Articles in Cooking
Our Café French™ lesson today takes us to Bouillon Chartier, which opened on rue du Faubourg Montmartre in 1896. It’s not a cafe or bistro or brasserie. Chartier is a bouillon, one of a few surviving members of a class of mid- to late 19th-century Parisian restaurants that specialized in hearty faire — especially meaty soups and broths. The low prices at the bouillons attracted workers, artists and shopkeepers in and around the sprawling food markets of Les Halles during the period of rapid commercial expansion during the Second Empire.
Credit for the creation of the bouillon (pronounced “bul-yon” in French, with a silent “n”) goes to Pierre-Louis Duval, an enterprising butcher whose first “broth Duval” opened in 1855. By 1900, the year of the Universal Exposition in Paris, there were hundreds of bouillons in Belle Epoque Paris, some fancier than Duval’s originals (Art Nouveau interiors were the rage), catering to the increasingly affluent bourgeoisie.
It’s well documented that the modern restaurant (the word and the place) evolved from the restorative meat broths (called restaurants in French, pronounced “res-toe-rone“) served at “health food” establishments in Paris beginning in the late 18th century. Going back still further to the 15th century, a very interesting recipe for a “restaurant” is documented in Rebecca Spang’s fascinating book “The Invention of the Restaurant” (2000).
The recipe is from the French master chef, Chiquart Amiczo, in his cookery book, “Du fait de cuisine” (1420). Amiczo’s instructions call for cooking a freshly killed chicken in an alchemist’s glass kettle along with 60 gold ducats. Not exactly the recipe my grandmother used when she made her famously golden chicken soup to cure my colds.
Courting the golden bouillon
Today’s Café French lesson explicates the linguistic trajectory between bouillon/broth and bullion/gold, health and commerce, restaurants (restorative broths) and restaurants (dining establishments).
La Vie en Rose
One in a series of graphic explorations of French language, food and culture
The English pronunciation of bouillon, with a hard “n”—yone — is the same as for the English word bullion. Bullion, usually in the form of gold bars (ingots in English and lingots in French) has no linguistic faux ami in French (literally, false friend, or “unrelated sound-alike”). Both words, bouillon and bullion, derive from the Latin bullire — to boil or make bubbles.
Compare: To make gold bullion one has to “boil” the gold to liquefy it for the ingot molds. To make a golden court-bouillon (“quick bouillon,” pronounced “coor-boo-yone“), the vegetable-based broth used for poaching fish and light meats, one boils carrots, celery, onion, parsley, bay leaf, thyme and lemon in water, adding white wine or vinegar. Gold ducats optional.
Or one can cheat and avoid culinary/alchemical complexity by using dehydrated bouillon cubes (in French, bouillon cubes), like the Kub Or (gold cube) brand from Maggi, a French division of Nestlé Global.
Follow the monnaie
The pot thickens! Let’s look at a small slice of French history that is as startling as it is inconsequential, the almost simultaneous arrival of two men to the court of King Louis XIII (son of Henry IV) in the first half of the 17th century, one named Bullion and the other Bouillon. (You can’t make this stuff up.)
Claude de Bullion was a French aristocrat who served as Minster of Finance under Louis XIII from 1632 to 1640. He is credited with the creation of the Louis d’Or gold coin, which replaced Spanish doubloons, then in use in France for their coined money — monnaie (pronounced mon-et, as in, “A Monet costs beaucoup de monnaie“). At least one authoritative source insists that the etymology of the word bullion derives from Lord Bullion’s name.
Henri de la Tour d’Auvergne, the Duc de Bouillon, was born in 1555 into the royal line associated with the Duchy of Bouillon in northeastern France, which later became incorporated into Belgium. Today, the Dutch city of Bouillon attracts tourists to its medieval castle, Château de Bouillon. Louis XIII was still a boy in 1610 when the Duc de Bouillon became a member of the Council of Regency and a favorite of the Queen Regent, Marie de Médici.
I have found no evidence that Bullion and Bouillon knew each other, but it’s interesting to speculate about what might have happened when M. Gold met M. Broth.
Taking stock at Chartier
Seated at a small table at Chartier, I find no bouillon on the menu — no soup, potage or consommé of any kind. My waiter explains that the weather is too hot for soup. Imagine a Parisian cafe on a hot summer day with no café crème!
But as disappointed as I am, I can almost taste the history of Parisian broth in Chartier’s Belle Epoque interior. You feel as if you have traveled back to the Paris of Emile Zola’s “The Belly of Paris,” his novel set in Les Halles and the market stalls, charcuteries and bistros of the Second Empire.
During that extraordinary period, Duval’s chain of bouillons had made him a “bouillonaire.” But his son, Alexandre, according to fellow Francophile, Susan Griffin, author of “The Book of Courtesans,” squandered much of the family’s wealth on the notorious and exquisite courtesan, Cora Pearl.
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When Pearl dumped young, naive Duval, he tried to shoot her with a pistol that miss-fired and almost took his own life instead. The scandal that rocked tout Paris tilted in favor of the scorned Duval and brought down Pearl. The “affaire Duval” was a wake-up call for the bouillon heir who recovered and rebuilt his broth empire.
