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Sjef John Tesar beïndruk by die Chefs Club in New York

Sjef John Tesar beïndruk by die Chefs Club in New York


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Aurelie Jouan

Sjef John Tesar by die Chefs Club in New York.

Verlede Woensdagaand het die Chefs Club 'n spesiale aandete deur sjef John Tesar aangebied. Die sjef wat deur Parys opgelei is, het Knife in Mei 2014 in The Highland Hotel in Dallas, Texas, oopgemaak. Tesar het onlangs die nuus gemaak toe sy boekooreenkoms aangekondig is: hy sal mede -outeur van 'n kookboek wees, met die voorlopige titel Mes: Moderne steak en alle Amerikaanse vleis, saam met die kosskrywer Josh Ozersky.

Ongeveer 20 gaste het 'n sewe-gang-spyskaart geproe wat begin met 'n chique garnering van steurgarnale en geëindig het met 'n sappige Koreaanse vleis in braai-styl, bedien op 'n kimchi-pannekoek.

Tesar se sewe kursusse toon sy veelsydigheid in die kombuis, toewyding aan bestanddele van hoë gehalte en uiteenlopende smaakprofiele. Jerusha Frost, die elegante sommelier van die nag, het sorgvuldig geselekteerde wynparings vir elke gang verskaf.

Die lewendige duiker -sint -jakobsschelpe, gesit in hul pragtige skulpe, is gekombineer met 'n droë, skerp glas sjampanje. Gaste het ook 'n magnum -bottel Charles Heidsieck brutreserve uit sjef Tesar se persoonlike versameling geniet.

Die ete is afgesluit met 'n huldeblyk aan Le Bernardin, Eric Ripert se ikoniese restaurant in New York. David Collier, uitvoerende patisserie by Knife, het 'n karamelmousse berei wat saam met sel de guérande in 'n espressobeker aangebied word. Die geure wek my herinneringe aan lekkergoed uit Bretagne, Frankryk.

Sjef Tesar het die aand afgesluit deur te sê: 'Die lewe gaan oor eksperimentering', wat sy kookfilosofie vir ons perfek opgesom het.


As u een sjef op Instagram volg, behoort hierdie sjef-illustrator te wees

William Brown weet nie net hoe om te kook nie: hy weet hoe om elke lyn gemarmerde vet en glansende sous te trek. Nadat hy sy Instagram @wbrown34 en sy webwerf Culinarian Designs bekendgestel het, het hy 'n naam gemaak as 'n kulinêre illustrator.

William Brown doen dinge net anders. Toe hy hoor hoe kollegas wat ribeye en T-bone deurmekaar maak, eerder as om dit te verduidelik, teken hy vinnig die twee vleissnitte op rekenkundige vraestelle om hulle die verskil te wys. Toe hy vyf nageregte in sy gevorderde nageregklas by Johnson & amp Wales ontvang het, het hy sy idees in doodles in kaart gebring in plaas daarvan om bestanddele soos die ander kookkunsstudente te noem. En elke keer as hy 'n skof by restaurante by wie hy gewerk het, ingebring het, het hy sketsboeke en penne saam met sy messekas saamgebring. William Brown is 'n neus-tot-die-slypsteenstudent, 'n soortgelyke kok, maar veral 'n kunstenaar.

“ Ek ken die glans van die sous, die tekstuur van vleis, hoe dinge borduur, en#x201D sê Brown. “ Met elke gereg fokus ek op 'n ander tegniek. My doel is om beter te word. ”

Die afgelope drie jaar het die 22-jarige byna drie notaboeke gevul met ongeveer 150 tekeninge, wat geregte illustreer wat hom gefassineer het, soos die beroemde suurlemoentert van Massimo Bottura by Osteria Francescana, sowel as suiwer, onvervalste bestanddele, die lewe soos hane en diagramme van heelvarke. Hulle het sy passieprojekte geword toe hy nie aan die lyn by die restaurante van Dallas gewerk het nie, die vrug van 'n paar uur voordat hy vir die ete ingestap het. Maal kleurpotlode op papier om 'n appelglans na te boots. Skakel merkers uit om die regte skaduwees te kry.

Nou laai hy uiteindelik sy werk op vir die publiek om te sien met sy Instagram -rekening @wbrown34 en die onlangse bekendstelling van sy webwerf, en Culinarian Designs en#x2014 slaan hom al klaar vir samewerking. Jeremiah Tower e -pos hom en vra of hy 'n agent het. Die plaaslike sjef John Tesar het 'n boodskap aan hom gestuur, asook aan Next ’s Jenner Tomaska. Selfs Frito-Lay het uitgesteek. Sy waansinnig gedetailleerde illustrasies is nie net betowerend nie, maar gee 'n kok se insig in die ingewikkeldhede van die gereg.

Brown het stadig maar seker 'n handelsmerk geword, 'n naam om te onthou, maar eers was hy 'n kok.

Hy het grootgeword op Long Island en was omring deur kuns, beide kookkuns en visueel. Sy tante is 'n boekdrukkunstenaar, terwyl sy ouma die vrye vloei van waterverf beveel het. As kind het hy by sy ouma se ateljee gekuier, aangetrokke tot baie gedetailleerde pogings, soos individuele ryskorrels of pittige tendels in 'n veer. “ Aangesien iemand anders dit half sou bedink, sou ek elke individuele lyn trek, ” sê Brown. My ouma het gedink ek sou na die kunsskool gaan, maar ek het nie. ”

In plaas daarvan roep die kombuis na hom. Sy moeder se werk in gebak het uiteindelik die gesin na Dallas verhuis toe Brown 'n pre-tiener was. Alhoewel sy haar seuns gewaarsku het om die voedselwêreld te vermy weens die harde werk en lang ure, het Brown en sy ouer broer verlief geraak op kook. Tydens tuisonderrigklasse op hoërskool kon Brown chiffonade, julienne en wat hy ook al deur osmose by sy ma geleer het. Dit het hom laat uitstaan. Dit het hom gelei om aan die einde van sy hoërskooljare by private geleenthede en buiteklubs in Dallas te help kook voordat hy na Providence, Rhode Island, gegaan het. Daar moes hy kies tussen kunsskool by RISD en kookskool by Johnson & amp Wales. In plaas daarvan het hy sy twee passies saamgevoeg in een met die nageregtekeninge. Uiteindelik het hulle die aandag van die fakulteit by Johnson & amp; Wales getrek, wat gelei het tot geleenthede om geregte te maak vir die ete -geleenthede van die universiteitspresident.

Ná kulinêre skool het Brown opgetree by restaurante soos Gramercy Tavern en The Modern in New York City en Bouillon in Dallas. Hy het versigtig notas gemaak langs die pad. Ek soek altyd nuwe dinge, daarom hou ek die hele tyd my notaboeke by my, sê Brown. “I ’m een ​​van die enigste mense, gebaseer op 'n gesprek met sjefs, wat gevra het om op soveel plekke as moontlik gratis op te tree sonder om 'n ander rede as om te sien wat daar gebeur. ” sy notaboeke saam met etes waarna hy gaan, soos Atelier Crenn in San Francisco, waar hy 'n gereg sal teken en iemand na die personeel stuur sodat hy die werk aan die sjef kan wys.

“ Ek dink sjefs waardeer dit om hul werk op papier deur iemand anders se oë te sien. Dit is soos 'n wedersydse waardering vir mekaar se werk, en#x201D sê hy.

Brown is skaam, maar hy praat deur sy tekeninge. Dit is sy manier om iets kompleks aan ander te verduidelik. Dit is sy manier om eerbied en dankbaarheid uit te spreek teenoor sjefs wat hy bewonder. Dit is 'n manier om van nuwe geregte te droom. Dit is sy manier om met ander kontak te maak.

Hy het die restaurantkombuis verlaat om meer op sy kuns te fokus en Culinarian Designs te laat groei, en hy neem geleenthede terwyl hulle opdaag, sien waarheen hy hom volgende neem, nie seker waarheen hulle presies kan lei nie. Een ding is egter seker: “I wil nooit heeltemal uit die kombuis wees nie, sê Brown. “ Ek wil die balans hê tussen die sien van nuwe neigings en omgang met mense wat dit doen om my aan die gang te hou. ”


Opsomming van 'Top Chef': as daar 'n braai in die rook opgaan

Wel, dit is die laaste episode van Top sjef van die jaar. My raaiskoot is dat die nuwejaarsvoornemens van die program vir 2016 meer as springpakke was Padma Lakshmi en om nog meer produkplasing in te span. As dit die geval is, het hulle dit gedoen. Wie weet wat 2017 inhou: Miskien bied hulle meer ouer sjefs aan, of begin hulle meer uitdagings, of Padma sal meer chokers dra. Enigiets kan gebeur.

