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A partl ular mgre Icn n I char tcn ttl: To get the m t flavor out of the lob ter, I' not mg to c me fr m the meat, which might be bland that particular time of year; It' g to c me from I wly Im- menng the carcasse and makmg a really tron br th With them. And If th season IS prmg, and it' chilly, wup I appropnate. Tun n f h re Ir' Import. And I'll use fingerlings [tiny pota- toe the 'I: Gray Kun: Peel believe" that using simple tools often results In better food than b from high-tech gadgets.
With a mortar and pc tIc, you're not gcttm!! The tm continual! Illortdr;, and pestle are t Ie tn Campantle' kit hen. When makln!? With a burr mixer, the. George German experiments with Asian techniques within the realm of the Italian-inspired cuisine served at Al Forno.
But I'll do a flip-flop of thatcooking in vinegar fiN keeps a real sprightly texture, and then I'll just dress it with oil at the very end. It gives a whole different spirit to the dish. Why does something have to be cooked for hours and hours and hours, when it can be cooked for a much time and have more flavor to it?
We just try to take different approaches to our food. Dried Chile Flavors: TI1en thtlt' balclOccd.
Igalmt a lot of other that range from bitter, like unsweetened chocolate or an almost rohdcco-Itke hirterne. When 'ou mix all of that klOd of ,tuff together, you've! That's the ba I f. We try to really let th m he A Jc,hanne Killeen points out that "In Asia, when poaching a chicken, ,omen me' It will be left: Then they served only the skin of the duck!
While flavored oils have been around for hundreds of years, Vongerichten says he enjoyed experi- menting with oils and different spices: And that sometimes comes in the way that we prepare them-the initial of preparation are in the toasting and the soaking--or it might come in the way that we cook them. There' a very tandard method for cooking dried chiles where a puree i' made out of them, and then that' cooked in a very hot pan with just a little bit of oil in it 0 you're searing it and reducing it.
When it' reduced to a really thick paste, at that point you can add tock and bring it up to a brothy or auce-like consi tency. That's one of the way we work with that category ot] flavor. There' a kind of triumvirate that run through a lot of tho e di he: And then alway garlic. Fre h Chile Flavors: On the flip ide, the fre h chile flavor are typically associated with things like lime and cilantro, and they're much ea ier to work with.
When they're the really mall chile, frequent- ly they're not cooked, so you get a lot of gras ine out of them. You're thinking more in terms of heat and harpne ; obviou ly, if you're balancing them with cilantro and lime, you're ju t underscoring even more the brashne they can offer. When you get into the larger chile , like poblanos, u ually they're roasted, which turns the flavor from grassy to more like a deep, rich herb like rosemary or even a hint of the flavor you get in very green olive oil.
It' more a vegetal flavor than it IS a fruit flavor. When you're dealang with fre h chiles, garlic i usually replaced by raw onion-and it' alway white onion, never yel- l ,because It has a much cleaner, bnghter flavor than the yellow one do. Terrance Brennan credits his stint at Gualtiero Marchesi, a MIChelm three-star restaurant in Italy, with teaching him the importance of prepanng pasta from scratch.
Brennan was also inspired to bring the same perfectionism to his prepa- ration of risotto, which some consider to be among the best in the city. The secret to risotto? So it's only done to order. And the rice I use IS very important-it's a semi-fino, as opposed to arborio, which is a fino. So it's a larg- er grain, with a harder core to it. It's what the Venetians use, although they make a more soupy risotto and I keep it tighter.
I like it because it's very hard to overcook, ince it has a yery hard center. It's creamy, and I like the way it stays together in your mouth when you eat It. There's even a larger grain, called camaroli, which when It cook up ha.
I think a matter of taste. For example, I make tarte Tatin [carmeltzed apple tarr]. In France, the apple Bre cooked with rhe cammel, with a on top. But the drple needs to wlllch uually the cru,t oggy. An old French chef onLe a ked me, do you cook the cru r like that? But If I c lpy e"erything I ce ex Icrlr. Breading Dredging Skewering Thickening Instead of ordinary bread crumbs. H l--re. The ame pnnciple applie when a iding corn kernel r" corn bread.
In the ame vein. Gary Danko illu trate how the tlwOf oi apple ; 10 f,e Inten. That would be accompli hed by ,king [hem until they tan to caramelize. Again, you're gomg to get that next -reI' of carameli: Then we used whole milk. Then we eventually used nonfat milk reduced 50 percent to which we added sugar," Milliken says. But we've spent nine working on it.