The golden age of Parisian bouillons is past, along with courtesans, Art Nouveau and the Belle Epoque. The fabled Bouillon Chartier is, at least today, a sad and soupless shadow of its former self. Luckily for cafe and coffee lovers, the thirst for hot coffee, a universal, all-weather restorative brew, will never dry up.
Main illustration credit: L. John Harris
I am planning to compile a personal cookbook — not for publication, but rather as a private collection of favorite recipes to give to family and friends. The idea has been brewing ever since I got a phone call from a son at college who wanted to know how to make “skinny fries,” a potato recipe he’d grown up with. At other times I get requests from friends for how to make a particular dish they had at my house. Although some of the recipes I will be compiling are for family dishes that were passed down to me, many come from cookbooks or magazines, recipes I probably tweaked before deciding they were perfect. What makes my cookbook personal, of course, is that it will reflect my particular tastes in food, leaving out ingredients I do not like, and going heavy on the types of dishes I love.
We all know that the world has become flooded with recipes so that selecting the best of them is challenging and time consuming. I have spent years accumulating thick files of favorites I culled after having tried so many other recipes that were similar but not as good. So I see my collection as a worthwhile service to loved ones by offering them what I consider to be the best of the best. It took years, for instance, to find the perfect chocolate cake, a dessert I now bring to potluck gatherings where I am always besieged for the recipe. I also have a biscotti recipe that experienced biscotti eaters tell me is the best they have tasted. I have recipes that were handed down by the women in my family, and passing these along gives me a sense of continuity and order. These include recipes for a winter soup made with beans and meat, and a meatloaf made light and fluffy because of its secret ingredient — a grated raw potato.
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I routinely hear tales from friends who regret not getting their grandmother’s recipe for a dish they continually think about, but don’t know how to make because no one in the family thought to jot it down. It would have required trailing after grandma in her kitchen, and managing to measure and write down what she instinctively threw into a pot. I have even heard stories about grandmothers who will not give out their recipes, or if they do, will deliberately leave out key ingredients. Their motivation seems to be the hope that family members will continue to visit and eat what they cook. My expectation for myself is to have it both ways — to continue to please my visiting family members with the dishes they love and then to hand them all copies of the recipes.
It’s ‘CSI: The Kitchen’
I have seen compilations of family recipes assembled by other people, and they tell me a lot about the person who put the collection together. They add up to what I think of as a food profile. Just as FBI profilers can speculate about perpetrators of crimes by analyzing clues left behind, I feel I can gain insights into a person by examining the foods they choose to eat. But the work of a food profiler is far more pleasant — investigating noodle puddings and fruit pies rather than bullet holes and blood spatters. I have noticed, for instance, that books filled with dishes for grilled meats strike me as man pleasers or may even have been created by men. Ethnic backgrounds are also easy to spot — loads of pasta recipes with tomato sauce suggest Southern Italy, while yeast breads and coffeecakes using cardamom say Scandinavia.
Regional recipes are striking when, for instance, books recommending sweet tea and directions for such desserts as triple-layer coconut cake and sweet potato pie announce old-time Southern cooking. Recipes using such stylish grains as farro and quinoa and a wide variety of herbs and spices suggest an adventurous eater, while those relying mainly on salt and pepper for seasoning strongly hint that the eater has conservative tastes. And there are subtle clues. If many of the recipes yield eight or more servings, I deduce that the person either has a large family or entertained frequently, and the reverse is true. Recipes serving just two indicate a more private lifestyle.
My personal food profile
If I were to be food-profiled, the absence of cilantro, the herb people seem to either love or hate, would herald my aversion to the thing. Also noticeable would be my preference for cooking with olive oil rather than butter, and that an indifference to butter and cream carries over to desserts that omit whipped cream. Recipes for candy and cookies will lord it over puddings and tarts. My book will contain anecdotes, tributes to my sources for recipes, and nostalgic comments about the people whose recipes I am reproducing. I would hope to be seen as someone with a generous spirit, but most of all I would like to be seen as someone with a respect for history. I long ago learned that history is not just about the actions of presidents and kings but about the aspirations of regular people, and personal cookbooks can be a key to understanding how these people really lived.
Chocolate Chip-Pecan Biscotti
(Adapted from “Cooking With Les Dames D’Escoffier” cookbook)
Prep time: 30 minutes (this includes the slicing before the second baking)
Chilling time for dough: 3 hours
First baking: 45 minutes
Resting time between bakings: 1 hour
Second baking: 25 minutes
Total time: 5 hours 40 minutes
Yield: 48 biscotti
3 cups all-purpose flour
1 teaspoon salt
1 teaspoon baking powder
¼ teaspoon baking soda
10 tablespoons (1¼ sticks) unsalted butter at room temperature
1⅓ cups granulated sugar
3 large eggs divided
1 teaspoon vanilla
3 tablespoons milk
1½ cups miniature chocolate chips
1½ cups chopped pecans
- Whisk together the flour, salt, baking powder and baking soda in a medium bowl. Using an electric mixer, beat the butter and granulated sugar in a large bowl until blended. Add two of the eggs, one at a time, beating just to blend after each addition. Beat in the vanilla and milk, then the flour mixture. Stir in the chocolate chips and pecans.
- On a lightly floured surface, divide the dough into 3 equal portions. With lightly floured hands, form each portion into an 8-inch long log and flatten it to 2½ inches wide; place each log on a piece of plastic wrap large enough to cover the dough. Wrap in the plastic and chill for at least 3 hours or up to 3 days.
