Friday, August 15, 2014

Sous-Vide Series: High Steaks for Cheapskates

A Glorious Marriage of Biology, Technology, Butchery, and Parsimony
[Please see the current version of this article at the new site: https://under-belly.org/sous-vide-series-high-steaks-for-cheapskates/]

The silk-purse-from-sow’s-ear approach to sous-vide has been around a long time: cook a cheap, tough cut of meat long and low enough, and it turns buttery-soft, like an expensive cut.

Not quite Dolce & Gabbana
In this post I’m going to explore how far we can take the idea. The first step is to consider that a cheap cut may be of high quality. Chuck and shins and round are cheap cuts even if they come from artisinally raised, prime, heritage-breed cows. They will cost more than similar cuts from the supermarket, but worlds less than the porterhouses and prime ribs from the same animal. Think $7 to $10 a pound vs. $25 to $70.

The cuts we're most interested in are cheap because they're tough. These cuts generally have a lot of flavor, but require long cooking (traditionally by braising or stewing) in order to be succulent. When cooked by traditional methods, they become moist and tender by virtue of all the rendered fat and gelatin (more on this later) but are cooked well-done—gray and stringy. Our goal here is to get that same tenderness, without cooking the meat past the bright pink perfection of a quality steak.

Some cheap cuts of interest include short ribs, oxtail, cheeks, neck, and brisket. We're going to be looking at chuck (especially the part called the chuck roll, or chuck eye), since it's basically the tough twin-brother of prime rib—it can mimic a rib-eye steak quite convincingly.

Additionally, cheap cuts, if you’re dealing with a whole sub-primal section, can be dry-aged just like expensive cuts. It’s just a less common practice, so the trick is finding a butcher who will do it for you. In New York City or the Bay area, this probably means a few phone calls. Farther afield, you may have to forgo the aging, or else get serious and do it yourself. I won’t cover home dry-aging in this post, because, frankly, it’s a more complex topic than even some butchers ackowledge. I’ve had 4-week aged meat from one butcher that had more intense aged flavors than 10-week meat from another. There are many, many variables to consider and tame.

Why dry age at all? The primary reason is flavor. There’s an intoxicating depth, savor, and funkyness produced by the process. The other reason is texture. Aging allows specific families of enzymes resident in the meat to break down collagen and other proteins, for a tenderizing effect. Even cuts that are already tender benefit. If you haven’t had expertly dry-aged meat, seek it out. It will be one of your more memorable gustatory experiences—I promise.

The rest of the process involves harnessing cooking technology to achieve the best possible flavors and textures.

Case Study: Penobscot Bay, Maine

Suppose you want serve some really delicious steak at a dinner party. To a dozen people. On an island, a 12 hour drive and boat ride away. And where the only electricity comes from a solar panel, the stove burns wood, and the propane fridge struggles to maintain 45 degrees. And your budget is $60.

I had the opportunity to accept this challenge when friends invited a small crowd of us to a private island off the Maine coast. Last year my girlfriend and I made pasta, with clams we dug up on the beach. This year, with the help of a good butcher and a cheap immersion circulator, we decided on the steak experiment.

Sourcing the meat was actually the tricky part. I had to call several shops before finding a butcher who was excited about the project, and who agreed to dry age a prime chuck roll for us. That butcher was Rob DelaPietra. He invited me to his eponymous shop in downtown Brooklyn, where we picked a piece of meat together. He cut off a 7.5 lb. hunk of chuck roll from the rib end. Normal price was $10/lb, and since I was buying in bulk he offered it for $8. Expensive compared with regular chuck, but this was a nicely marbled, prime piece of meat. And he was going to charge nothing for the dry aging. My schedule determined that it would age about 4 weeks, which Rob thought would be about right for maximizing flavor with minimal weight loss.


I paid for the meat and walked away. When the time came, four weeks and a couple of days later, here’s how it looked:

Bring on the funk.

I wish I could better describe the smell. The closest thing I can think of is black truffles … that musky, almost dizzying aroma. I raced it home in a cooler, which lent an air of emergency organ-transplant to the proceedings.

And then the work began. After trimming the desicated crust, there was a half pound of trim, and an additional half pound of weight lost as moisture. This works out to about 13% loss, which really isn’t bad. Final cost of the meat, including loss from aging, was $9/lb. I sliced it into 1.5" and 1.75” steaks.


After trimming.

The trim. 8oz. of nasty deliciousness. Save this. More to come in a future post.