Imtead of keeping thing, implified, they create a mi,hma h of and tastes and texture, and countries, and you don't know what you're eating by the time it's all done. I found that in French there would be. It b important to u e proper techntque when ea. Every day, these change. He says, "We don't have a lot of experience working with spices. If you go to Mexico, Central America, the Middle East, India, they use a tremendous amount of pices, and there are developed ways to use spices, developed combinations of spices, all orts of precedent.
TI nam: Bagna cauda: Hubert Keller starts with a recipe on paper. Given the direction toward lighter food that Keller sees as having influenced cooking over the last decade, he also likes to demonstrate that food, even old combinations, can be updated. Today when you say Medot, everybody jumps!
The Merlot has a hint of vanilla flavor in it, and instead of using butter to add richness and flavor to the sauce, 1 add fresh vanilla, which empha I: Then the eye In-I'll made a drawing, tllutrating how to di splay the gar- nishes for the dl,h on the plate. ThL might take four or five, even six, tries. Finally, I'll tl it out on orne good cu,Wmer, and see what they think. I've got cutomer who are open enough w ,l ' to me, 'Well, It'S not my favome..
J en be fle. Are ou there et? Did you get what OU were aiming for. What were the element you were playmg with? How do you keep the plate in balance without going over the edge and getting too bitter? If you like harpness, or acidity, how do you keep that in the forefront too tart and killIng everything else? It help to think about why you like certain dishes. Why are you playing in this ballpark? Why are you interested in that? Certain things are texture, certain things are taste-when you play with them, the whole becomes more than the urn of the parts.
That's when you've hit it. Of course, I alway try it and taste it fIrst. But 95 percent of the time. Wane and artichoka lft very difficult to match. AIparaaus and wine aren't the best of frienda.
If you re bULldlng a house, for example, and you want it square, there will be one wall t hat LS your reference point and you'll take all your measurements from that one wall," she says. It keeps us in foc us. It starting point, or reference point, can be anything! It might stem from the request of a customer to satisfy a partic- ular craving. Or from the arrival of the ea on's first bounty--of produce, of wine-which demands a dish that celebrates it. Or from a chef who may wish to expenment With a particular technique, in a dish that employs it.
A dish can be created to achieve any of ends, and at its best may ach ieve many ends at once. One created pnmanly for nourishment. As Chris chlesinger points out, "Cia Ie dl he. The creativi t y wa In the interpretation of the ingredient, not ncce emly in choosing and interpreting them.
Often, creating a dL h L n t a trietly creative process-one hegmnlnf,: Their h. Other cia Le di he range from cas oulet to paella, fr In coq au un t steak au poll'l"e "I h f h. Too many people always worry about cre- attng something new," he believes.
Only then would I consider tweak- ing it. There's genius in those classic dishes that isn't always appreciated. Chris Schlesinger, like other leading chefs, looks to the past when creating food for the present. These people pickled everything-even grapes! That's what's so mind-blowing. You could name a decade and I could make a menu from old cookbooks from that decade, using only those recipes, and customers today would go, 'Wow-that's so creative! How did you think that up? For exam- ple, there's a classic combmatlon of mgredlent.!
Customers went wild over it and asked me, 'How did you ever think of combining those ingredIents? And how far can that line be pu hed? Chris Sch lesmger points out, "My food, while not exact dupltcatLOn, is true to the flavors and mgredient of the culture that inspired It.
Serving grain with duck goes back ro duck' and wheatfields," says Brennan.
The gaminess of game goes well with squash, because there's a nice sweetness to it. I lmoe purees in the wintertime; they go really well with game. So Just working with the seasons, you're half way there. She believes chefs can develop taste through eat1l1g out in restaurants and experiencing firsthand which combinations are pleaSlOg and which miss their mark.
As in every human endeavor, you can improve to a certain extent through training and practice," he says. You can give two peo- ple the same budget and send them into a clothing store, and one will come out looking like a frump and the other will look like a million dollars.
The difference is taste. It is a professlOnal chefs ever follow them? But as you gain more experience, you can take off the trainmg wheels. Then you look at to get a sense of inter- esting combmations of ingredients, rather than a teaspoon of this or a cup of that. And a lot of the products you find here, from beef to lamb, are even better than what you'll find m France, 0 it makes the exper- imentation that much more enjoyable.
The crea[[ve pwce: I thmk some of the mt1,t I.. I've trained myself to know my ml! Certain m2reJlent' or combinatiom might trigger a memory, or trigger a hunger- the p:: It' one of the true t hm ,m term f che. I made a puree of the raisins and capers, which was delicious, even if the color was not very appeal- ing. In trying to decide what to use the sauce with, I knew that capers and skate were 'pals,' so I tned it.