- Position oven rack in the upper third of the oven. Preheat oven to 325 F. Line a heavy, rimmed baking sheet with parchment paper. Unwrap the logs of dough, leaving them sitting on the plastic. Beat the remaining egg well to make a glaze. Brush the tops of the logs with the glaze and place them on the parchment-lined sheet. Space them 2 to 3 inches apart since they will spread. Bake 45 to 50 minutes until golden brown and just firm to the touch. Let logs cool completely for at least an hour.
- For the second baking, heat oven to 300 F. Line one or two sheets with parchment paper. With a long serrated knife, cut the logs crosswise into ½ to ¾ inch slices. Arrange biscotti on the sheets, putting the ends cut side down. Bake for 15 minutes and then turn them over and bake for another 10 minutes. Cool and store.
Variation for cranberry-pecan biscotti: Omit chocolate chips, vanilla and milk. Add 1½ cups dried cranberries, 3 tablespoons lemon juice and 1½ tablespoons lemon zest. The rest of the directions are the same.
Main photo: Chocolate Chip-Pecan Biscotti. Credit: Barbara Haber
In our house, asking for cherry pie means one thing: sour cherry pie. Just as there are “eating apples” and “cooking apples” that differ in acid level and sugar content, these same differences exist between cherries. Sweet cherries — like eating apples — are delicious raw. Sour cherries, with their higher acid level and lower sugar content, will make you pucker if you pop them into your mouth straight off the tree. While a pie made with sweet cherry varieties (such as Bing or Rainier) can be cloying, a pie made with Montmorency or North Star cherries has the perfect balance of sweet and sour.
It’s been my experience that people who say they don’t like cherry pie have never tasted a sour cherry pie. Surprisingly few folks know that sour cherries exist, partly because it’s hard to find sour cherries (Prunus cerasus) in many parts of the country. Sour cherries, also called tart cherries, are thought to have originated in the region between the Caspian and Black seas. Cherry trees still grow wild in that area, which includes part of Russia, Georgia, Armenia and Azerbaijan. The Greeks were cultivating sour cherries by 300 B.C. and the popularity of these tart cherries spread quickly to Italy and throughout Europe.
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French colonists brought sour cherries to North America and by the mid-1600s cherries were plentiful in Virginia, my home state. Today most sour cherries commercially grown in the U.S. are produced along the Great Lakes in western Michigan, as well as in parts of Wisconsin, New York and Pennsylvania.
My love of cherry pies came early courtesy of my mother. She truly is famous for her pie baking skills — at least in her Virginia town where the local paper has profiled her and her homemade pies. She has forged some deep relationships with local sour cherry growers, who reserve gallons of cherries for her each summer. Even in a bad winter – like this last one, which killed off much of the cherry crop — my mother somehow leaves a supposedly “sold out” orchard with brimming boxes of cherries unavailable to the typical customer.
The harvest season for sour cherries is short — just a few weeks at the end of June and early July. This delicate fruit doesn’t ship or store well, so the first step in making pies for the rest of the year is preserving the fruit. Sour cherries may be canned in the traditional way, but it’s even easier to freeze them.
Although my mother often gets gallons of cherries at once, she freezes them in small batches. Seeding cherries is no small effort and it’s nice to spread the work out over a longer period of time. But the biggest advantage to this method is that you can freeze the precise amount of seeded and sugared cherries you need to make one pie. My mom actually prefers making pies from frozen cherries because it’s easier to control the amount of juice that goes into the pie filling if you separate the liquid from the cherries during the thawing process.
How to preserve sour cherries
To freeze, wash and seed four cups of cherries and place them into a large bowl. Sprinkle cherries with ½ cup of sugar, stir to combine, and let rest for 30 minutes. Freeze sugared cherries in 1.5-pint freezer containers or quart-sized freezer bags. Be sure to label your containers with contents and dates. Frozen cherries can be stored for up to one year. When taking frozen cherries out to thaw, put them in a colander with a bowl underneath to collect the juice.
If dealing with fresh sour cherries seems like too much work or sourcing them is an impossibility, you can often find jarred or canned sour cherries at Trader Joe’s or Middle Eastern markets. These canned sour cherries are usually Montmorency cherries and they’ll work fine. Just be sure that you’re not buying cherry pie filling, which is usually more sugary goop than cherries.
The hardest part of making a sour cherry pie is finding the cherries, but making cherry pie does require a certain amount of practice. The following recipe comes straight from my mother. I cannot guarantee that it will make you the focus of local newspaper profiles or will make your kitchen a place where neighbors drop in simply on the off-chance they can get some pie. But it will make you a convert to sour cherries.
Recipe courtesy Linda Lutz.
- 2 quarts sour cherries (fresh or frozen)
- 1 cup and 1 teaspoon granulated sugar
- 3 cups plus an additional 4 tablespoons all-purpose flour
- 1 teaspoon plus a pinch of salt
- 1 cup vegetable shortening
- 1 egg, beaten
- ⅓ cup plus 1 tablespoon cold water
- 1 tablespoon white vinegar
- ¼ teaspoon almond extract
- 1½ tablespoons butter
- Wash and seed cherries.