Hierdie week, Silvia Barban vier haar verjaardag en herinner ons almal aan die verjaardagvloek op die vertoning, waar sjefs gewoonlik op of rondom hul verjaardae uitgeskakel word. Is dit 'n geweer van Tsjechof wat dui op haar uiteindelike uitskakeling, of is dit net 'n prettige persoonlike inligting oor haar? Ons verneem dit is ook haar 26ste verjaardag, en sy is op die punt om haar derde restaurant te besit. Ses en twintig. Besit drie restaurante. Ek is 33 en besit nie eers my Honda Civic nie.

Sheldon Simeon kla oor rug- en beenpyn wat verband hou met 'n hernia wat jare gelede nodig was. Die pyn is geen grap nie en heeltemal afbrekend. Ek het drie hernieskyfies gehad en daaropvolgende operasies (die volgende een op my kaart is gratis, dink ek), en ek kan my nie voorstel om in 'n kombuis rond te loop, reuse bakke kos te dra of net te buk om 'n oond oop te maak nie. Ek het ook een van my skywe hernie net om 'n bra aan te trek, so miskien is my liggaam nie gemaak vir reality -televisie nie.

Die sjefs kom in die kombuis aan en dit is donker, daar is geen produsente nie, en daar is ook geen Padma in sig nie. Hulle raai en gesels ongemaklik en Katsuji Tanabe doen 'n halfhartige Padma-indruk. Skielik gaan 'n gonser af en 'n timer begin van 40 minute af tel terwyl die spens se garagedeur oopmaak om 'n tafel met bestanddele te openbaar sonder enige instruksies. Die sjefs jaag om te inspekteer en Sylva Senat bepaal slim dat hulle, op grond van die meel en karringmelk, koekies moet maak.

Terwyl die sjefs skarrel, wag Padma in die produksiehokkie en kyk hoe hulle geestelik ontrafel sonder enige uitdruklike uitdaging. Sy sê: 'Ons moet dit altyd so doen', asof haar werk as gasheer tydens 'n Quickfire -uitdaging so uitputtend is. Dit is dieselfde, sy het net van staan ​​tot sit gegaan - alhoewel sy staan is redelik aaklig.

Sheldon het nog nooit koekies gemaak nie, so hy kopieer net Brooke WilliamsonDit is elke beweging, wat die meeste van die tyd 'n veilige weddenskap blyk te wees. Ondanks die besit van 'n restaurant in die suide, Jamie Lynch weet ook nie veel van die maak van koekies nie.

Padma kom uiteindelik op met 'n wit geknoopte knoop met 'n reuse-suede-gordel wat ek aanneem 'n uitrusting was wat Paris Hilton amper in die hof gedra het in 2007. Op een of ander manier trek sy dit af. Sy stel ook die gasbeoordelaar voor vir die Quickfire Challenge, koekmeester John Currence. Die sjefs was reg om koekies te maak, want dit was die uitdaging. Maar groter as die onmiddellike koekie op die bord, dit was 'n toets van hoe goed hulle vaar sonder veel rigting - ook 'n uitdaging oor improvisasie. Gelukkig beteken dit improvisasie in die kombuis, nie komiese toneelspel nie. Ek wil nooit 'n sien nie Top sjef improvisasiegroep. Dit sou waarskynlik 'Cats Have Nine Messes' of 'Quickfired Up' of 'Cats Have Nine Messes' genoem wordTom ColicchioSe bevogtiger vir die kopvel. ”

Sheldon het sy taamlik dun koekies in twee gesny en vergeet om die boonste helfte op sy karringmelkbeskuit met 'n plattelandse hambak te sit, sodat hy onder is. Shirley Chung is ook onderaan vir haar digte koekie met swartpeper mascarpone, net soos die suidelike Jim Smith en sy roomkaas en botterbeskuitjie met 'n te geskilde kammossel.

Die beste koekies was Brooke vir haar salmbeskuitjie met avokado en crème fraiche, Katsuji se soet weergawe met heuningbotter en Jamie se ontbytkoekie met 'n sonnige kant na bo. Brooke, wat ook die Quickfire wen, kry ook immuniteit.

Die Elimination Challenge, wat die suidelike tema van hierdie episode behou, fokus op 'n ander lekkerny uit Suid -Carolina: braai. En die gasbeoordelaar is niemand anders nie as braai -legende Rodney Scott. Vir die Elimination Challenge moet die sjefs in drie spanne van vier verdeel word om 'n hele vark en drie kante vir 150 mense te kook, insluitend Darius Rucker. Jy weet, van Hootie en die Blowfish -roem. Waarom sou hy nie betrokke wees nie?

Sheldon is baie opgewonde om 'n hele vark te kook, maar hy het soveel pyn dat hy die vleiskruip ('n term wat ek gebruik om te bedoel ''n dag waar jy meer as een braaipit besoek') bedoel om 'n MRI te doen. Terwyl Sheldon ongeveer 45 minute lank heeltemal stil op 'n tafel lê, gaan die res van die kompetisie eers na Sweatman's, 'n braaiplek wat spesialiseer in mosterdsous. Daar word blykbaar twee souse gebruik in die barbecue in Suid -Carolina, een wat op mosterd gebaseer is, en een op asyn.

Vir die beste weergawe van op asyn gebaseerde souse, gaan almal na Scott's Bar-B-Que en word almal versadig deur die vleis en die geure. Vir die uitdaging moet die sjefs een sousstyl vir hul vark kies, maar nadat hulle na Scott's gegaan het, wil dit voorkom asof almal Rodney se asynmagie wil herskep.

Daardie aand kom Sheldon terug met 'n hernia en 'n paar ordentlike middels en is gereed om hierdie uithouvermoë uitdaging aan te pak. Almal begin varke afbreek en hout verbrand om rook te skep en kry hierdie vertoning van 15 uur op die pad. Dit is 'n baie lang nag, eksponensieel langer gemaak deur John TesarSe onophoudelike rondloop.

In die oggend het John op een of ander manier opgehou om lank genoeg te praat om die gerookte mac and cheese -kant wat hy vir sy span voorberei, te begin. Vir sy kenmerkende kaasgereg het hy egter meel vir alle doeleindes nodig en het dit op die een of ander manier nie by Whole Foods gekry nie. Nou is hy in 'n veld gestrand nadat hy die hele nag opgestaan ​​het en daar is geen oplossing nie-dit wil sê totdat Katsuji hom 'n ruil van Xanthangom (wat as 'n plaasvervanger kan gebruik) vir 'n paar voorafgeskilde knoffel aanbied.

Die groenspan neem baie risiko's en dwaal van die stewige braaipad af. Sylva se sous is nie die mosterdsous nie, maar dit is ook nie die asyn-gebaseerde sous nie, aangesien hy hoisin en ketchup bygevoeg het. Silvia (eerlik, het Sylva en Silvia gedoen het om in dieselfde span te wees?) doen iets waarna sy verwys as aartappelslaai, maar dit is regtig gebraaide aartappels en groente in 'n Italiaanse salsa verde. Dit lyk soveel soos aartappelslaai soos ek lyk soos die Olsen -tweeling wat op mekaar gestapel is. Katsuji het ook iets by sy skottel gevoeg om 'n paar funky boontjies te maak, wat lyk asof dit 'n kompliment van die middel van die 90's sou wees, maar dit is 'n groot probleem.

Diners - en Darius Rucker - arriveer en is gereed om te eet totdat daar nie meer vark oor is nie. Regters Padma, Tom, Rodney, en Gail Simmons kry eers 'n bord van die geelspan. Dit bevat John se gerookte mac en kaas, Emily HahnGebraaide pinto -boontjies, Brooke se pynappelslaai en 'n heel sitrus -asynsous -bedekte heelvarke berei deur Sheldon en sy herniated disc (plus Percocet, dink ek). Die beoordelaars is mal oor elke item op die bord, hoewel Emily se boontjies nie gaar is nie. Al die komponente is nie net goed nie, maar harmoniseer ook om 'n uitstekende bord kos te vorm.

Volgende is die rooi span van Jim, Shirley, Jamie en Casey Thompson. Almal is verlief op die drawer en varkhaas met patats, die piekels en die gesmoorde kool. Die kante is uitstekend, hoewel die beoordelaars daarop let dat die sous op die vark net nie so lewendig of kompleks is as wat die geel span gemaak het nie.

Laaste is die groen span, 'n bord vol probleme vir besoekers en beoordelaars. Sylva se hoisin -asynsous werk nie net nie; Silvia se aartappelslaai met salsa verde is 'n groot mis, net soos Katsuji se vreemde suurbone. Amanda Baumgarten stap weg met die grootste kompliment oor haar boerenkool- en appelkooslaai, wat Padma dit 'vergeetbaar' noem.

Almal is nou ongeveer 32 uur wakker, wat 'n uitstekende tyd is om kritiek te lewer op hul lewenswerk by Judges 'Table. Die duidelike wenspan vir die dag is die geelspan, met John wat sy eerste individuele oorwinning ooit behaal het Top sjef vir sy gerookte mac en kaas.

Die verloorspan was net so duidelik vir Tom en die maatskappy - die groen span. Ondanks soveel misstappe deur soveel mense, word Silvia uiteindelik huis toe gestuur vir haar aartappelslaai. Dit blyk dat die verjaardagvloek voortduur. Dit gaan goed met haar: sy kan die 26 kerse op haar koek by een van haar drie restaurante blaas.