The steaks

On to the cooking and the rest. There were 8 discrete steps:

1: pre-sear

2: package for sous-vide

3: immerse for 1 minute in simmering water, to pasteurize surface

4: pre-cook for 4 hours at 40°C / 104°F

5: cook for 44 hours at 55°C / 131°F

6: chill in an ice-water bath, pack in a cooler, hit the road

7: rewarm in water bath on the stove

8: sear on a hot griddle

Here’s a more detailed explanation of the hows and whys, including commentary on the optional steps.

Note: it’s important to NOT pre-season with salt when doing a long cook. Salting before cooking at these times and temperatures will start to cure the meat, changing its color and temperature to something resembling corned beef. Not what we're after.


1) The pre-sear is completely optional. Many people dispense with it. There is some evidence that meat from grass-finished animals, like sheep and some cattle, will develop unpleasant flavors if you pre-sear. This wasn’t an issue for this piece of meat. The reasons for a pre-sear are to make post-searing faster and easier, and to develop better flavors from the maillard (browning) reactions. This is a controversial point; I’m trusting Dave Arnold and Nils Norén at cookingissues.com, whose blind taste test favored a combination of pre- and post-searing.

Pre-seared.

2) Package for sous-vide. I used ziploc bags, with about 45ml liquid added per bag to displace air. You can use stock or melted butter, but in practice there’s little disadvantage to using flavorless cooking oil, even you’re using the bag juices as a sauce component (a topic for another post). If using a vacuum machine, oil or butter helps keep the steaks from sticking to the bag and getting misshapen as the shrink from cooking. Use just enough to coat the meat.

3) Immerse for one minute in simmering water. This is technically optional, but I strongly recommend it, especially if you’re doing a low temperature pre-cook (next step). The idea is to pasteurize the surface, so spoilage bacteria won’t do bad things. While uncommon, some people cooking low and slow have found green slime on their meat, with the aroma of baby diapers. Spoilage bacteria are rarely harmful, but you probably won't be inclined to test this point.

Do the simmering step carefully, with tongs or silicone mitts, and let the water return to a simmer between bags. Be especially careful with ziploc bags. Simmering water is at the upper limit of their temperature range, and the seal can be quite weak until the bags cool a bit.

4) Pre-cook 4 hours at 40°C. I’m expecting protests over this one. This is indeed a temperature associated with high bacterial growth. Health inspectors without biology backgrounds have done a doubletake on less experimental techniques than this. But it’s safe if you follow step 3. I plan to do a longer post on the the pre-cook. Here’s the basic thinking:

Cooking in a beer cooler modified to fit the immersion circulator. This saves a ton of energy.
The enzymes that tenderize meat during the aging process are most active in this temperature range. Calpain is most active at 40°C; Cathespin is most active at 50°C.

Biproducts of these enzymes are further broken down by a group of enzymes called aminopeptidases. This is the process that creates the aged flavors I’ve been crowing about.  There are several aminopeptidases, each with its own temperature of peak activity. The 40°C point gets the most activity out of the most important flavor enzymes.

In addition, experiments cited by Douglas Baldwin found that pre-cooking in the 50°C range produced off-flavors, quite possibly related to products of cathespin.

Nathan Myhrvold and company, in the Modernist Cuisine books, suggest 45°C as a precook temperature. There are some reasons to favor this. Bacterial activity will be lower than at 40°C, and tenderization should procede more quickly. No one I know of has reported off flavors at this temperature.

However, Myhrvold mentions the precook only in conjunction with tenderizing. At 45°C, the most important flavor-producing enzymes are deactivated or degraded.







Disclaimer! All information on precooking and flavor development is provisional. The graphs were created with very few data points, using common enzyme curve shapes. This data comes from scientific studies that were designed to answer very different questions.* I plan to do a more scientific test to see if a 40°C pre-cook actually enhances aged flavors. Right now I can only say that the science suggests it might, and that the results were freakin’ delicious.

I am confident, however, in the safety of this method. There is much more literature on pathogen growth and death curves than on enzymes. In summary: at 40°C, eColi populations double every 30 minutes. This means that after 4 hours, assuming you started with a pasteurized surface, bacteria levels would still only be 0.0003 as high as on the original raw meat. If you are still concerned about this, let me know, and I’ll post the science and math to support it.


5) The final cook. Time and temperature are the usual topics for debate in sous-vide cooking. I went 44 hours at 55°C (I consider this a 48-hour cook, including the pre-cook). The results were very good, if, like me, you’re interested in pink, medium-rare meat that’s tender.

55°C is the lowest temperature acknowledged by the FDA for pasteurizing beef, but the science shows that you can safely pasteurize meat (eventually) at temperatures as low as 52°C / 126°F. A lower temperature would give a more toothy, rare texture, trading some of the developed beefy flavors for brighter, rarer flavors, and giving slightly more rubbery / slimey fat to deal with, especially on a fatty cut like this. I'd be way of going lower that 54°C / 129°F.