- Place about 4 cups fresh sour cherries into a medium bowl and add ½ cup of the sugar.
- Let sit for at least an hour to allow cherries to draw juice, stirring occasionally.
- To make pie dough, place 3 cups of the flour and 1 teaspoon salt into a large bowl.
- Measure 1 cup vegetable shortening and add in small pieces to flour mixture. Using the tips of your fingers, pinch the shortening into the flour mixture until the flour-covered fat balls are the size of slightly flattened peas.
- Beat one egg in a small bowl. Add water and vinegar to beaten egg and stir to combine.
- Slowly pour liquid into flour mixture, stirring gently with two fingers until all liquid is added. Have a light touch with dough to keep it flaky. Stir no more than is necessary to work dough into a ball.
- Divide dough into three parts and shape into flat rounds. Wrap dough in plastic wrap and refrigerate while you making pie filling.
- Drain cherries into a colander, reserving juice.
- In a saucepan, combine ½ cup sugar, 4 tablespoons of flour and a pinch of salt. Slowly stir in reserved juice.
- Cook mixture until it begins to thicken, then add cherries, almond extract, and 1½ tablespoons of butter. Cook over medium heat for 5 minutes.
- Remove cherry filling from the heat and let cool while preparing pie dough.
- Take two rounds of pie dough out of refrigerator and unwrap them.
- Working with one round at a time, roll pie dough out on flour covered pastry cloth or countertop.
- When the round of dough is about half its needed size, use fingers to pinch any cracked edges back together. Continue rolling dough until it’s large enough to cover your pie pan. Dough should be no more than ¼ inch thick, but a generous 1/8-inch thick is even better.
- Place first round of dough into bottom of pie pan and roll out the top crust using the same method.
- Pour cherry filling into pastry lined 9-inch pie pan. (My mother prefers a glass pie dish so she can see how the bottom of her crust is browning.) If filling appears too thick at this point, add a bit of water before pouring filling into pie crust.
- Cover with top crust and cut approximate10 half-inch long slits in the top crust.
- Sprinkle the top of the pie with 1 teaspoon of granulated sugar.
- Cover the outer edges of the pie crust with aluminum foil or a metal pie edge protector to keep the edges of the crust from burning.
- Bake at 425 F for 35 to 45 minutes or until golden brown. If top crust seems to be browning too quickly, lay a piece of aluminum foil over the top of the crust for the last 10 minutes. Let pie cool before serving.
You can use up to 1½ cups sugar, but we like cherries pies tart. Extra round of pie dough can be frozen for future use. Keep dough round in plastic wrap and place in a freezer-safe plastic bag. Pie dough will keep in the freezer for several months.
Main photo: Mom’s Sour Cherry Pie is always a crowd-pleaser. Credit: Susan Lutz
Chef Giacomino Drago smiles a lot. The youngest member of a family of cooks to immigrate from Sicily, Drago, along with his brothers, has opened a dozen restaurants in Los Angeles, many in Beverly Hills, over the past four decades.
A contributor to the “Beverly Hills Centennial Cookbook,” Drago declares that using the highest quality, freshest ingredients is the essence of Italian cooking. In his video he demonstrates an easy-to-prepare, classic Italian panzanella salad with diet-friendly spelt instead of bread.
Drago enjoys cooking. He smiles as he drops a handful of spaghetti into one of the half dozen pots of salted water on the stove and when he quickly renders a red onion into a mound of thin, pungent ribbons.
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Come to Italy, he says, and one of the first salads you will eat is one made with vine-ripened tomatoes, basil, red onions, extra virgin olive oil, red wine vinegar, and salt and pepper. Simplicity, he says several times, is the essence of Italian cooking. Find the freshest, highest-quality ingredients and prepare them in what Drago calls the rustic way, roughly cut so the dish is not overly fussy. The result is delicious, healthy food that is easy and fun to make.
A panzanella salad is the perfect dish for summer. To pursue the “current fashion,” as he puts it, he has traded spelt for bread in a signature salad at Via Alloro in Beverly Hills. He chose spelt because it has a refreshing texture and nutty quality that contrasts well with the acid of the tomato and vinegar. A heritage grain and cousin to wheat, spelt was developed hundreds of years ago as a flour in bread making. High in protein and fiber, Drago says spelt is heart-healthy because it is high in niacin. Because “panzanella” refers to a bread (“pane”) salad, it might be more accurate to call chef’s creation a speltzanella.
Chef Drago loves all his restaurants. But he designed the kitchen at Via Alloro in a special way. The area where the line cooks work is a horseshoe space with stoves in the middle and counters running along the walls. There are no dead-ends in this kitchen. Moving efficiently Drago and Executive Chef Paolo Sicuro prepare dishes with an unhurried ease, transferring their love of cooking onto the plates.
Fresh tomatoes are key to the flavor and pleasures of the salad. To protect the tomatoes’ richness of flavor, Drago insists they must never be refrigerated. That is why buying tomatoes from farmers markets is so important. Supermarket tomatoes may have been refrigerated for days, even weeks during their journey from the field to your kitchen.
Drago is precise about his cooking but flexible in terms of ingredients and seasoning. When cooking at home, he encourages that you use only ingredients you enjoy. If you do not like onions, don’t use them in the salad. The same goes for cucumbers and ground black pepper.