Die sjef van Dallas, John Tesar, het 'n vetterige boekooreenkoms met die skrywer Josh Ozersky

Sjef van Dallas en voormalige Top sjef deelnemer John Tesar het 'n boekooreenkoms met Macmillan se Flatiron Books -afdeling gesluit, kan Eater uitsluitlik rapporteer. Die werktitel van die boek is Mes: Moderne steak en alle Amerikaanse vleis. Terwyl Tesar 'n jarelange veteraan in die bedryf was-en selfs verskyn in die spelveranderende memoir van Anthony Bourdain Kombuis vertroulikMes sal Tesar se eerste kookboek wees. 'Ek het 'n verpligting om hard hieraan te werk, want ek het so lank gewag om dit te doen,' sê Tesar aan Eater en voeg by dat hy wil hê dat sy reis as sjef moet deurkom. 'Ek het gegroei en volwasse geword, en dit behoort deel van die boek te wees.'

Die huidige titel van die boek verwys na Tesar se treffer Dallas Restaurant Knife, wat net so bekend is vir sy steaks (sommige in duim verkoop) as dat dit die geboorteplek is van Tesar se nou legendariese ruzie met die restaurantkritikus Leslie Brenner in Dallas. Volgens 'n persverklaring, Mes "Dit is 'n viering van Amerikaanse steak, 'n verkenning na moderne, selfonderhoudende boerdery in Texas en 'n reis in die gedagtes van een van die mees kenmerkende en bekroonde vleissjefs ter wêreld." Vleisfanatiese en jarelange kosskrywer Josh Ozersky is aan boord om die boek saam met Tesar te skryf. Die fotograaf van Kevin Kevin Marple gaan fotografeer.

'Ek is verplig om hard hieraan te werk, want ek het so lank gewag om dit te doen.'

Tesar sê dat die boek 'n kombinasie van resepte uit sy restaurant en resepte bied wat aangepas is vir die huiskok. Tog dink hy dat sy kookfilosofie goed sal vertaal in die huiskombuis. "My kos is baie eenvoudig, "Sê Tesar." Ek is 'n pragmatiese sjef en ek is nie opgewonde oor kos nie. ' betekenisvol en waardevol daaruit. en ek wil my eweknieë en toekomstige sjefs kan inspireer, sodat hulle iets opmerkliks kan sien. "Tesar voeg by dat Ozersky sal help om sy stem as sjef in die bladsye te vertaal.

Dit was iets van 'n warrelwindjaar vir Tesar. Afgesien van die opening van Knife en sy opspraakwekkende gesprek met Brenner (aan wie hy geen woorde in die boek sal toewy nie), ontwikkel hy 'n televisieprogram wat volgens hom fokus op kook ("ons het kwaliteit en integriteit nodig") en het groot uitbreiding planne in Memphis en Noord -Carolina. Net gister beland hy op die halfeindlys vir die 2015 James Beard -toekennings vir beste sjef: Suidwes vir sy werk by Knife. Hy het ook planne vir bykomende boeke: 'n kookboek wat op seekos fokus, waaraan hy gewerk het, is op die agterplaas geplaas terwyl hy werk Mes. Tesar hoop ook om eendag te skryf Die lewe en tye van Jimmy Sears (die naam Anthony Bourdain gebruik vir hom in Kombuis vertroulik ), maar vir eers is dit net 'n idee. Tesar fokus tans op die taak wat voorlê. 'Ek is net bevoorreg om hierdie geleentheid te hê, en ek wil hê dit moet iets besonders wees.'

Mes: Moderne steak en alle Amerikaanse vleis sal in die lente op die rakke kom 2017.


F &B Magazine Q &A met sjef John Tesar van Element Kitchen & Cocktail

Sjef John Tesar: Element
Kombuis en skemerkelkie. Klik op die voorblad om die digitale tydskrif te sien.

S 'N VERHAAL. Sê VIR ONS HOE U WEET WAT U WIL HET OM deel te word van die gasvryheidsbedryf ... wat was U "LIGTEBOL" OOMBLIK?
Ek het grootgeword in New York en het baie tyd by die strand deurgebring. Ek het by Magic's Pub, 'n kroeg op die strand, gewerk. Ek het verlief geraak op opgewondenheid, energie en al die sosiale aspekte. Toe neem ek 'n pos in by Club Pie. Terwyl ek daar werk, besef ek dat ek die potensiaal het om 'n sjef te word.

WAT U BESLUIT HET OM DIE TAGLINE IN TE VORM “DIE SKERPSTE MES IN DIE KEUKEN?
Ek het nie met daardie lyn vorendag gekom nie. Die PR -afdeling het dit gedoen; ek hou van die manier waarop dit klink, so ek het daarmee saamgegaan.

IN 'N PAAR WOORDE BESKRYF JOU ELEMENT KOMBUIS EN COCKTAIL?
Puik projek. Element Hospitality vra my om betrokke te raak, ek het ingestem en dit is 'n plesier. Denver is 'n wonderlike stad met wonderlike sjefs en lekker kos. Ek sien uit daarna om die lat te lig en die konsep te verhoog. Kos en atmosfeer beter smaak. Dit gaan beskermhere in die gedagtes van 'n luukse sportkroeg.

BESKRYF DIE EETSCENE IN DENVER?
Verbasend, die infrastruktuur verander vinnig. Hulle is besig om op te gradeer en baie lekker restaurante oop te maak wat goeie kos bedien.

WAT IS JOU GUNSTELING GEREDTE?
Ek het nie 'n gunsteling nie, maar ek hou van 'n verskeidenheid. Ek geniet weldeurdagte kos van kwaliteit.
Sielkundige kos, vol geur en wat goed smaak.

HOE BELANGRIK IS AANBIEDING?
New York Style Pizza, vetterig, dun sny en oranje van kleur.

WIE WAS U GROOTSTE KOOKINVLOED?
My ma en 'n Franse sjef wat my geïnspireer en geleer het hoe om te kook

WAARVAN IS JOU GUNSTELING OM TE KOOK?
Sout en wit/swartpeper ..

WAT IS JOU GUNSTELING WIT WYN? GUNSTELING ROOI?
Bourgondië rooi/wit

WATTER GEREENTHEID WAARVAN JY LIEF OM EETTE TE KOOK?
OF IS GEDOEN?
George Clooney. Ek sal graag wil sit en met hom praat terwyl hy een van my etes geniet.
Ek was die persoonlike sjef van Maria Carey en Tommy Mottola. Ek het ook vir verskeie musikante gekook, soos Billy Joel, Barbara Walters en verskeie ander Rock Stars.

WAT IS JOU GUNSTELINGNIEWE?
Sjokolade Soufflé

CHEF wie se styl om u regtig te kook?
Ons is nou die nuwe moderne Celebrity. Ons kan baie kreatief wees, ons reis, ontmoet interessante mense, gevolglik vind ons baat by al die blootstelling. Dit is ongelooflik om 'n sjef te wees, maar jy moet seker maak dat jy goeie kos het, maar ook dat dit lekker smaak, wat jou skepping ondersteun.

Watter advies sou u vir iemand gee met aspirasies van
WORD 'N PROFESSIONELE CHEF?
Wees voorbereid om hard te werk. Doen u navorsing, hou 'n oop gemoed, bly innoverend en onthou altyd 'U siel moet daarin wees, en dit is 'n lewensstylverse in 'n loopbaan.

LAATSTE, WAT DOEN JY AS ONTSPAN?
Slaap op die strand. Ek is mal oor die strand!


John Tesar oortref ander bekende sjefs op die Esquire -restaurantvertoning

As 'n verrassing vir almal wat in Dallas woon, steel sjef John Tesar die vertoning Restaurantrevolusie: 30 jaar wat die Amerikaanse kombuis verander het, 'n spesiale spesiale tyd van Esquire Network wat op 12 November in première was.

Die vertoning fokus op sommige restauranteurs wat gemaak het Besoek tydskrif se lys van 2014 met die beste nuwe restaurante, waaronder Elise Kornack en Anna Hieronimus, eienaars van die Brooklyn-proe-spyskaartrestaurant Take Root, en Alexander Smalls en J.J. Johnson, wat die Afro-Asiatiese-Amerikaanse brasserie The Cecil in Harlem besit. Maar Tesar neem dit weg.

'N Onderliggende tema van die vertoning is die idee van sjef as rockster en die oorsprong van die bekende sjefverskynsel, soos beliggaam deur die beroemde sjef Johnathan Waxman, wat herinner aan die vinnige motors, pragtige vriendinne en ontspanningsmedisyne wat sy reis vanaf Chez Panisse vergesel het. San Francisco na Michael's in Los Angeles na Jams in New York.

Jonathan Waxman het niks oor Tesar nie, wie se kombinasie van openhartigheid en selfbewustheid daarin slaag om selfs die mees skandalige gedrag smaaklik te laat lyk.