We certainly get rained out in terms of tuna or shrimp bemg available," says Van "When the moon is full, the shrimp go down, and the shnmpers Just don t go out. M th f I t " As Chris Schlesinger previously The 0 er 0 nven Ion pointed out, it's rare that chefs have the luxury--or challenge! I go into the walk-in [refrigerator] In the mommg and I look at what I have and what I need to u, e.
Then I'll call up my who'll tell me that leeks are looktng great, for example, or thac striped b: I have all the e thing to which I need to apply my experience and knowledge tn order to [Ie them ogether. Rigatoni with hi ken end Fennel.
And I thought, Well, maybe I can do "omethmg with the p ta and th t chicken. I wa thinking about Italian ,ausage and pa. But people don't like pork, and they don't like all that fat tn U DC. Then we were talkm o about it, and we deCided to Qfmd the chicken up and mea mou , like we u ed to rna e t Le Perroquet. We deCid- ed t ta e a P [I ' ba and tuff the m ltl. Slde the blanched Hnllum Pineapples L.. Lime Pome 'r. Ilm n "turgeon Trout Seaweed Salad Mussel,: We came up II It"l lenne , , bi d h d 'h and put it on the menu-and that dish on the menu assem e t e for thirteen years!
S ' 't's a lack that creates the need to ftnd a 'ultable ub tl- omeumes I "Wh. It's our own technique in that it didn't exist in Italy when we experimented with it, but it was certainly Italian in spirit. Composing Dishes How does the creative proces of developing a new dish unfold? In coming up with a dish, the tarting point for Anne Ro 'en: Im It.
And mctllne Ja per White never h Itat m aym , "The tartmg point i the! Ogre- dient. What I the focu of the dl h. Who tever It i , there' memmg that' the re n why I'm c kmg the dl h. And I tT not to let the dl h go too far away from that re n. Then It Will have Itghth dtf ferenr properti than a fl h that' not. And then I would what th t ent are, and what the se n f, r them. A lot of tlInes they can all be mixed together or oulj be handled In different ways.
But I still kind of stay with that bec. And you also have to take into account rhe occaSion. Is It caual, or am I trying to be fancy? Or it might have to d with the ret of the menu, too," he says. Jimmy Schmtdt is one of a number of chefs who point out the impor- tance of deslgnmg food to complement the wine with which it is to be served. Most importantly, it is a way to achieve an all-important sen. Characrerutlc Aromas Coml renC: Famtltant' Flavors: FlavOf "trength: I nage per. There' not other excitement IS a,.
And the flavor is kind of one-dimensIOnal. For I comb inmg the crunchines' of snow peas with salmon woulJ make ex amp e,. What bout ere m W. Ike gratin. In the kitchen a lot, recipe. What b the center of the plate?
Ideally, I wi ll Lhoo e h the ,ea on. In the 'prang, I'll take dried morel mu,hnxlms and powder them, and use that with bread crumbs and aromatic" omon s , parle , thyme, and make a very delicate crust. I'll 'ear the lamh in a lIttle bit of hot oil. From that, I'll decide. I'll thmk Ea ter, Ea ter bun- nie , ham, a para!! In thmg from m chlllh d th,lt I remember. TOund the el m m u need d to lie It all to eth r. So I would always put something substantial with quail, to kll1d of buiklit up, It needs more support than, say, a pnme rib.
I might put some parsnIp P lta- toes or mashed potatoes With it, as kind of a "A lot of have a ba,e-lIterally, a phy,ieal b,be, "omethinl:! I 'rec. Y u'n: She cooked the wmatoes m the butter about three minutes, and then added a httle salt and a little cream. An Ithe three are quite rent from one anoth- er. If there were many ch. Br,ILlle Lll;Jen agrees. J latle bit. That's where a cook can put hLs or her creativity mto rlay.
I like to go tor two llr three dimemiol1S, but yet without getting ton cnmrlex. I did a fOlt' gYm dl They Were ,till cn,p, With a bite to them. It coated nd Hah. Ike tl p,ur It w1th an aCldK c m nent," he pI lin.
I always hate it when people cover the whole plate with cocoa. That's incredible! That chef is o talented! But because of that, we're getting a lot of muddled food. People who don't know how to do a lot of tho e very technical thing correctly are trying, and they're just falling on their face. It make it difficult for me to find place to eat the e day.
No matter what anybody ay, you can't do it all. All you can do Ii la minute Silverton continue, "The more complicated a di h, the more spectacular a dish, the more tale it' going to taste. There' no way anyone can prepare all the element the arne day.
And 1 hke food to look fresh, like it was born on the plate," he says. IentatlOll of food, he says, "Our an backgrounds are the best thinp that ever hawened to us. It' part cJ our vocahuLary. So I ,aid to this young man the other day, 'What we're trying to do here with this plate is to make it look like you picked the asparagus and you waltzed through the garden, and a little breeze blew the stuff across the plate.