To capture all the tomato juice, chef cuts the tomatoes over the bowl. Use a variety of tomatoes for contrasts in shape, color and flavor. For the demonstration, Drago and Siruro used vine ripened, cherry and grape tomatoes. Yellow and heirloom tomatoes could also be added for contrast. To make the onion slices more “friendly,” Drago suggests double rinsing in water. This will result in a more mild flavor. Not widely available, spelt berries can be purchased in specialty markets and ordered online from purveyors such as Bob’s Red Mill. Cooked like pasta in boiling salted water, kosher salt should be used for the cleanest taste. Chef Drago uses English or hothouse cucumbers for the dish. If those are not available, Persian cucumbers would be a good substitute because they have a lower water content than garden cucumbers. The spelt may be cooked ahead and refrigerated. The other ingredients should be prepared immediately before serving to preserve their freshness.
- 3 tablespoons spelt
- 2 medium-sized tomatoes, washed, stem removed, cut into a small dice, reserving the liquid
- 5 cherry tomatoes, washed, quartered
- 5 plum tomatoes, washed, quartered
- 1 small hothouse cucumber, washed, skin on, a small dice the same size as the tomatoes (optional)
- ¼ medium red onion, washed, root and stem removed, thin sliced (optional)
- 4 fresh basil leaves, washed, pat dried, roughly torn or chopped
- 1 tablespoon kosher salt
- Pinch of salt to taste
- Pinch of freshly ground black pepper to taste (optional)
- 4 tablespoons extra virgin olive oil
- 1 tablespoon red wine vinegar
- Add kosher salt to three quarts of water. Bring to a rapid boil. Add spelt. Boil uncovered 30-50 minutes or longer depending on the desired doneness. Taste at 30 minutes to determine what is al dente for you and then again at 10-minute intervals until you reach the texture you like. I prefer cooking the spelt 50 minutes. Drain and set aside to cool
- Using a sharp paring knife, cut the tomatoes over the salad bowl to capture all the juices.
- Cut the skin-on cucumber into pieces similar in size to the tomatoes and add to the bowl.
- Slice the red onion. Submerge in cold water, rinse, drain, submerge in fresh cold water, rinse and drain. Add to the tomatoes and cucumbers.
- Add the cooked spelt berries.
- Roughly chop the basil leaves or tear them with your hands. Add to the salad bowl.
- Toss the spelt, vegetables and aromatics with the extra virgin olive oil and red wine vinegar.
- Season with sea salt to taste and freshly ground black pepper, as desired.
- Serve as a salad or a side with grilled meats, fish and poultry.
Of the American cities traditionally associated with cake — New Orleans with its King Cake, St. Louis with its gooey butter cake, Boston with its misnamed cream pie — Denver has never rated particular mention. But when that changes — and it will — it will be thanks to native daughter Heather Alcott and her extraordinary efforts to bring Baumkuchen to the U.S.
Though Baumkuchen has ancient roots and a long history in Europe, the concentrically layered cake has become a phenomenon in Japan in recent years. That’s where Alcott discovered it a few years ago, on a visit while living in Singapore, and immediately “fell in love,” she recalled.
Bringing Baumkuchen to U.S. proves to be no easy task
“It’s cooked on a rotisserie, so it isn’t fried, yet it has this doughnut-type texture. … I went back to the hotel and started doing some research that evening,” she said. Upon learning “everyone has had a hand in this cake — the Romans, the Germans, the Romanians — I thought, ‘This is something pretty special.’ And I knew I wanted to be the first person in the country” to offer the commercial Japanese version.
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She became just that in February 2013, when she opened Glaze: The Baum Cake Shoppe — the name by which the online-retail business is still known, though the brick-and-mortar eatery is now a sushi-and-dessert lounge called Glaze by Sasa, in partnership with local Japanese eatery Sushi Sasa. Centered around the Red Dragon, her nickname for the 2,200-pound, custom-built oven outfitted with six spits, Alcott’s success has captured the attention of national media, including NPR. But the sheer lengths she went to to realize her dream make for a story in themselves.
Consider that the seemingly straightforward first step, signing a contract with the oven manufacturer, took more than two years. Even learning the name of the family-run company took some legwork, Alcott said. To this day she prefers to maintain its anonymity, and her first overture, by email in English, resulted in a flat refusal.
“I got a one-line response that said, ‘Thank you for your interest, but not right now. We’ve got a lot of growth already, and we’re just not ready for the USA.’ ” So she hired a translator and tried again, this time in Japanese. Clearly, her gesture was appreciated, as the team continued to respond, but there were “a good eight months of going back and forth” before a meeting was agreed to, and a year after the initial contact before it finally occurred.
“I took my husband with me to Japan,” Alcott explained, “because he has business experience there; he knows their style. First you go out for drinks and see if you even like each other. They hired a translator, and we could tell there was something there, so — many sakes later — we arranged for me to show them my business plan the next day.”
The result? “They ended up rejecting me. They didn’t understand Denver at all.” But they asked her to come back in a couple of months; by that point, they’d done some research on the market. “This time, they said, ‘Why not New York or San Francisco or Seattle?’ I said, ‘You have to trust me with this.’ They could see it in my face; I loved this product. But Denver is my home; I had to make it work here.”