Die loopbane van Wolfgang Puck en Tom Colicchio word ook hersien, met minder kwaai besonderhede. Ander restaurantfigure wat ondervra is, sluit in Jeremiah Tower en sjef Mark Peel.

Tesar word in die Waxman -vorm gegooi. Sy kombinasie van openhartigheid en selfbewustheid laat selfs die mees skandalige gedrag smaaklik lyk.

Die vertoning vang hom in die kombuis by Knife, sy restaurant in die Highland Hotel in Dallas, waaroor Besoek's Josh Ozersky het geskryf: "In een van die mees beesvleisgerigte stede is Knife die steakhouse van die toekoms. Die rede waarom: John Tesar."

Om te verduidelik dat hy probeer om 'n bietjie "sjefgedrewe verve in die steakhouse te plaas", beskryf Tesar nuutste tegnieke: vleis wat droog word, wit vorm ontwikkel en "bisarre" kombinasies maak, soos beenmurg met uni en kaviaar.

'Dit is net 'n hoek om anders te wees, maar om ware kwaliteit te bring,' sê hy. "Omdat ek al by baie steakhuise was en die vleis net 'eh' was."

Mes dui op Tesar se derde verskyning Besoekse lys, en die verteller merk op dat "hy volg in die voetspore wat Waxman neergelê het." Terwyl Tesar 'n brandwond op sy voorarm laat flits, noem die verteller hom "een van die mees omstrede sjefs wat vandag werk - jy wil hierdie man nie as jou vyand hê nie."

Dan kom dit in die prettige dinge: Tesar se ontevredenheid met die resensie wat hy van die Dallas Morning News.

'Die mes is deur die Dallas Morning News'sê hy.' Ons het dus 'n persoon met 'n byl om te slyp wat persoonlik 'n byl by my doen. Jy neem dinge nie persoonlik as joernalis nie, nie waar nie? Ek bedoel, dit is wat jy doen, jy skryf stories, jy vertel die waarheid, jy is nie 'n fiksieskrywer nie. Jy is 'n [bleep] joernalis, reg?

"Hierdie restaurant werk. Dit werk omdat die kos goed is, die personeel goed is en mense mal daaroor."

Tom Colicchio, wat sê: 'Jy moet 'n man bewonder wat nie omgee vir wie hy gaan kwaad maak nie.'

'U moet 'n man bewonder wat nie omgee vir wie hy gaan kwaad maak nie,' sê Tom Colicchio.

Tesar verduidelik sy onstuimige wortels en sê: 'Daar is 'n groot deel van my wat veg vir wat u dink reg is', sê hy. "Ek kom uit die New York-Kennedy-demokraat-70's-Viëtnam-oorlog, fok die man. Dit is hoe ek grootgemaak is."

Tesar beskryf sy streng opvoeding onder immigrantouers. 'Toe hulle my uiteindelik uit die huis laat, was dit soos om die Tasmaniese duiwel los te laat,' sê hy.

Hy deel 'n staaltjie oor hoe om na Studio 54 te gaan, waaronder een aand toe hy sê dat hy deur Andy Warhol getref is.

'Dit is 'n nagklub -omgewing, en ek is hoog op my kop,' sê hy. "Dit is die ongelooflikste aand, toe Andy Warhol my tref. So ek weet nie eers wat om te sê nie. Is dit een van daardie dinge waarop jy deur Andy Warhol getref word? Kan ek 'n skildery of iets kry?"

Sy regte partydae het plaasgevind tydens die Wall Street -era van die 80's, toe 'geld net uit die lug reën', sê hy. "Mense het quaaludes laat val en kokaïen gesnuif asof dit uit die mode raak."

Nadat die borrel gebars het, het restaurante gesluit en Tesar sê dat hy bankrot was.

'Een aand het ek net vir myself gesê: ek kan nie meer rook nie, en ek kan beslis nie meer kokaïen drink nie, en my lewe het verander,' sê hy. 'En eendag lui die telefoon:' Hoe sou u Dean Fearing in die herehuis op Turtle Creek wou vervang? '

"Ek was nog nooit in Texas nie, maar ek het geweet wie Dean is. Hy was die peetvader van Suidwestelike kos. Dean kan roosterbrood verbrand en na jou tafel gaan, en in 15 minute kan jy nie eers onthou dat jy net gebrande roosterbrood geëet het nie."

Tesar gee besonderhede oor sy ampstermyn by die herehuis, toe hy die sterre terugkry en die herehuis weer op die kaart plaas. Maar dit is gevolg deur die onvermydelike wending.

'Hulle het my carte blanche gegee: ek moes in die kroeg kuier, ek mag drink, ek kon doen wat ek wou,' sê hy. "HR en die mense wat al 25 jaar daar was, was egter baie jammer daarvoor. Mense het my onder die bus gegooi. Ek het op die voorblad van D Tydskrif as die mees gehate sjef in Dallas. Hulle het gesê ek het eetgerei gegooi, ek het by gesellig geslaap, ek het gedrink terwyl ek gewerk het. Hel ja, ek het al die dinge gedoen. Ek het egter nie die eetgerei gegooi nie. ”

Deur die wispelturigheid van die restaurantbedryf, pak Tesar sy tasse en vind homself nog een keer uit, eers met die seekosrestaurant Spoon en daarna met Knife.

'En nou het ek twee wonderlike restaurante, wat albei opgedaag het Besoek"Die beste nuwe restaurante se lys van rug aan rug," sê hy. "Ek weet nie wie dit ooit gedoen het nie. Het Wolfgang dit gedoen? Ek weet nie, miskien. "

Dat Tesar so prominent sou lyk, is minder verrassend as jy in ag neem dat die vervaardigers van die program Jane Lipsitz en Dan Cutforth van Magical Elves is, die maatskappy wat vervaardig Top sjef. Hulle weet dat Tesar goeie TV gee.

Restaurantrevolusie: 30 jaar wat die Amerikaanse kombuis verander het word weer uitgesaai Vrydag, 14 November, om 18:00 Saterdag, 15 November, om middernag en 13:00 en Maandag, 17 November, om 19:00.


Sjef John Tesar beïndruk by die Chefs Club in New York - Resepte

In Henry Van Dyke se gedig, Trees, bring hy hulde aan 'A power pilar, a dome of delight,
'n heiligdom van sang en 'n vreugde van sig ". Net soos Van Dyke soveel jare gelede geïnspireer is om hierdie woorde te skryf, was dit miskien die verbintenis met die groot eikeboom buite die bruisende restaurant wat die inspirasie van vreugde en heerlikheid tot die stof van hierdie vernuwende en sjiek gewek het Eetplek in Dallas.

Werk saam met die bekroonde James Beard -sjef John Tesar, die Apheleia Restaurant Group,
gaan voort met innovasie en visie na die ontluikende Dallas -restauranttoneel. Chef de cuisine,
Ross Demers, en die uitvoerende gebaksjef, David Collier, staan ​​aan die stuur van die spyskaart
baie kreatief met behulp van die beste beskikbare bestanddele om varsheid en uitstekende smaak te verseker
tekstuur op elke bord wat uit die kombuis verskyn. Op 'n onlangse reis na Dallas het ons die geleentheid gekry om 'Oak' te ontdek en deel te neem aan 'n paar van die wonderlike en deurdagte spyskaartitems.


Die uitnodigende oop ruimte is oorvloedig in bruin en beige, met silwerkleurige beligting wat aantrek
die oog op die unieke holografiese boom wat deur die eetervaring van kleur, seisoene en blare verander. Die kroeg is omhul met 'n weergawe van 'n magtige eik wat in die glaswand ingeëts is, wat jou in die oomblik deurdring. Aangesien bome skuiling bied teen die elemente, het u die gevoel van gemak en rustigheid soos u
teug aan een van die vele handgemaakte cocktails. Ons het begin met die 'Antoinette', 'n heerlike genade
wat die geurige donker deurmekaar swartbessies werklik beklemtoon het, wat ons beïndruk het met die varsheid van die bestanddele.
Miskien wil u die "Mighty Oak" probeer, want dit is die naamgenoot en het die verfrissende wenke van suurlemoen, gemmer en kruisement, perfek vermeng met die George Dickle Rye en bedek met koeldrank.


Na 'n paar ontspannende oomblikke by die kroeg, is ons hartlik na ons tafel begelei om deur ons begroet te word
ons lewendige kelner, wat seker gemaak het dat ons op hoogte is van alle spesiale aanbiedinge, en bied enige
antwoorde op vrae wat ons mag hê. Ons het na die goed vervaardigde wynlys gekyk en besluit om dit te geniet
'n glas Lemelson, Thea se keuse, pinot noir uit die Willamette -vallei. Pinot noir is
gewoonlik 'n goeie keuse in kombinasie met seekos en 'n paar beesvleisgeregte, en dit was die beste
keuse vir ons eetuitstappie. Ons het ons maaltyd begin met die Heirloom -tamatieslaai met 'n aksent
verfrissende klein snytjies waatlemoen, olyfolie poeier en swart olyfolie. Die kombinasie van die unieke vorms van olyfolie het hierdie slaai 'n verhoogde soen van kreatiwiteit gegee.