No, no, no, no, no.
It's a very delicate balance. If you' re gOing to make It look wild and cra: Some cooks don't understand It yet, what a dish is saying-[that it's] saying a whole bunch of things," O'Connell says.
The presentation of hi s food has a ccrtdin airine', and lightness to it, and I try to remain inspired by the same deltcarene. A dl h hould be a VI ual eXI eflence for the customer. I don't helleve In quce: Are you uppo ed to edt It?
Pick yuur teeth With it! Then I have this bright green rorlano that's stuffed, with the stem still coming off of it. I can select these thmgs and put them together In very natural ways that will look very bright to people who are coming from areas thilt rerhar don't have these thmgs so much Within their larder.
But, aga1l1, I ltke to rely on the cl Ie. I love all the color' of tllmatoe, together, mcludmg the unlikely one -the art of brown one and yellow one. But, 0 VIOU ly, ta te I number one; I would never use the color if It didn't tel te ood," Mary ue Mllhken agree that her iir,r priomy a di h i ttl teo thmg I more 1m ftant to me than h w that ood' g01l1g to ta te," he "For me, 1 hke my alad to have every ingle leaf covered with exactly h n 'ht m unt f dre mg.
Th leave ren't g01l1g to tand up," c p n g 8 o "We do lots of great sauces that are very thin," adds Susan "And they don't look that great on a plate; they don't look nearly a, good a something that's reduced and sort of demi-glace-like, because they don't coat the plate as well.
But people will always go to see the latest madness," says Jeremiah Tower. In terms of the appearance of a dish, I find few things more beautiful than a bowl of sliced white peaches, maybe with some raspberry cream on top. I'd rather see a really beautiful combination of colors, flowers, and leaves on a plate, rather than fireworks. I find it often detracts from the taste of desserts. When you put too many things together, not everything can be perfect. The caramel can get tacky sitting on the plate while the dessert is constructed, or the cookies can get soft.
Another thing I don't like is seeing an even number of things on the plate; I prefer seeing, for example, three sor- bets, which 1 think appear, more halanced. C [floating Islands], which emphaSIZes the softne" of the fluffy egg white, there i" carame! Fllr example, a floating Island ha, no structure. Knowing this, Rick Bayle, say", "I get fru,trclted with a numher of my cnob rhe,e lay.
Sometllne chef.. It with anything more complicated th h II d' , - , " ' an a 0 an alse sauce an I ,, me httle hoIled potatoes. HI strllngly in the marriages of flavors! When you've accu- mulated enough, you can even get pretty good at predicting which combina- tions you haven't yet tasted will work, based on the ones you know that k " wor '.
Wondering how we mIght shortcut the process of gaining decades of experience led to our research and development of the following charts. Based on our conversatIons with chefs as well as our researching some of the best respected culinary books including those written by leading American chef, and recommended by them as critical to an aspiring chef's education , we compiled a treasure of food combinations that are known to work.
How to use them? How not to u,e them? Y U haukl remember that your own palate is paramount. There may be orne combmati n ll,ted that are not to your per- onal likmg, anu there are certamly combm: Black Beans Fned with Garlic. Omon and Epazote. PI Pc Gruyae or Pas n d II chIcken cream uce creme frauhe q: IE Catvado. Qa" 1M MUlE, pcwlly chal' lemon lemon.
Joachim Splichal 6p bam DUll. Norman Van Aken COD aioli leeks tomatoes bay leaves lemon truffles beans, black, fermented milk vinaigrette black olive mushrooms vinegar, especiaHy sherry butter mustard Wine, white capers oltve OIl caraway seeds olive boil Champagne onIOns braise chervil parsley bruil conancler leaves pepper fry eggplant potatoes pan-fry garlic rosemary poach gmger ake roast hollandabe. Jrs 1 d "0" ",,!
I WIS. Jasper White mp e. I 17 I Iftd ra. Slid in "'met' I n frull ,h,lllot ,herry " lur c. O par Place the lamb in a roasting pan and finish baking for about 14 to 15 min- utes for medium rare. Remove the lamh, place on a cutting board. Lay the blade of a sharp knife against the hone and slip the meat off in one piece. Roll the boneless loins fir,t 10 the ha,ic harhecue 'auce, then in the pecan.
Reheat the harbecue-t1avored red wine auce. Place 3 medallton on each of 6 hot serving plate. Dribble the wine auce over the plate. Gami h With ,ute d green bean. U a mandolme or harp knife, ut the potatoe into very fine julienne matchsuc. Sprinkle th Julienned potatoes IOta the hot oil and tiro allowing them to cook for 20 to 30 and. Id crum! Cook, rotating on 11 'd or outdoor gn '.. Put the peppe. Allow to cool for 15 minutes Using h cover with l'.