Still, another no. Alcott admits that if she’d been living in the States, she’d have given up at this point. But because she was “on their back doorstep in Singapore,” she pushed onward — and finally, the company president agreed to build the oven.
“I’ve since been told that the Japanese reject you three times before they accept you,” she said, laughing.
Getting the Baumkuchenmeister seal of approval
The second step was for Alcott and her pastry chef to go through the certification process, training with the manufacturer’s Baumkuchenmeister and not only learning the recipes but adapting them for use in a high-altitude American kitchen. That meant more international flights, more translators and months of ingredient adjustments as Alcott began her search for the perfect organic cultured butter, matcha (green-tea powder) and so on.
“They flew over here to test and weigh my eggs! They had to be fresh and just the right size — not too large, not too small. I had to fly over my almond flour, cake flour, sugars. It probably looked like we were shipping cocaine,” Alcott joked.
But every little detail made a difference: “If the batter’s too runny or too thick, it won’t stay on the spit.” In the midst of all this, she received a call from the president: “They said, ‘The oven just isn’t perfect enough. We have to take it all apart and start over.’ ”
Eventually, of course, that darned oven did arrive in Denver. “I actually hugged it before it got on the boat from Japan,” Alcott said. Once it was installed behind glass in her Congress Park space, “the president, his top engineer and his top chef all flew out to turn it on for the first time,” per a contractual agreement. “We all cheered.”
It’s hard to believe that the drop-dead gorgeous, luscious-but-refined Baumkuchen cakes Glaze now turns out are infused with such blood, sweat and tears. Each takes 24 hours to make; the pastry chefs shoot for 21 layers, but the final tally can depend on everything from the base flavor (“the chocolate is so fluffy, it sometimes has to be pulled earlier”) to local weather conditions.
They also experiment with new flavors, such as orange and pumpkin. Surprisingly, “the Japanese are so supportive; they love the innovation,” Alcott said. “We have become the test kitchen for Baumkuchen in this country.”
While we Denverites are lucky to have them, you can purchase Glaze’s products too. But don’t hold your breath for a brick-and-mortar outpost anytime soon. As Alcott put it, “I take this opportunity I’ve been given day by day.”
Main photo: Baumkuchen is cooked on a rotisserie. Credit: Adam Larkey Photography
We live in a time when child hunger operates undercover. We rarely see the images of sunken eyes and distended bellies that we commonly associate with hunger. Yet many of America’s children face the double blow of being undernourished and overfed. One in five is food insecure and one in three is overweight. They get plenty of calories, fat, sugar and salt in their daily diets, but not enough of the vitamins and minerals required for their growing bodies.
Such a complicated problem requires a multi-pronged approach, and FoodCorps aspires to be part of the solution. Our nationwide team of young adult leaders tries to provide kids access to “real food” that will help them grow up healthy. We do that by teaching kids about foods that are locally grown and nutritious, based on the USDA’s MyPlate recommendations.
In addition, we teach them how to cook such foods and grow them themselves in their school gardens. We also help introduce these foods into their school cafeterias since kids spend most of their time at school. Schools also happen to be where low-income children consume the most calories each day, so it’s a good place to begin fostering life-long healthy habits.
Postville, Iowa, the community I serve, calls itself the “Hometown to the World.” A small town in northeast Iowa surrounded by farmland, Postville is full of diversity with families from Mexico, Guatemala, Kenya and beyond. Almost 80 percent of the students served by the Postville Community School District receive free or reduced-price lunches. Knowing that so many families depend on these meals — and not knowing what foods are available at their homes – makes the food served at school even more vital. It must be fresh, healthy and satisfying.
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Nutrition education is one part of FoodCorps’ approach to solving both hunger and obesity. Iowa’s Department of Public Health offers a program called Pick a Better Snack. I visit 11 elementary classrooms each month to teach students about a new fruit or vegetable, often one that many of them have never tried. Through such encounters, students learn how fiber regulates their digestion and why they need at least five servings of fruits and vegetables every day.
In March, I offered the students samples of three vegetables: cauliflower, celery and purple cabbage. After telling one class that I couldn’t give them more because they were going to lunch right after, one girl proclaimed, “But we’re just trying to be healthy!”
Tracking food’s path from seed to plate
FoodCorps also tries to create a connection between children and the path food takes from seed to plate. Postville has a large community garden, an oasis in a landscape dominated by corn and soybean fields. A few community volunteers and I help kids from the 4H Club as they plant vegetables in the spring, maintain them through the summer and then, come fall, harvest them for the school lunch line. The kids have seen the kohlrabi they have harvested appear in the cafeteria’s “extras” line, which gives them a sense of accomplishment by providing real food for themselves and their classmates.
Finally, FoodCorps’ approach gives students the chance to actually eat foods grown by local farmers. This has prompted changes in school kitchens. In Postville, there has been a shift in the cafeteria climate: using scratch cooking instead of ready-to-eat. The kitchen staff no longer simply unwraps and reheats food. This requires more staff, more equipment, more time. Change has been slow; gone are the days of chicken nuggets and french fries, and at first, the kids complained.
Nowadays, though, I see them making connections that they may not have before. They know that the purple cabbage I serve them during snack time is the same kind that they tried during the Purple Power Wrap taste test last month, and that purple cabbage can be grown right in their community.