Ons was ook baie beïndruk met die klein kegels van Hamachi Tartare, met groen kerrie en
wasabi tobeko. Elke miniatuurkegel was gevul met die vreugde van die see, terwyl ons blymoedig was
toegegee aan hierdie speelse weergawe. Die hoofgereg van Alaskan heilbot, besaai met houtagtige
chantrelle -sampioene, bygevoeg helderheid van suurheid van die cabernet -tamatie, en beklemtoon
with summer truffles and maderia port invoked a chorus of om’s and ahh’s with each forkful.
The moniker of all the dishes rang true of the freshness of the ingredients and the artful
creativities of the Chefs as they brought an abundance of flavors and passion to our plates.


We were not at our fini, although well satiated, when we knew that a master was guiding the delivery
of our desserts. James Beard “Best Pastry Chef” semifinalist, David Collier, is the Executive Pastry Chef
that loves to bring innovation and expertise to the sweet part of the meal.

The Strawberry Pistachio With pistachio sucree, mousseline, sponge cake, and strawberry sorbet was a
spectacular way to end the meal. This take on the familiar strawberry shortcake was incredibly
whimsical and lovely to behold, but better yet the strawberry mousseline gave a delicateness to
the flavor, and played well with the other elements. We walked away beaming with yet another great
find in the Dallas area.

Whether in Dallas on business or pleasure a meal at any the restaurants that Chef Tesar has been
pouring his culinary magic into including Knife, El Bolero, and Oak is a must. He and his partners
continue to come up with more culinary outlets and we are excited to see what is on the horizon as
the leaves of the organization continue to spread.


Chef John Tesar’s Oak Restaurant Continues His Path Across The Dallas Texas Dining Scene.


In Henry Van Dyke poem, Trees, he gives his homage to “A pillar of power, a dome of delight, a shrine of song and a joy of sight”. Just as Van Dyke was inspired to pen those words so many years ago, perhaps it was this affiliation to the large Oak tree outside the bustling restaurant that bears its name that created the inspiration of delight and deliciousness into the very fabric of this innovated and chic Dallas eatery.

Partnering with acclaimed twice nominated James Beard Chef John Tesar, the Apheleia Restaurant Group, continues to bring innovation and vision to the burgeoning Dallas restaurant scene. Chef de cuisine, Ross Demers, and executive pastry chef, David Collier are at the helm in creating a menu that is highly creative using the best available ingredients to ensure freshness and superb taste and texture on every plate that emerges from the kitchen. On a recent trip to Dallas, we had the opportunity to discover “Oak” and engage in some of the lovely and thoughtful menu items.


The inviting open space is awash in browns and beiges accented with silver-toned lighting that gravitates the eye to the unique holographic tree that changes color, seasons and foliage throughout the dining experience. The bar area is shrouded with a rendering of a mighty oak etched into the glass wall, sweeping you into the moment. As trees provide shelter from the elements, you have that sense of comfort and tranquility as you sip on one of the many hand-crafted cocktails. We started with the “Antoinette”, a luscious libation that really accented the fragrant dark muddled blackberries, impressing us with the freshness of ingredients. One may want to try the “Mighty Oak”, as it is the namesake and has the refreshing hints of lemon, ginger, and mint all perfectly intermingled with the George Dickle Rye and topped with club soda.


After a few relaxing moments at the bar, we were cordially escorted to our table to be greeted by our lively waiter, who proceeded to make sure that we are informed on all specials, offering any answers to questions we may have. We took a look at the well-crafted wine list, and decided to enjoy a glass of the Lemelson, Thea’s selection, pinot noir from the Willamette Valley. Pinot noir is usually a good choice in pairing with seafood and some beef dishes, and this seemed to be the best choice for our dining excursion. We began our meal with the Heirloom tomato salad accented with refreshing tiny slices of watermelon, olive oil powder and black olive oil. The combination of the unique forms of olive oil gave this salad an elevated kiss of creativity.

We also were immensely impressed with the tiny cones of Hamachi Tartare, with green curry and wasabi tobeko. Each miniature cone, was filled with the delight of the ocean, as we gleefully indulged in this playful rendition. The main dish of Alaskan Halibut, studded with woody chantrelle mushrooms , added brightness of acidity from the cabernet tomato, and accented with summer truffles and maderia port invoked a chorus of om’s and ahh’s with each forkful. The moniker of all the dishes rang true of the freshness of the ingredients and the artful creativities of the Chefs as they brought an abundance of flavors and passion to our plates.


We were not at our fini, although well satiated, when we knew that a master was guiding the delivery of our desserts. James Beard “Best Pastry Chef” semifinalist, David Collier, is the Executive Pastry Chef that loves to bring innovation and expertise to the sweet part of the meal.

The Strawberry Pistachio With pistachio sucree, mousseline, sponge cake, and strawberry sorbet was a spectacular way to end the meal. This take on the familiar strawberry shortcake was incredibly whimsical and lovely to behold, but better yet the strawberry mousseline gave a delicateness to the flavor, and played well with the other elements. We walked away beaming with yet another great find in the Dallas area.

Whether in Dallas on business or pleasure a meal at any the restaurants that Chef Tesar has been pouring his culinary magic into including Knife, El Bolero, and Oak is a must. He and his partners continue to come up with more culinary outlets and we are excited to see what is on the horizon as the leaves of the organization continue to spread.


Up-and-Coming Houston Chefs: Meet Five of the Youngest at the Center of Their Kitchens

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There are no boring chefs. The very nature of the business demands creativity tempered with a heaping spoonful of practicality. Successful chefs don't just learn how to be good cooks. They must also become teachers, managers, leaders, accountants and diplomats.

They also live in a tightly interwoven community. We interviewed five of the Houston area's youngest executive chefs. The oldest is 34 and the youngest two are 28. A pair of old friends traveled along the same path for a time before their roads diverged. Two others started their careers together, with one ending up the executive chef at a restaurant the other had left years before.

These young people are not the only generation of chefs currently driving Houston's culinary scene. Their stories incorporate bits of their mentors' tales, too -- influential people like Tony Vallone, Philippe Schmit, Charles Clark, Chris Shepherd, Ronnie Killen, Dean Fearing, Mark Cox and even controversial Dallas chef John Tesar.

What's the hardest thing for a young executive chef to learn? It's how to manage work relationships. For some, it's about learning how to train employees in a constructive way. For others, earning respect from restaurant employees who have worked there longer can be a challenge.

Developing people skills can be difficult in any professional environment, but it's especially tricky in a busy, hot restaurant kitchen. Let's meet five of the area's culinary stars who are responsible not only for managing these kitchens, but for making hundreds of diners happy every single week.

Austin Simmons, Age 28 Hubbell & Hudson Bistro 24 Waterway Avenue #125, The Woodlands and Hubbell & Hudson Kitchen 4526 Research Forest, The Woodlands

When native Texan Austin Simmons was eight years old, his mom worked two jobs. She came home between shifts, and he helped her make dinner before she went to work again in the evening. That introduction to cooking established a stabilizing foundation for Simmons that he'd return to as he grew older and sought his career path.

"I was kind of a train wreck in high school," Simmons confesses. "My dad was always around, but my mom worked two jobs to keep me in a house. I really enjoyed cooking. I didn't know that I wanted to do it professionally until I was trying to figure out what I wanted to do after high school."

Right after graduation, Simmons began pursuing a culinary degree at Le Cordon Bleu College of Culinary Arts in Austin, which made most of his family happy, though his father was dubious. "I have two stepparents, and it was divided. My mom and my stepfather were ecstatic that I was doing something constructive. My stepmom's a foodie, so she was very happy, too. My dad was like, 'You want to do what? You don't want to go to college? You want to go to culinary school?' He was very skeptical, but they're all immensely proud now."

He graduated hoping to work at Michelin-starred Mansion On Turtle Creek in Dallas under James Beard-winning chef Dean Fearing. It was a ridiculously high aspiration for a guy who'd just gotten out of culinary school, but Simmons didn't give up. "I showed up three Fridays in a row to get the job. They didn't want to hire me because I had no experience."

Persistence paid off. Simmons was finally offered an internship. In time, he was elevated to working the chef's table. He did that for three and a half years, initially under Fearing and later under Fearing's successor, John Tesar.

(If Tesar's name sounds familiar, it's because he's perpetually creating controversy, inspiring articles like one in a 2011 issue of D Magazine titled "John Tesar: The Most Hated Chef in Dallas." Last year, his diatribe about a middling review by Dallas Morning News restaurant critic Leslie Brenner -- and his subsequent banning of her from his restaurants -- made national news.)

Simmons left Mansion On Turtle Creek to work the management side of the restaurant business at BlackFinn in Dallas, but his path would soon cross Tesar's again. In 2009, Tesar asked Simmons to work at the eponymous Tesar's Modern Steak & Seafood in The Woodlands.