A slightly higher temperature will melt more of the fat, making the mouthfeel of some bites more pleasant.

A shorter cooking time (say, 36 hours) will sacrifice some tenderness for some added juiciness. I may lean this way in the future, but only with a similar piece of good quality, aged chuck.

If you’re unfamiliar with the reasoning behind the low-and-slow approach, it can be summed up as this: the “doneness” of the meat is determined solely by the highest temperature the meat reaches. But the tenderness is determined by both temperature and time. Tough cuts are tenderized mostly by the breaking down of collagen (a tough protein which is abundant in all hard-working muscles) into gelatin (which gives melt-in-your-mouth succulence). We used to think this only happened at high temperatures. Now we know that it happens at almost all cooking temperatures. The catch is that the lower the temperature, the longer it takes. If you want to make a tough cut both tender and pink, you’d better have some time on your hands

If you’re thinking, “wait … just a couple of hundred paragraphs ago you said the tenderizing was done by all those unpronounceable enzymes,” good catch. Some of the tenderizing gets done by those. But they’re innactivated by the time you get to cooking temperatures. Once we’re really cooking, some of the tenderizing gets done by higher temperature enzymes, like collagenase, and others simply by thermal breakdown—think of this as the collagen melting.

The good news is that you don’t have to do anything during all thosse hours. Maybe check in a couple of times a day to whisper encouragement, and to make sure the power hasn’t gone out.

6) Chill in an ice water bath. Important!—unless you're planning to sear and eat the meat immediately. The meat's pasteurized at this point, but hasn’t been cooked hot enough to kill spores, which are the dormant, nearly indestructible forms of anaerobic bacteria like c-perfringes and c-botulinum. Killing these spores requires temperatures only achievable in a pressure-canner. You can't do it through regular cooking, sous-vide or otherwise.

These bacteria are a threat because there’s no oxygen in the bag, and it’s a low acid environment—exactly the conditions that allow them to blossom into active bugs. So the only insurance against a full-body botox treatment is to chill the bags quickly and keep them refrigerated. Once you do so, the steaks could theoretically last many weeks in a properly calibrated refrigerator, remaining both safe and fresh. I prefer not to test my luck, so I don’t go past 2 weeks.

On this trip we faced the added challenge of two day’s travel by car and boat to get the meat to an island. As long as you can find ice along the way, this is no problem. Just keep those bags sealed, and make sure there’s plenty of ice all over inside the cooler. My cooler is only decent quality (not like the more expensive marine coolers) and still I only had to re-up on ice once in two days.

7) Warm for service. A water bath is great for this step, too. You can use an immersion circulator, of course, but you don’t need one. Just use a thermometer to make sure the water doesn’t get above your cooking temperature … you don’t want to wreck the careful work you’ve done. I got a big pot of water up to about 53°C and left it on a warm part of the stove. Did I mention it was a wood stove? I like that the process started with a fuzzy-logic, PID-controlled laboratory circulator, and finished on a spruce fire.

Sous-vide bags on the backburner of the Queen Atlantic.
8) Final sear. You can do this lots of ways: a pan, a blazing hot grill, a salamander broiler, a deep-fryer, even a blowtorch. Generally I think the easiest is a griddle. It’s just a heavy frying pan that happens to be big enough for a bunch of steaks. Dry the meat with paper towels, season with salt and pepper, and give the griddle plenty of time to heat up. Water splashed on it should leap back off. If you have an infra red thermometer, get the surface above 260°C / 500°F.

Put oil on at the last minute. I prefer a refined, high heat oil like safflower or canola. Olive oil can work, but you may not want the flavor, and it seems more likely to scorch or catch fire. Be generous with the oil … it’s the only thing that can conduct heat into the irregularities of the meat.
Sear each side of the meat for a minute or less. You may want to hit each side a couple of times but don’t flip constantly here … this slows the development of a crust.

And that’s it. You don’t have to rest the meat. Resting is about equalizing temperatures, and about letting the juices thicken up a bit so you don’t lose too many of them. But it’s not going to be an issue here, because the searing is so brief. If you’re going to slice before serving, as I did, you can do it right away.

Technically, you should slice across the grain. With meat this tender it’s unimportant. Slice however you like. Just make sure to cut the pieces thick enough that people feel like they’re eating a steak.


*******



How was it?

Well, I wouldn’t have written all this if hadn’t been worth it. It was among the best steaks I’ve had. And all the competing steaks had cost well over double per pound, and had required real cooking skill (but less knowledge) to prepare.