Discard the cores, stems, and seeds D' h POt e L 'd. Ice t e roasted peppers and set a,1 e. P lunge the lobsters headfirst into a large pot of boilin 2. Keep the lobster claw meat intact in lar' d. Cut the tall meat into 3 to 4 pieces each. Cover the lobster meat with plastic wrap and set aside. Put the qumoa into a fine strainer and rinse under cold running water to remove any residue of its bitter husks.
Drain thoroughly. Bring the vegetable broth to a boil in a medium saucepan. Meanwhile, heat the olive oil in a large saucepan over medIUm-high heat. Add the onion and garlic and cook for 4 to 5 until tender. Add the chile powder and quinoa and cook for about 2 mmute, until hot, stirring to pre- vent mg. Return ro heat and bnn to a Immer, tming. AJd the corn, ro. Place a generou ervmg 0 fI no m the center 0 each pldte.
He an ror eal,; , piece of claw meat. Olives and Herbs -R ck Bayle. J cre clfin m n I cherries cinnamon figs ginger nuts lemon p. Tower Winter Wi nter wine, reJ e pecially Burgundy braise steU' , OYSTERS Fall- Spr n fennel 5alt foie gras sauerkraut scallions garlic sea urchin roe ginger horserad ish shallots ketchup sherry leeks shrimp ale, beer, or stout lemon snails lime spinach allspice Tabasco auce anchovies mace thyme marjoram artichokes bacon mignonette sauce vinegar, especially bay leaves mint champagne mustard wine, white beurre blanc bread, brown nutmeg Worcestershtre.
Monterey J ck, and Pannesan e carole oarltc mu hroom. That's when the garftc IS not overpowering the mushroom, af1d the mushroom IS well caramelized and meaty at the same time, and the garlic IS bringmg up all the flavor so that it's not Just plain and bland -Darle: Boulud PORK Fall apples gmger qUInces apricots hoisin sauce rosemary bay leave honey sage beans, black juniper berrie sauerkraut beer lemon soy sauce brandy lime qar anise cabbage Marsala tarragon Calvados molasses thyme cherries, dried sour mu ' tarJ.
Apples cut the fattmess of pork -L. J ay OQdtl.. S Witi' ROJsted 5. Fresh Cheese. French cooks, Chinese cooks, Italian cooks. Indian cooks would all rate spmach the best of leaf vegetables Beaujolais and claret yogurt zabaione Stra. Smoked Bacon.
Pa" nc: Each would be kicked off with a press luncheon about three weeks before the menu debuted. For example, we'd serve truffle hors d' oeu- vres, bring in an expert on truffles from France to provide a slide or video show and talk about truffles, and then bring the journalists into the kitchen where they could watch the preparation of the special menu and ask ques- tions.
With a menu like this, you want to have the truffle speak-not any- thing else! I started backwards, with a truffle dessert and a truffled cheese course. Since these were both heavy on the cream, I aimed for lighter prepa- rations of the other cour e. Liang Pan. H1cht , dl' iDle gYm potatoes ,lrr b garlic rosemary ,lftichl1kes gmger sage ,lfw.: Winter Root Vegetables. It's robust. It's solitude. It's the kind of dish that makes you sit up and take notice. That's what I really try to do with every kind of recipe I create.
Add the shallot and '-lute 2 Add the Hnd toss together. Hold warm after almo. For the pOl"tobellos 2 large porwJ-,e1lo mushroom caps 2 taJ-,le. Top with garlic slices. Brus mus ro d. Hold warm. Begin by reducing the wine. Skim the sauce and strain into a bowl. In a very hot saute pan, heat the canola oil.
Place the mignons in the pan and sear for about 2 to 3 minutes or till almost crusty. Remove from the pan to a planer and drain any grease.
Add the cassis to the pan along with the drained currants. Finally, add the base sauce and bring to a boil. Adjust the seasoning and hold warm. Reheat the -quash and poon into the center of 4 warm dinner plates. Set 2 mignons atop each bed. Slice the warm porrobellos and lay a few pieces over each mignon. Bring the sauce back to a boil and spoon generously over the meat. Serve very hot. And In India you'lI see it combined with cardamom and coriander.
So one spice can take you to many countries, depending on what you do with It It becomes a question of where you want to be what country you want to be m. When ,. HorIIat van Aken ahuji H. Many trendy restaurants use a lot more balsamIc vmegar than any Itahan restaurant ever would. Ingredient bamboo shoots dried leaf cabbage hoisin sauce oyster sauce peanut or sesame oil rice vinegar nee wme S: The writing of a menu can be approached as poetry or liter- ature, with the aim of ChOOsing words that impart meaning to.