Tesar abruptly left after a mere 11 months.

Simmons acknowledges his former mentor's tendency to be a hothead but also gives Tesar enormous credit for his own career. "He took me from not having any restaurant experience to lead line cook in the Chef's Room [at Mansion On Turtle Creek] in 13 months. I learned more from him in a year in the Chef's Room than most learn in five years hopping from restaurant to restaurant."

What about that famed temper? "He is a perfectionist about food and gets fiery quickly. He breaks you down and then builds you up to do things his way. It's a little rough at times. It was the greatest thing for me. I was such a hardhead that I needed that stern hand."

Simmons and fellow Mansion On Turtle Creek alum Jeramie Robison were promoted to co-executive chefs at Tesars in his wake. The arrangement didn't last long. Simmons says the restaurant was severely undercapitalized. Bills weren't being paid and checks weren't being covered.

Three months later, the two young chefs left. Robison took a chef de cuisine position with Uchi, and Simmons went to Hubbell & Hudson to be a sous chef.

Another executive chef's departure -- this time that of Edelberto Gonçalves, who is now at Fielding's Wood Grill -- turned into the biggest break yet for Simmons. In 2012, Simmons was promoted to executive chef at Hubbell & Hudson at the tender age of 25.

What's it like being in charge of a restaurant kitchen at an age when others are just getting out of college and starting careers? "It's scary," Simmons admits. "This is a big operation. [The bistro] is the commissary for the other restaurant down the street [Hubbell & Hudson Kitchen]. At the time, the [Hubbell & Hudson Market] was still open, so we were doing catering, the chef's case, a sandwich bar. I was terrified, but I just kept my head down, worked hard and studied what I didn't know. I didn't even know what a P&L looked like at the time, and now I can read one frontwards and backwards."

In addition to learning how to juggle several responsibilities, figuring out how best to manage workers has been a challenge, too. "This business is very high-paced. Your adrenaline is rushing during service every day. Kitchens tend to be warm, so you tend to get heated and heavy and yell a little bit. The one thing I've tried to curb is reacting on emotion."

His advice to other young chefs is this: "Stay humble. Work hard. Try to never sacrifice the integrity of the final product that's on the plate. You can be successful and make money in this business with really nice food. If you always do the right thing and have integrity, the people who matter will notice."

Jordan Asher, Age 29 Dosi, 2802 South Shepherd

Jordan Asher is both a self-described introvert and a free spirit, which explains the journeys he's made when he's found himself between jobs. Sometimes he'd go on road trips, and on some of those road trips he'd stage in some of the best restaurant kitchens in the country. They've included Spice Market in New York, Mercat in Chicago, Canlis in Seattle, The Willows Inn on Lummi Island and Oxheart right here in Houston.

Over the course of his career, Asher has worked almost every possible restaurant position. He's been a busboy, dishwasher, server, server trainer, prep chef, line cook, sommelier and, eventually, executive chef. Developing the Korean-influenced menu at his current restaurant, Dosi, was just another thing to learn.

Everyone in Asher's Italian family is enthusiastic about food. "My mom, my dad, my grandfather -- everybody just really loved cooking. My dad and grandfather both had really nice gardens." His father taught him respect for fresh produce, preferring to cook vegetables like green beans only to al dente, while his grandmother did something increasingly rare. She made three home-cooked meals every day.

"It was unfair for her to have to do all of that, but she loved it," muses Asher. "It was true passion. I definitely picked up on that and was making full meals by the time I was 13 or 14."

He started his restaurant career as a busboy at Pappas Seafood House off I-10 East. He worked his way up the ladder there for four and a half years.

"I stopped short of getting into management," he says. "When people get into management, they don't leave for a long time." Asher realized the opportunity he really wanted was the chance to learn about different cuisines.

He pursued formal culinary training while still employed at Pappas, opting to attend San Jacinto College's culinary arts program. "I didn't have the funds to go to CIA [Culinary Institute of America] or The Art Institute. I could have done that, but I didn't think that was necessary. A local school worked well for me and I learned a lot there."

He left Pappas and went on hiatus for a few months in Montana, where one of his best friends lived. It wouldn't be the first time Asher went on sabbatical while planning his next move. "I've always been a free spirit. I don't like constraint too much. I just wanted to go see some places."

A fledgling plan to open a barbecue restaurant with his friend fizzled out, so Asher returned to Houston. A former instructor at San Jacinto College was the executive sous chef at The Briar Club and helped Asher get a foot in the door. He stayed there for eight months, then moved to the sophisticated, high-tech kitchen at Cullen's. "That was the first true, classic, formal-style kitchen I'd worked in," he says. "Cullen's is a huge restaurant. There are so many toys in the kitchen and so much high-tech equipment."

Despite the surroundings, it wasn't a good fit. He left only two months later after having problems with what he calls "micromanagement." "I had a hard time with it," he admits. "There were so many chefs in the kitchen and a lot of egos involved. I struggled with it, but I learned a lot."

Back to the wilderness he went, taking a road trip to think about things. He returned to Houston, this time landing a position at chef Charles Clark's Spanish restaurant, Ibiza. Not only was that position more successful and longer-lived, but it also allowed him to broaden his experience. No kitchen positions were available, so he signed on as a wine steward and barista. "It was very different, and I definitely felt the urge to be in the kitchen, but it was cool. I learned so much about wine and classic coffee beverages, and I was still crafting something." (In the kitchen, though, was one of our other subjects, chef Travis Lenig, now at Liberty Kitchen & Oysterette. The two would become friends.)

Clark led Asher to his next opportunity. A regular customer at Ibiza owned a hunting and fishing ranch in Colorado and was looking for a head chef. It was Asher's chance to get back in the kitchen and become an executive chef, at age 24.

Before he left Houston, Asher spent a month staging with chef Chris Shepherd at another Clark concept, Catalan, to learn more about charcuterie. (Shepherd later went on to open Underbelly and became the first Houston chef to win a James Beard award since 1992.)

Asher remained at High Lonesome Ranch in Colorado for four years, initially serving farm-to-table cuisine with a heavy Western influence. There was a greenhouse for fruits and vegetables and an ample supply of cattle and sheep from the ranch. Along with the position came a lesson. "I screwed up a lot as far as managing goes. I pissed off people. I'm a lot more relaxed now. I try to stay more positive and don't lose my cool. I express disappointment but don't get angry. I see mistakes more as learning experiences now rather than disasters."

Business was slow in the winters, and Asher would take those opportunities to hit the road again, staging at notable restaurants around the country.

Over time, he found his heart turning toward Houston again. "I was facing a crossroad. Was I going to be in Colorado forever, or did I need to go back home? It was a tough decision. I enjoyed the serenity and beauty of Colorado -- the easy life. No traffic, no commotion and it was just gorgeous. But I needed to do what was best for my family and girlfriend [in Houston]. "

What Asher wasn't willing to do was come back without a good opportunity already lined up. After passing on a few positions, he accepted an offer to work as chef de cuisine with chef Mark Cox at Mark's American Cuisine. (His former coworker Lenig from Ibiza was finishing up a three-year stint there and let him know about the opportunity.)

Asher admires Cox and considers him a mentor. "The guy is the most professional chef I've ever been around. He's straight business, always about the craft, always about getting better, looking to learn, looking to do something new. Even at his age, he's still in the kitchen every day, filleting fish and coming up with new recipes."

Considering all of Asher's professional connections, the opportunity to be the executive chef at Dosi came about in a strange way -- through a -Craigslist ad. "I was just scoping out the scene to see what was going on in town, and this caught my eye. I went and talked with An [Dosi's owner] about what his vision was. We both started seeing eye to eye. It was a natural fit."

Asher resists labeling Dosi as "Korean fusion." "It's New American with a Korean undertone. 'Fusion' sounds outdated. Now [cuisine] is about being very genuine, focused and precise. Fusion is the opposite. It's like being scattered around, taking all sorts of stuff from everywhere. It's fine if you want to do that. It's just two different worlds."

"The hardest thing in this business," says Asher, "is the commitment to losing most of your personal life. I'm very independent, and it might be harder for people who have big social circles and families."

Travis Lenig, Executive Chef, Age 34 Liberty Kitchen & Oysterette, 4224 San Felipe

While there was no kitchen position available at Ibiza for Asher, Lenig was already there. The two would also work at separate times under Cox. Both have been chefs at resort ranches. While Asher worked at one in Colorado, Lenig spent time at one in Utah.

Lenig came to the food service scene very young. His mother owned a catering company, and he started helping her with it when he was only ten years old. Like Asher's grandmother, Lenig's mom also made breakfast, lunch and dinner for him and his siblings. "She would cook for her clients, send it out and then she'd have us kids the rest of the day," he reminisces.

It wasn't until much later that he considered cooking as a career possibility. "In high school, I really thought I was going to play for the Boston Red Sox. I loved baseball, but then you get older and realize that things don't always work out." It left him in a bit of an existential conundrum. So he turned to something he already knew -- the food industry -- and started with a friend who's a big name in Houston restaurants: Dominic Mandola of Ragin Cajun.