Hunger is a complicated issue that will require changes in our economy, politics and society. For hungry children, those things don’t matter in the short-term. But by working in the schools, where children often eat two of their meals and usually a snack or two, FoodCorps is helping educate them about making healthier choices as well as teaching them to grow a thing or two for themselves.
FoodCorps Service Member Ashley Dress won the 2014 FoodCorps Victory Growers Award “for a compelling account of hunger and food insecurity,” winning a $5,000 prize for her service site, the Northeast Iowa Food and Fitness Initiative. The award, sponsored by C&S Wholesale Grocers, highlights that many children struggle with hunger and food insecurity, and that the food they receive at school is the most important meal they will get all day.
Funding for FoodCorps is provided by the W.K. Kellogg Foundation, AmeriCorps, and a diverse array of private and public donors, including the National Center for Appropriate Technology (NCAT). NCAT is the host for FoodCorps in Iowa, working with local partners in Cedar Rapids, Davenport, Decorah, Des Moines and Waterloo. Find out more about NCAT and the FoodCorps team in Iowa at www.facebook.com/FoodCorpsIowa or https://www.ncat.org/midwest/
Main photo: Ashley Dress helps Addison Neville, a preschooler at Iowa’s St. Joseph Community School, plant pepper seeds. Credit: Teresa Knutson
What can a home cook take away from the Modernist Cuisine’s food movement? Personally speaking, I have not bought a Pacojet or a whipping siphon, though I know one or two home cooks who have done so. I did find a kit online that included lecithin powder (for foams), agar agar (a forerunner of gelatin made from seaweed), calcium lactate and sodium alginate (for balloons). One hilarious afternoon was spent concocting Balsamic Pearls and Mojito Balloons, but that was as far as it went.
A two-part series
It has inspired in me a new Modernist “Ten Commandments,” motivated by the version that journalists Henri Gault and Christian Millau laid out more than 40 years ago on the fundamentals of nouvelle cuisine. My first five Modernist commandments appeared in Part 1 of this series. These are the final five:
Rule VI: Explore fantasy. Symbolism is a recurrent theme in Modernist Cuisine. Modernist chefs love to turn the world upside down and you never know what you may find. Ferran Adrià’s giant white globe, when cracked, shatters like an edible eggshell, but what looks like white chocolate proves to taste of gorgonzola cheese. At Alinea restaurant in Chicago, ayu tuna is perched on a giant, dense black morel mushroom, the ocean and the earth. Amid the drama and intrigue of Modernist dishes, appearance is often left to speak for itself. You can take or leave Adrià’s desiccated Braque-like skeleton of a real fish on your plate; it has no garnish at all. (“Ugh,” a friend said.)
Rule VII: Be inventive. Modernist Cuisine is certainly amusing. Who could not smile at Alinea’s bottomless “plate” supporting a liquid truffle ravioli, a single, earthy bite that explodes in the mouth. Often in Modernist Cuisine, things are not what they seem — at the U.K. restaurant The Fat Duck, a trio of tiny retro lollipops proves to be an apple sorbet with walnut and celery; a chilled mousse of foie gras; and oddest of all, a striped ice cream of avocado and salmon flavored with horseradish. Modernist cooking implies a sense of adventure. I cannot honestly say that I enjoyed Red Cabbage Gazpacho with a Grain Mustard Ice Cream at The Fat Duck, but it sure made me pay attention.
Rule VIII: Play with temperature. Only in the last 100 years have chefs been able to play with hot and cold when cooking and serving food. Today’s precise temperatures and timings have opened a whole new world. Professional kitchens have become laboratories demanding a new approach to cooking. This leads to playful presentations such as Adrià’s white chocolate soufflé that evaporates into thin air within five minutes, or the Roca brothers’ anchovy stuffed olives dipped in caramel.
Rule IX: Avoid static presentation. For Modernist chefs, presentation can be a challenge. The landscaped plates of nouvelle cuisine, and the towers on the plate that came later, are gone. Today’s eyes are sated with the movement and color we see on all sides at all times. In the dining room, the solution seems to be a return to nature with wood, slate, green leaves, trees, rocks and pebbles; glass is a strong component that extends to the table itself and the general surroundings. Many chefs opt for simplicity, with small plain white plates (often in curious shapes) geared to tiny portions that speak for themselves. At Spain’s elBulli (sadly now closed), even the flatware was miniature.
Rule X: Keep the diner busy. Finally, expect to participate in a Modernist meal. You will be asked to stir, crush and crack the food in front of you, and often to eat it with your fingers. You may be blindfolded, or asked to lick the anonymous purées in an array of tiny spoons. At Alinea a balloon floated to my table and it was an effort of will to pop and devour the sphere of apple taffy tied with a fruit leather string, as instructed. I’ve always been an inflator, not a popper of balloons.
Reflections on the Modernists
The Modernist Cuisine’s practitioners are an odd lot. Most stay behind the scenes, sometimes greeting at the door, more often leaving a more personal relationship to be established by the server.
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In Europe, service tends to be discreet, so on a recent visit to Alinea I was touched that chef Grant Achatz himself created a chocolate pie with a sweet pastry crust on our tabletop. This gave us a chance to talk, a pleasure he repeated for every table, not just for special guests.