A menu should eXcite t em Wit a u the palate, starting with the very words chosen to describe the dishes. A menu can tell a story, just as a theater or opera performance can, such as the story of an ingredient, a region of the world, or a tlme In history. The phYSI- cal menu itself should also be aesthetically pleaSing. However, the art f camp ing a menu too often overiookeJ. For example, the food media frequently place mllch more emphasis on the recipe for and pre entation 01 a Ingl I h th n on It, rldce In the pruce of a menu that tll!!
And con umen hd re ulre I m "h. The Ide of gradmg i. What the palare hex! And h The appointments of the table-from the centerpiece rhetle exr en I 'are-affect our reception of the food that is served in its pres- " ' ' d even the eating utenstls, whICh may range from poltshed stiver to el1ee, as a d chopsticks. We were once pleasantly and memorably served just a lacqu ere.
Imagine the same level of thought and care rast tn applied to a lunch break or a weekend picnic! The art of composing a menu has to do with making the most of the food experience, no matter how brief or modest. Women ch fs In particular are much more attached to menu: The' are, I believe, much more concerned With creating a eme of family, the bonding of food and [he SOCial rroce" and the menu Itself and how thmgs How from One thmg to the other.
There's an emotional quotient to food that I thmk women understand better than men. Pan M'll , , I er recall, "It wa mc. Japan cold entree cheese hot dishes salad dessert feu: Even if doing so involve breaking the rule put forward, at lea tit' bemg done with con dous inten- tion In tead of haphazard whIm, with the hoped. Grading an ascension of flavors and texture from Irghter and milder to heaVier and stronger , conmuCS m color, texture, and temperature, for example , and the non Examples of Grading Principles in a Menu light delicate subtle complex white white white simpler light rich textures full-bodied consistencies strong flavors simple flavors brown meats dark breads red more complex wines dark chocolates 'Tis the Season "Menu planning is something that people do at home, for themselves and when they're cooking for family and friends," notes Altce Waters.
And a complex thing to do. The first factu, m ,. With Its particular produce and style of a!. That's number one," she says. What If what whole meal I wanted wasn't ripe, or wasn't there! I have orne Currc SKy ideas, of course; when you get used to domg thl , YOU look through boob and get Ideas, and then go to the market. It' perfect for huu," say Palmer, "but hi Wile w uld r. Our Job I to r ea e each cu tamer. Int'I""'", soup or soup or soup YclU could start with sea has" in a vinaigrette, follouoeJ by scallops u'ith black [ruIIk,.
Ik,', j'c'flll. May be served in a fruit soup. You want guests to have something sweet with their coffee. At the very end of the meal, it's another little surprise that allows you to surpass all expectations. In order to meet the needs of his customers, Daniel Boulud that the lunch and dinner menus at Restaurant Daniel provide reduced-calorie selections, such as the following: AnJ on e the ta te it, I want them [0 smile and ay, 'Ahhhl' " Th omeflme a particular ingredient serves as the enu emes theme for an enure menu.
Ahce Waters was partie- ularl m plred by a meal he'd had 10 a Japanese restaurant. There is a vivid Oaxac: Dessert, I feel, after this thrill of t1avon, sbouId bring you to a restful spot-but not one that is totally recognizable. The homey, comforting texture of the trifle is perfumed with orange and the almost-known tropical flavor of mamey.
Springing from a pool of ailMOD prickly-pear sauce, the duscrt combines both what we're hoping fot and where we'd like to be. Mrd cItiden.
When we first opened for lunch, we had a lot of people who came constantly-they'd have three lunches here in a row. When you do that on a day-to-day basis, you want to eat light. You can't just eat things full of butter and calories. Some customers see angel hair pasta with tomato and basil as light.
I think of broiled fish or vegetarian dishes as definitely light, and maybe more satisfying. The Garden Menu was developed to highlight the best available produce, while the Crustacean Menu was a way to offer a lighter menu which did not rely on vegetables alone.
I've been a consultant to Canyon Ranch, a spa in Tucson and the Berkshires, and when you're trying to come up with three meals for calories, that's a big challenge. There's no dairy, no salt, no high-fat dishes. Most of the meal are chicken, and most of the time you enhance the food from a pa tandpoint with onion, leek, scallion, lemongrass, vinegar, mus- tard, and a lot of different herb. When you're cookmg for a pa, everything you think about cooking you can't think anymore.
But at Patina, 1 do whatever 1 want. There are no re trictions, so we often enhance the natural flavor of ingredients with a lit- tle butter and cream. I always look up classic prql8f8t1Oll1 c: I place.