Lenig didn't start out as a cook, though. His first job was a cashier position, but it wasn't long before he made it to the kitchen. "I watched how he cooked and saw how he loved it and really had a lot of fun, so I asked him one day, 'Hey, can I jump in the kitchen?'"

Mandola said yes, and from that a career started to take root. Lenig's father, though, wasn't so sure about it. He was skeptical and said, "You know, this isn't going to be where you're there for six months and then say, 'Nah, I don't want to do this anymore.'"

"Culinary school is a lot of money," Lenig explains, "and he wasn't really willing to do that unless I was really passionate about it."

The younger Lenig persisted, though, and soon started checking out culinary schools. It was an easy decision. The Art Institute of Houston was very close by and he found the classes useful. "Just learning the basics was a really big, beneficial thing." Initially, he had an affinity for the most scientific kind of cooking -- baking, where success depends on exact ingredients and measurements.

He spent his free time bartending at John Marion Carrabba's restaurant, Piatto. Once he graduated, his first jobs were as pastry chef for Rainbow Lodge and Massa's. The love affair with baking wasn't built to last, though.

"I got really burned out by it. I really wanted to be a chef and have the creativity of doing stuff à la minute. Pastry is a lot of hurry-up-and-wait. The outcome is glamorous and beautiful, but it's just so time-consuming!" Lenig exclaims.

A position as a line cook at Philippe Schmit's Bistro Moderne suited Lenig much better. "I learned a lot of technique from him and Manuel Pucha, who's now at Table." (Schmit is currently minding the kitchen at Drexel House.)

It was after this that he went off to be an -executive sous chef at Sorrel River Ranch -Resort & Spa in Utah. "I'd never lived outside of Houston, so I wanted to try something new. Going from a restaurant to a resort was a huge change."

He made "laid-back ranch cuisine" to reflect the area he now lived and worked in -- the beautiful but landlocked southeastern corner of Moab that bordered Colorado. The nearest town was an hour away, so Lenig learned to order for a few days at a time and made resort-worthy food from ingredients that weren't highly perishable. Beef and pork were easy to come by, and the resort had its own gardens, making farm-to-table cuisine possible.

Seafood was tricky. "I'd try to bring in seafood when I could from Hawaii," says Lenig, "but I had to plan that based on what type of guests we'd have. I'd always get a list of all our guests who were going to be there -- where they were from and what type of diet restrictions they had. I ordered it on Fridays because I knew I'd sell out over the weekend."

Lenig got married, and his bride wanted to return to college to finish her master's degree in Houston and they both wanted to be near family. Lenig was introduced to Shawn Virene and Charles Clark, who agreed to hire him for the kitchen at Ibiza, where he'd work for three years. (Not too much later, Jordan Asher would be hired as a wine steward and barista.)

"I learned a lot -- and I mean a lot -- from those guys and have a lot of thanks to them," reflects Lenig. "They really boosted my career. I learned a tremendous amount about wine, food and how to deal with customers."

Lenig then worked for three years for Cox. "He is a fantastic chef," Lenig says. "Coming from Ibiza, which was super-turn-and-burn, and going to Mark's, which might have 15 to 20 items in a dish, it was a lot of hands-on. There was a lot of teamwork. I got to really work with ingredients I'd never worked with before. If there was something we wanted, Mark would say, 'Okay, let's get it, but we've got to make sure we use it. Make sure it will go inside our menu, and let's get it out.' He was always pushing towards the next level. That was his big thing. A lot of chefs in Houston have gone through that kitchen and went on to be successful."

Lenig lived across the street from the first Liberty Kitchen and watched it being built. He wanted to be close to home and family, and there was no chance of climbing higher in the ranks at Mark's. The next step up was the executive chef's position.

He met with Lance Fegen of the F.E.E.D. TX group (which owns Liberty Kitchen, BRC and other Houston restaurants). They walked around the Heights together for an hour and a half and chatted. An hour later, Fegen called Lenig and gave him the job. That was in February 2012, and he's been with F.E.E.D. TX ever since.

Liberty Kitchen & Oysterette opened in October 2013, and he moved to that kitchen and hasn't left. In October 2014, just shy of its one-year anniversary, he and the restaurant won three Houston Culinary Awards -- Up-And-Coming Chef, Best New Restaurant and Best Interior Design. "Especially with the company I was up against [which included two other subjects of this article, Kate McLean and Austin Simmons], to get that award was unbelievable. I really didn't think I was going to get it at all.

"There's so much in this art that we do that [being a chef is] a constant learning position. If you feel like you've learned everything, then get out of cooking because you should always be learning."

Kate McLean, Age 30 Tony's, 3755 Richmond

Tony's, one of the oldest and most acclaimed fine-dining restaurants in Houston, celebrates its 50th anniversary this year. Restaurateur Tony Vallone has proven that the word "institution" does not have to equal "boring" and more than once has brought vibrant young chefs into the kitchen.

The executive chef these days is Kate McLean. She was the first female sous chef and became the first female executive chef as well when Grant Gordon left to head the kitchen at restaurant Vallone's in the Memorial City area.

(Gordon later left Vallone's, and announced in 2014 that he was opening a new restaurant with Paul Petronella of Paulie's and David Keck of Camerata at Paulie's. Soon afterward, he committed suicide after being diagnosed with multiple sclerosis. It's still a deeply felt, painful loss for everyone who knew the bright young star. McLean declined to discuss her time working with him.)

McLean says her relationship with food goes all the way back to when she was a toddler. "I remember being left in my high chair in a dark kitchen with a nanny with peanut butter and honey Ritz crackers. She'd left a little cottage cheese on one of them and I was pissed. I think that's my farthest-back food memory."

As an adult, McLean still has a strong relationship with food and high expectations for what a meal should be like. "I love getting hungry. I'd rather skip a meal if I can't sit down and really enjoy it. It's hard for me to just walk around and eat."

It wasn't until she was pursuing a marketing degree at the University of Colorado that she considered cooking as a career choice. The summer between her sophomore and junior years, she worked in a kitchen at a lodge. "I had so much fun with the people I was working with. I loved the work. I like hard work, and I like stress." McLean realized she'd discovered her true vocation.

Upon returning to school for her junior year, she got a job flipping burgers. She worked at that for nine months, finished college and then moved to Seattle. There she got a job at Dahlia Bakery making sandwiches. It shared a kitchen with fine-dining establishment Dahlia Lounge next door. McLean started moving up the chain, from line cook at lunch service to the hot line at dinnertime.

She moved to Hawaii to join friends there, and got a job at a fish restaurant called Postcards Cafe on the island of Kauai. She stayed for two years. Developing dinner specials turned out to be enjoyable, creative work. Working in south France, though, may have been the most beneficial in helping McLean hone her culinary skills.

"My godmother buys antiques from France, and she stayed at a family-owned bed and breakfast [near Avignon] that had a kitchen. They needed help. I applied, and I was in France a month later working for this English family." The chef's father was a Michelin-starred chef and had trained him in the same manner. McLean learned a lot. "It really made me step up my fine-dining game, and I realized that I really love fine dining -- the precision and the beauty of it."

Five months later, McLean returned to Houston and an industry executive arranged for her to have coffee with Tony Vallone. McLean's vivacious, energetic personality and work experience proved appealing, for she was asked to create a tasting menu for him and other higher-ups at Tony's the next day. She says, "They told me, 'Everything needed more salt and pepper, but do you want the job?'" The answer, of course, was yes. At age 26, McLean became a sous chef at one of the most respected restaurants in the United States.

She worked under Grant Gordon for three and a half years and, at age 29, was promoted to executive chef. "I feel very blessed," she says. "Mr. Vallone is the coolest guy I've ever met. I feel very lucky to have him as a mentor. He has a cool way of talking with people. He's very charming but to the point. I've learned how to be nice but get what we want and not settle for less quality. He's also very generous, and it seems like he's always helping somebody."

One of McLean's more difficult lessons has been learning to swallow her pride. "In the beginning, about half of the chefs were hard to work for," she explains. "I knew if I just put my head down and did whatever they said -- even if it made me mad or seemed to not be right -- it would be worth it."

Another challenge for her was winning over employees who had worked at Tony's much longer than she had. "It was hard coming up here. I was constantly trying to prove myself. It feels so good now to have done it and be someone they respect."

Interestingly, McLean sees being a woman in the industry as an advantage, not a disadvantage, and isn't afraid to use her femininity as a tool to get the job done. "I think we have a lot of power. It's not that big of an issue. It's about how hard you work and your personality. Being a woman is empowering. If I need to get something done, I just smile the right way and it gets done. I use that."

McLean has advice for other young chefs who also want to move up through the ranks. "You just have to work hard. Never give up. There are times you'll want to give up and say, 'Oh my God, why am I doing this?' but don't settle for that. Those moments will always pass, and you'll be much happier for it."

