature would you need to turn the fat liquid to get rid of it? Is it below well-done or do you really have to cook the shit out of it? Is it just temperature or a time&temperature thing?
Along those lines, what happens with marbled, tender cuts? where is the sweet spot between solid fat and something more palatable?
Chile Rellenos. Every Mexican or Mexican type restaurant we've ever been in almost, I've chosen Chile Rellenos. I keep thinking I'll pick something different...and then I don't. I've made them. Once. So much trouble. And deep fat frying. And of course in the Far Frozen North where we live, we've been able to get Poblanos (that's it) for only about five years now.
Imagine my delight, the appeal to my very lazy side, to discover the following recipe just a few days ago: https://www.homesicktexan.com/2018/09/chile-relleno-casserole-el-paso-style.html . And yesterday I made them and served them to guests with Mexican rice and black beans. Died and gone to heaven.
OK. Truth time. I used Poblanos and I did not roast them to remove the skins. In an electric oven, it's not a nice job. And besides the skins have never bothered me or Ed at all. But I did roast the Poblanos in the oven. And then I used commercial salsa because we had one we liked. (Did I say that I can be lazy sometimes?) And I used Pepper Jack cheese. Jack cheese is not always available in the small Ontario city we live outside of and pepper jack is even less common. Buy it when you see it. I defrosted some frozen guacamole I had in the freezer. But by heavens the casserole was delicious and now it's on our menu permanently.
So shoot me. But I thought I'd share my joy anyway.
By Daily Gullet Staff
By John Sconzo
The Daily Gullet is proud to present this, the first in a multi-part, front-row report on the recent "Spain and the World Table" conference. Watch for subsequent installments in this topic.
In his introduction of Ferran Adria, Thomas Keller -- perhaps the most celebrated American chef ever -- described four elements that go into making a great chef. The chef must be aware. Once aware of one’s culinary and other surroundings that chef can then be inspired, which leads to the ability to interpret those surroundings. But a great chef does not stop there. Instead, the great chef continues to evolve. Ferran Adria, perhaps more than any other chef who has ever lived, is the embodiment of those four elements.
The moment that Ferran Adria strode towards Thomas Keller on the stage at the CIA/Greystone’s World of Flavors’ “Spain and the World Table” Conference was electric -- as if a giant Van de Graf generator had been turned on. The feeling didn’t subside when Adria took the stage from Keller; it only became more pronounced as the packed crowd rose to its feet, raining applause, admiration and love on the Spanish master. Adria accepted the response with aplomb, and gave it right back to the audience -- and to his fellow Spanish cocineros, who were standing off to the side. He brought each one up to join him on the stage for a rousing thank-you to the conference organizers, sponsors and participants. Once this emotional release subsided, Adria got down to what everyone had been waiting for -- his discussion and demonstration.
Ferran Adria, with eyes sparkling like the finest cava, began speaking Spanish in a voice as gravelly as the beaches of the Costa Brava, while Conference Chairman Jose Andres translated. The crowd, hushed and straining for every word, moved forward in their seats as Adria explained El Bulli and himself, with a lesson in recent culinary history thrown in. Ferran explained that El Bulli is not a business. While offshoots of El Bulli are operated on a for-profit basis, the restaurant runs without profit as a primary motivation. For example, he said, the greatest difficulty they have is distributing reservations. Given the extraordinary demand and the severely limited supply, he explained that they could simply raise the price of a meal to the point where the supply and demand met. Indeed, the price of a meal at El Bulli is in itself quite reasonable given the stature of the restaurant and well within means of most motivated diners should they be able to get there, and this is how Adria prefers it. He stated that he was not interested in cooking solely for those with the most money. He prefers to work for people with a true interest in exploring the limits of cooking with him. To this end he showed a short film depicting “A Day in the Life . . .” of El Bulli set to the Beatles’ song of the same name. The film showed a couple’s response to the experience.
Ferran’s voyage into creativity began with a visit to Jacques Maxima at Le Chanticleer Restaurant in Nice, France. He learned from Maxima that to be creative is not to copy. This idea changed his entire approach to cooking -- from making classic cuisine to making his own. Aware of elaborate books of French cuisine, Adria resolved to catalogue his work, the results of which are the richly detailed El Bulli books, published by period. These books, as wonderful as they are, are huge and extremely expensive. During his presentation, Adria announced -- and demonstrated -- that the individual dishes photographed and described in a chronology within each book are all now available online at elbulli.com.
He finished the philosophical discussion by talking about the general style of haute cuisine that he and others are engaged in. While others have coined the term “molecular gastronomy” to highlight the scientific component of the creativity involved, Adria rejected it, saying that all cooking is molecular: most of his techniques are in fact rather simple and don’t employ radical new technology. Most of the technology that they do use has been around for some time; they have simply adapted it to their own purposes. Nevertheless, he applauds contributions to gastronomy from Harold McGee and other food scientists, and welcomes their collaboration in the kitchen. He has yet to find a term that describes the movement: as of now, he feels that there really is no good name for this style of cooking.
More than any other single thing, Ferran Adria is known for the use of “foams” in cooking. While he is proud of his achievements with foams, he stressed that while appropriate in some circumstances, the real utility of foams is limited. He bemoans their ubiquity -- and wishes to not be blamed for others’ poor deployment of the concept. In the course of describing this and other techniques, Adria made a point of stating that using them should not be inferred as copying. Techniques and concepts are to be used and shared. He invited everyone to learn and harness whatever they found interesting, and to employ it in to their own pursuits.
Another set of techniques discussed and demonstrated by the master and his assistant, Rafa Morales from Hacienda Benazuza, included three types of spherification. These included the use of calcium chloride (CaCl) and sodium alginate as well as the converse, and exploration of a new agent, gluconodeltalactone. The original combinations of alginate into CaCl for “caviar” production, and CaCl into alginate for larger “spheres” have chemistry-related limits as to what can be sphericized. In private correspondence, Harold McGee explained to me that Adria described encapsulating a mussel in its own juice. While this would make the dish technically an aspic, unlike conventional aspics it remains a liquid. Adria said that though gluconodeltalactone is very new, and they are just beginning to get a handle on it, he is very excited by it. He also demonstrated a machine for spherification on a larger scale than they had originally been able to do, as well as liquid nitrogen and freeze-drying (lyophilization) techniques. At the conclusion of his demonstration -- and thus the Conference -- the audience once again awarded him a standing ovation.
While Adria’s appearance was the culmination of the conference, the energy it produced was not just because of his stature in the world of gastronomy -- it was also due to the excitement generated by the conference that preceded it. If there had previously been any doubt, Thomas Keller’s welcome of Adria was a clarion: Spanish cuisine has landed on North American shores and is finding a niche in the North American psyche. Spanish cuisine -- in its multifaceted, delicious entirety -- lives here, too.
+ + + + +
John M. Sconzo, M.D., aka docsconz, is an anesthesiologist practicing in upstate New York. He grew up in Brooklyn in an Italian-American home, in which food was an important component of family life. It still is. His passions include good food, wine and travel. John's gastronomic interests in upstate northeastern New York involve finding top-notch local producers of ingredients and those who use them well. A dedicated amateur, John has no plans to ditch his current career for one in the food industry. Host, New York.
Recently Browsing 0 members
No registered users viewing this page.