Daniel Boul.. It turns OUt th out worrymg w e 'It. My restaurant menu will typically have twO or three soups it, and some. Next, typically, might come a salad. It's healthy and refreshing. I'd put fish before a meat COurse , probably. But I'm not ngid about that. I could imagine putting an appeti: Sometimes a dinner will have so many courses "What I mean is that If you get m, say, fresh lan- that it's overwhelming. But in stare.
You're no longer forced to crowd the plate with really extraneous things that are demanded by the customer," says N ish Gary Danko say! In accepting, I say I'll do so on the condition that we really work on the menu so that It flows beautifully.
Your palate is going to be anestheslzed by all those spices. In transitionmg from one cour'e to another, you probably wouldn't want to lerVt two meat cnur.. You want one sensation and tlavor to play differently agalmt the next. Rut I keep trYll1g tll ru h the cook- [at Che: Pam eJ, telbng them, ,It y lu're Itdl , 'ltd in Ital. I like Juxtapo ltIon. And alway omethlOg refre hm H the end.
I pick that up, where other peapl d n t much" W "d ,a ater. Whtle nearly every au e h me are heaVIer r light rIOt heat 'Y u want t bUIld menu hould net f xtur something that's very hot, and then cool down with something that has almost no chile in it , before coming back up to some- thing hot again. And it's impor- tant to never put too many fla- vors on the table-there shouldn't be more than four courses served," says Bay tess.
I don't mmd having or serving it more than once," says Terrance Brennan. Mark Peel "1 ltke for eople to get a httle more than they expect.
H, and you get it anJ It not qUttt! I don't ltke menu th t read like ;"hopping Ii t. Splichal says, "If every menu read 'Broiled Chicken with Also, the wines had extremely clean, clear flavors, we knew they'd be perfect vegetable.
In the fIrst coo ,the whIte bea add a creamy texture to salmon, while the grapefruit pICked up the acidity of the wine. The anti.. Mismatched In phlnniDI menus, it's important to consider the special role of various J any 1CI1j. Alaia 1'1 ' S ' IS' BerIns and OrlOfCli ,. WIt a menu ror '. Wmes surprise "ou' son IS a sam , 1 , , change even over the course of a year. I was recently preparing a menu for a special event and Was planning to serve lamb.
But after tasting the red wine that was going to be accompanying it, which was pruney, 1 reahzed It would have made the lamb taste toO muttony," she said. But wine and food should make each other look good. Franc;oi P,l arcl recall, bemo a ked to crecite a desert to be erved with Ch-teau d'Yquem.
Becaus of the frultlne of the Chateau d'Yquem, Payard decided to en e, m, ngo ,oup made with fre h mango puree and coconut mIlk, "If you know," me, OU kno," it won't go with chocolate, which is bit, ter and powerful," a Payard. On the other hand, "a nch, weet chocolate dessert will oblu, erate the wme," accordmg to Tower. WIth chocolate, coffee hould be served-or nothing. For example: I I d l 'nto the sauce at the last second to Strip away a lot of those m'lr e herbaceous qualities in the wine.
You'll associate the herbaceousness as 'no ml [e from the narsley than from the wine. YOli kill a wme re. The sauces were really attuned to the Win es. That's what really made the dinner something special. The flavors in the dishes tended to enhance the wines by cancelling any of their tougher char.
It' uteed hI h m th pot to vet en p ur. The look of the Wild fl ce wIth the tiny green e was a wonderful accompaniment to the quail. It was at this meal: B It I'm never qUIte sure gaps.
To eat with e IV ere I h 7 To sop up the meat c eese. I , " It, b I Lindsey Shere e ieves that bread is an important accompaniment to a meal. She observes that "large flavors often need a background to hold them in place. And I happen to like the flavor of flour and yeast. I don't have a lot of interest in things like cheese bread, because I don't think they work well with dinner menus.
Alice Waters echoes this: Silverton believes that there he a of flavors 10 bread throughout the course d a meal. In utter, I verton 3 ' , n Pro?
Panbse in the mids, self-descnbed bread fanatiC teven ulhva ,tarted baking head for the restaurant. His ll1spiratlon? Acme has su"plied Ba. I S entlcmg to e I able to. In fact, sometimes a funky bread can work If there IS enough theatre and soulm the bread to overcome less-than-perfect tech- , " Olque.
With regard to pairing bread with food.
Sullivan cites a few of his favorite combinations. And I like walnut bread with goat cheese. I don't know if that's a traditional combination or not, but on our honeymoon my wife Susie and 1 really enjoyed it.