Chris Loftis, Age 28 Number 13 Prime Steak and Seafood, 7809 Broadway, Galveston

Chef Chris Loftis was born in Germany, but he didn't get to stay very long. His parents moved to the United States while he was still a young child, but he did get to experience the cuisine of his country of birth since he has a grandmother who, in his words, "makes awesome German food."

After seeing the way he gravitated toward cooking as a teenager, his parents gave him a nudge in the direction of culinary school. Loftis says, "I guess it's that [parental] duty to say, 'You need to figure out what you want to do with your life.' All through high school, on weekends I'd want to barbecue or be outside and just do something with food. I don't know why, but it was fun to me."

Loftis and his good friend Joe Cervantez, both Pearland natives, decided to attend the Art Institute of Houston. They even started their careers at the same restaurant, taking advantage of an opportunity to work at the now defunct Skyline on the top floor of the Hilton Americas downtown. When it closed, their career paths split but would again parallel in later years.

Cervantez stayed at Hilton Americas to run the restaurant downstairs. Loftis decided to look for a job near home. He asked Ronnie Killen, who was opening a new restaurant called Killen's Steakhouse, for a job. Killen agreed to hire the young man as a cook.

Loftis worked on and off there for two and a half years. It was a period of growth and soul-searching. Loftis says, "I still didn't have the experience that I needed for a [steakhouse] like that, but luckily Ronnie was patient with me." To this day, he regards Killen as one of his mentors.

Loftis would work at a few more places before landing the job that would ultimately propel him to an executive chef's position. A stint at Strata in Vintage Park in far northwest Houston was a good fit. However, it was a hellacious drive from Pearland -- especially for a man about to become a father, which Loftis was at that point.

Then came The Barbed Rose steakhouse in Alvin. He accepted a sous chef position there. The commute was much shorter, but there were a number of factors working against the restaurant's success, too, not the least of which were the habits and expectations of Alvin diners. Loftis explains, "[Places like] Joe's Barbecue have been there for over 40 or 50 years. It's hard to compete with those kinds of restaurants that have been there forever because the parents grew up eating it and their kids grew up eating it." Others complained about "high prices."

He left, but the string of bad luck wasn't quite over. The next place he worked was Brazilian restaurant Samba Grille in downtown Houston. He arrived just as it was gasping its last breaths. It closed two weeks after he started. The only bright side was that he hadn't worked there long enough to get attached.

He'd find stability at Sweetwater Country Club for about a year, but it wasn't quite the right fit. "It was totally different than what I thought," says Loftis. "I never worked in a country club before. Not that I'm knocking country clubs, but it was very demanding because it was in Sugar Land and these people are paying a lot of money and, you know, they want what they want."

The right opportunity was, thankfully, just around the corner. Loftis interviewed with The RK Group, which owns Radio Milano as well as Number 13 Prime Steak and Seafood, which had not been built yet. It took them six months to call him, but when they did, they offered him the sous chef job at Number 13. The only catch was that it still wasn't quite open, so he bided his time helping chef Jose Hernandez at Radio Milano.

In August 2013, Loftis started working in another steakhouse -- Number 13 Prime Steak and Seafood. However, he'd end up running this one.

As was the case with up-and-coming chef Austin Simmons, Loftis's chance for a promotion came when his executive chef left. Jason Hanin left Houston to go run the kitchen of a restaurant called Gladstones on the sunny Malibu coast.

The promotion came with its share of challenges, the hardest of which was maintaining good relationships with the staff. "I wanted them to know I was still the person they could come to with culinary problems. I didn't want them to think that just because I was the exec chef that I thought I was better. I'm still the same person. I just have a lot more work now." He is, in fact, proud of being someone who listens to and takes advice from both employees and customers. "I'm not a 'my way or the highway' person. I listen to people's concerns and I care. I've worked with people where if it's not their idea, it's a bad idea. That's just not the way I work. I know I'm not going to please -everyone, but everyone likes being listened to and considered."

Loftis has occasionally had to learn things the hard way, so he has this advice for young cooks who want to move up: "Listen to your chef. When I was 17, I thought I was a hot shot and knew everything. Ten years ago, I got yelled at. In my head, I thought, 'Man, this guy doesn't know what he's talking about.' Now I see kids doing the same thing with me. It may not show immediately, but I guarantee there will be a time where you'll say, 'That guy was right.' No matter how crazy or farfetched, take it with a grain of salt, because he's probably right."

He also emphasizes the importance of a good work ethic. "Come in early, stay late. People who give it 50 percent in this business won't last long."

What happened to Loftis's childhood friend, Joe Cervantez? Well, he's a dad and an executive chef, too -- at Loftis's former workplace, Killen's Steakhouse.

The world of Houston chefs is a very small one indeed.

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Sugar Hooker recruits all-star lineup of chefs for pop-up dinners

When it comes to hosting pop-ups with out of town chefs, no restaurant in Houston does a better job than Fluff Bake Bar’s “Dinner With My Friends” series. After a strong first year that featured mostly Texas-based chefs like Philip Speer (the upcoming Bonhomie in Austin) and Matt McCallister (FT33 in Dallas), chef-owner Rebecca Masson, affectionately known as the Sugar Hooker, has stepped things up for year two by recruiting all-star roster of chefs from New York City, New Orleans, and other places beyond the Red River.

The six-course meals always occur on a Monday night when Fluff is closed. Unlike the first year when Masson had a personal connection to every chef, this year she enlisted some help from Charleston-based publicist Angel Postell to broaden her reach and recruit a couple of chefs she hasn’t met yet.

“I put together a list of the people I knew I wanted to invite, and then (Postell) reached out to people in her network and put together a list of possibilities,” Masson tells CultureMap. “We would go back and look at them, check them out. Some of them I knew their names right off the bat. Some I didn’t know their names, but I would read their bios and be like ‘this person looks really interesting. Let’s invite them.’”

Year two also features a charitable component, as 10 percent of proceeds will benefit Share Our Strength’s No Kid Hungry program. Masson serves as pastry chair for the Houston edition of the nationwide fundraiser, which raised almost $100,000 locally in 2016.

The series kicked off with San Francisco chef Richie Nakano in January and continues Monday with Reef chef-owner Bryan Caswell and his wife Jennifer. Two of Texas’ recently-announced James Beard award semifinalists, Steve McHugh (Cured in San Antonio) and John Tesar (Knife in Dallas), will also participate in the series, but Masson cites Jimmy Bradley from The Red Cat in New York City as the one she’s the most excited about.

“That’s my old boss and probably my favorite person I’ve ever worked for,” Masson says. “That’s the most near and dear to my heart, because I get to show him what I’ve made. He helped me several times by talking to me about business.”

Other participants include James Beard award winner Ryan Prewitt (Peche in New Orleans), James Beard Best Chef: Midwest semifinalist nominee Kevin Nashan (Sidney Street Cafe, St. Louis), and Top Chef veteran Grayson Schmitz. The meals typically cost about $100 per person, plus tax, tip, and pairings.

Sommeliers Cat Nguyen (Republic National) and William Meznarich (Victory Wine Group) will take turns creating wine pairings for each meal. If a chef expresses an interest in beer pairings instead of wine, Masson says she hopes to cajole Joshua Justice of The Flying Saucer downtown into making the selections.

Of course, the dinner pop-ups don't mean an end to Masson's Saturday morning bake sales. Recently, Masson has branched out from pastry chefs by inviting more savory chefs (Roost’s Kevin Naderi), restaurateurs (Lee Ellis of Cherry Pie Hospitality), and members of the culinary community (Lisa Seger of Blue Heron Farm) to contribute ideas. She’s even threatening to rope a food writer or two into the mix.

Keep an eye on the Fluff Bake Bar website for upcoming bake sales participants and on-sale dates for tickets to the remaining Dinner With My Friends meals.


Dallas’ New Swanky Late-Night Cocktail Lounge Inspired By World’s Boldest Bars

S everal swanky night spots inspired Richard en Tiffanee Ellman’s new late-night cocktail lounge. Quill is its name, and it’s nestled in the Dallas Design District.

“I love the lush velvets and the vinyl-spinning DJ at Rose Bar in New York City, and my wife was drawn to the malachite greens of the London Edition,” says Richard Ellman, who also co-owns Design District haunts Pakpao, Eikebome en El Bolero, onder die Apheleia Restaurant Groep umbrella.

Inside Quill, plush emerald-green seating and gold fixtures create a moody vibe in this restaurant/club/bar hybrid, where chefs John Tesar en Joel Harrington’s small-plate menu offerings — kim chi fried rice, ceviche, mini Cuban sandwiches and burger sliders — go hand-in-hand with inventive cocktails courtesy of James Slater.

In another collaboration, the new cocktail lounge’s secluded Ink Room offers custom dinners catered by Quill, Oak or Joe Palladino’s Nick and Sam’s. Quill, 1628 Oak Lawn Ave., 214.484.8702.


Kyk die video: Dallas Chef On Bourdain Suicide: I Cant Wrap My Hands Around It (Julie 2022).


Kommentaar:

  1. Mazugul

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  2. Gardazahn

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  3. Tauhn

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  4. Amo

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