Just three days after my visit to Alinea, I heard the grand master of them all, Adrià, speaking in Chicago. He is credited with originating the whole Modernist movement and has trained many of the younger exponents. Adrià is a communicator, a ball of fire on the podium and in the kitchen, and he is the inspiration behind an online culinary encyclopedia to be called the “Gastropedia.”
What is there to be taken from all of this? Just as nouvelle cuisine is now long forgotten, it may turn out that the abstract, technically tricky concepts of Modernist chefs never have wide application. But right now, their vision and enthusiasm is trickling down to the tables of every hot spot in Hollywood. Their small plates and global ingredients are already creating a new world of cooking and eating. We are more adventurous and more curious. We are better informed about food. Cooking is becoming more a part of our lives, and a mom or pop actually cooking in the kitchen is coming closer to reality. Or so I would like to think.
Main photo: Lollies from The Fat Duck restaurant. Credit: La Varenne archive
It was almost 40 years ago in Paris that I opened La Varenne Cooking School, and the nouvelle cuisine movement was sweeping France. Today we’re in the midst of similar radical change, and novelties are exploding, literally, on our plates in the movement called Modernist Cuisine. To be asked to taste pop rocks in the palm of your hand that turn out to be Parmesan cheese is really very odd — and provocative. So is a pocket watch, marked with the hours, that is designed to dissolve in a bowl of hot consommé.
A two-part series
A dozen top chefs around the world — José Andrés and Grant Achatz in the U.S., Heston Blumenthal in England, the Roca brothers and Ferran Adrià, the father of them all, in Spain, together with a handful of others — share the same culinary principles, and often the same ideals. The original fundamentals of nouvelle cuisine were laid out by two journalists, Henri Gault and Christian Millau, who named them the “Ten Commandments.” It inspired me to consider the Ten Commandments of Modernist Cuisine. Here, in Part 1, are the first five, and in Part 2, we’ll look at the final five.
Rule I: Appeal to all the senses. You can count on a Modernist chef to tickle every sense. Tastes roam freely among such favorite ingredients as sea urchin, anchovy, olive, wild game, liver, blood, lemon and honey. At the table, we’re kept busy, mixing and matching mysterious seasonings, dried powders, foams, marinades and dips. Our Modernist noses tingle as casserole lids and glass bells release the pungency of fresh truffle or the lemon vapor from a single whole scallop in its shell. We listen too to the crack of a breaking crust, or the snap of shattering ice. At Achatz’s Alinea restaurant in Chicago my ears perk up at the trickle of water beneath the mini-iceberg sheltering foamed-topped Kumamoto oysters. The same multi-sensory appeal is true of our favorite traditional foods. Modernist cooks are simply exploring more ways of doing it.
Rule II: Explore the global cooking landscape. Modernist chefs are global players; they seek ingredients, staff and, most important, inspiration from all over the world. Often they themselves have trained away from home, gathering knowledge of new techniques and multinational styles of cooking. Top kitchens welcome bright young people who are willing to learn new ideas and work hard, and many have waiting lists of applicants.
Leading chefs have always enjoyed passing on their knowledge to the next generation, but today it is different. The students come from all over the world, they are younger and half a dozen languages may be used in the kitchen. This means that culinary knowledge — techniques, ingredients, cultural backgrounds — is now flying around the globe. At the very top restaurants, the diners too come from a multitude of countries, lining up for a year or more for a table.
Rule III: Create another world. All four of the Modernist restaurants I’ve visited pulled me into their own world before I’d even stepped inside the door. In a couple of cases it amounted to a long, featureless entrance corridor cutting off the outside from the splendors to come. Britain’s The Fat Duck lives in its own environment, surrounded by cottages in an archetypal English village. The now-closed elBulli in Spain involved a minor pilgrimage up and over a deserted hillside (except for the sheep) to arrive at an unobtrusive seaside villa on the Mediterranean.
Rule IV: Escape into a new landscape. The Modernist menu is formless with little sense of beginning or end and you will have no written list as guide. In a while, after say eight courses of what may become 15 or even 30, the meal becomes a timeless fugue, an ebb and flow of blending and contrasting dishes. In principle, fish comes first and sweets last, but this pattern is interrupted all the time. Japanese kaiseki banquets follow a similar theme. Indeed there are many parallels with the Japanese and Modernist tradition, particularly with the unobtrusive decor, designed to focus on the food itself.
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Rule V: Take advantage of technology. New techniques are so much a part of the Modernist movement that it is often referred to as scientific cooking — or even less accurately, molecular gastronomy. Both terms are nonsense, Blumenthal and I are in agreement here. “Science is not the point,” he declares. “Today’s cooking has not come from nowhere. Everything has roots including science in the kitchen. For instance, there was a Futurist Cuisine movement in Italy led by Filippo Marinetti in the 1930s and today’s Modernist Cuisine has clear links with that.”
In contrast, Blumenthal is completely at home with the term “Modernist Cuisine.” The successful chefs of today are far more than scientists. They may use modern techniques such as slow cooking in a vacuum pack, controlled dehydration, or the low temperatures created by liquid nitrogen, but they display the same originality as Futurists and other innovative cooks of the past.
Main photo: A beautiful rose is shaped with a knife from a single apple at elBulli. Credit: La Varenne archive