At first. But after further proddmg, ullivan fmally ddmn. It's a nice to welcome the course another follows to surpass It to the restaurant and say hello. W Ie together sen' e to cleanse the 1'a ate. I" l n urn own ml wit caviar.
In Sume ca. IS soup IS tangy and tart, light and crunchy," says Bayless. Soup is too filling, and I find it hard to fit into a menu, unless it's a COn. Nancy Silverton knows exactly what she likes in terms of Cheese cheese after a meal. If the blue cheese is Stilton or gorgonzola, then a fresh goat cheese. If it's a mild blue, then I like an aged goat cheese. And I alway, like a strong-tasting cheese-even a Parmesan.
And wme a mu -t to properly enjoy cheese, according to Charl es Palmer. Ire the be t to he encd With wme," Jeremiah Tuwer. So it was only natural for me to write this book—out of a lifelong passion for food and for the simple delight of sharing it with others. As a child I was very robust and healthy.
However, as an adult I began to be challenged with chronic fatigue, adrenal failure, allergies, and digestive problems. At one point when I was very weak and ill, I noticed there was an immediate and direct connection between what I ate for breakfast and how my day went.
Of course all the meals are important, but I observed a clear response to breakfast in my body. It would accept the food with a warm feeling of happiness. Or it would shut down—a lot or a little. Call it a food reaction or an intolerance, perhaps triggered in part by an emotion. Who knows, my system would go into a tailspin—brain fog, dizziness, exhaustion, constipation, bloating, food cravings, muscle aches, moodiness, and confusion.
I muddled through the day as best as I could. The only real solution was to rest and start over the next day. In time I was able to identify clearly the foods that my body accepted—fresh vegetables, tart fruits, unprocessed meats, nuts, eggs, and unrefined oils. The foods causing my body to shut down were always the same: refined carbs, grains, gluten, processed foods, milk, cheese, vegetable oils.
Oh, and sugars of all kinds—even fruit sugars. After ten years on a diet free of grains, dairy, and sugar, my food reactions are gone. After all, it makes sense to eat the foods we are genetically adapted to eat.
That means eating only real food. Some people might call it a limited diet. No bagels and cream cheese? No milk, orange juice, croissants, or Cheerios?
On the contrary—every meal is pure pleasure. My senses are clearer, my life is more enjoyable, and I accomplish more with less effort. Our health is where the rubber meets the road.
We can make the choice to listen to our bodies and harmonize with the laws of Nature. Or we can fight and suffer the consequences. Those are the two choices. So you can enjoy the pleasure of familiar flavors and textures without short-changing or undermining your health or longevity. After all, food is energy. And that energy comes from the sun. So you could say, food is concentrated sunlight. And the best foods are the highest in energetic content, the most nutrient-dense.
Millions of us start the day with a donut and a cup of coffee, or perhaps a bowl of processed cereal, milk, and a banana. After decades of daily ups and downs in blood sugar and stress levels, our bodies become established in a numbing cycle of sugar-based metabolism—call it an addiction—that eventually comes home to roost in some kind of health crisis.
Our current epidemic of obesity, diabetes, gluten intolerance, metabolic disorder, and a host of other maladies is linked to poor nutrition.
I believe that these diseases can be prevented or healed in great part by eating a simple breakfast of real food.
The innovative recipes in this book can be a road map to a kind of metamorphosis in your life—a total change from eating processed food to eating real, original food. With these recipes you can begin to free your body of its irrational sweet cravings, and the dangerous blood sugar spikes that deplete energy and leave you wanting even more.
Best of all, you can enjoy traditional breakfast favorites again, feeling deeply satisfied and nourished on every level. The Paleo diet, named for the Paleolithic period, mimics the hunt-and-gather food of our ancestors.
Clearly they ate whatever they could catch, pluck, or dig up in the wild. During that stretch of 2. The Mexican Pantry To make things easy on yourself, stock your pantry with basic ingredients and tools. That way, cooking Mexican food can become an effortless part of your routine. Save time by downloading them already ground. Bay leaves: Mexican bay laurel is used to infuse marinades, soups, and stews with flavor.
Cilantro: Used generously in Mexican cuisine, this annual appears in everything from salsa to rice dishes, soups, and moles. Even though fresh is best, do keep dried cilantro in your pantry to use in a pinch. Note: Many of the recipes in this book call for cilantro sprigs. These are edible, but some people prefer to remove them before serving. Cinnamon: Mexican cinnamon, also called Ceylon cinnamon, is warm and fragrant. Cumin: Strong and toasty cumin seeds are sold both ground and whole.
In the case of the latter, they should be toasted. Oregano: The Mexican variety of this herb is frequently used dried in dishes like pozole and tomato-based soups.