At least one person at the table said it was the best meat he’d ever had.

Someone else said “this is more tender than fillet mignon,” which wasn’t true, but I appreciated the sentiment. My favorite comment: "this is like eating a baby."

Anyway, I’m seriously happy with this method, and plan to use it again, even just to serve guests at home. It’s best suited to a feeding a crowd, because, dry aging small pieces of meat is wasteful. It’s also more satisfying to feed a crowd, since these methods scale so well. I don’t know any other way to serve a dozen people such perfectly cook steaks, and get each plate to table at the same time, hot. If you use these methods, it’s actually easy.


In an upcoming set of posts, we’ll discuss sauce.


*******

*Sources on enzymatic tenderizing and flavor development:

Mechanism Involved in the Improvement of Meat Taste during Postmortem Aging

Proteases in Fresh Pork Muscle on their Influence on Bitter Taste Formation in Dry-Cured Ham

Quality Aspects of Muscle Foods (Google Books excerpt)

Sous-Vide cooking: A Review

Myhrvold, Nathan; Young, Chris; Bilet, Maxime; Modernist Cuisine, Vol. 3. P.78; The Cooking Lab, 2011

Thursday, August 14, 2014

Sous-Vide Series: Beginnings and Definitions



The nomenclature for sous-vide is confusing, if not outright misleading. So before we go on, let’s discuss the definitions.

Sous-vide literally means “under vacuum.” Traditionally, all food cooked by this method was sealed in plastic, with air evacuated by a chamber vacuum sealer. This keeps the food fresh (no oxidation), and eliminates air bubbles that could insulate the food or float the bag on top of the water bath.

Not your Grandma's commercial chamber vacuum sealer.

However, vacuum packing is not of central importance to sous-vide cooking. Most of what we care about is precise temperature control and a high-humidity environment. These are the only conditions needed for true low-temperature cooking.

It is this—low-temperature cooking—that is most often associated with sous-vide. It means cooking in an environment that is as hot, or only slightly hotter, than the final temperature of the food. To cook a piece of fish to 54°C, you cook in a humid environment (like a sous-vide bag) that’s 54° to 55°C. Conventional, high heat cooking would use an oven or skillet that’s above 200°C.

The differences are two-fold. With low-temperature cooking, you’re no longer dependant on precise timing to get the food cooked perfectly. Within reason, a little extra time in the cooker makes no difference. The food can wait until you and your guests are ready. And the food can be cooked truly perfectly, without any temperature gradient. No more undercooked food at the center and overcooked food at the edge. You no longer have to suffer the gray, dried-out ring of beef that has traditionally imprisoned a perfectly pink middle. For more details on low-temperature cooking, please see the excellent Cooking Issues primer.

Low-temperature cooking is the most common use of sous-vide, but not the only one. In Europe, especially, it’s common to cook in a water bath that’s significantly hotter than the final temperature. This introduces a deliberate temperature gradient (like, if you enjoy both rare salmon and medium-rare salmon, and want both in the same piece of fish). Sous-vide can give the same kinds of temperature gradients as high-temperature cooking, but with more control. This is called cooking with a temperature gradient (or Delta-T, if you want to annoy impress your friends).

We can achieve all these effects without a vacuum machine, packaging the food in Ziploc bags. We can even achieve them without a water bath: modern ovens like combi and c-vap ovens cook in approximately the same way, but with steam. These ovens create their own high-humidity environment, so no food packaging is required.

To complicate things further, vacuum-packing is used for culinary techniques that have nothing to do with cooking. The most common examples are high-speed pickling, marinating,  and texture modifications. Techically, these are sous-vide methods. But they’re not what we’re talking about most of the time.

In this blog, when we say sous-vide, we are using a definition that is innacurate but that has become more or less conventional. We mean: cooking in a sealed container placed in a water bath, heated with precise temperature control.

The sealed container could be a vacuum bag or a ziploc (I use ziplocs almost exclusively), a Food Saver bag, a few layers of plastic wrap, or a canning jar. The water bath could be heated by an immersion circulator, or a rice cooker with a jerry-rigged PID controler. It could even be a beer cooler filled from the kitchen tap with help from a thermometer.


A Poly-Science immersion circulator in a polycarbonate Cambro container.



Sous-Vide Supreme non-circulating water oven (the first product for consumers)
Franken-rice-cooker with PID controller. A popular option before circulators got cheap. From cookingforgeeks.com


Considering the low cost of circulators today, there’s little reason not to get one. But you absolutely don’t need a vacuum machine. They offer advantages, especially in a commercial, high-volume operation. For small-volume use, the disadvantages can be deal-breakers. The machines are large and expensive. Food needs to be cold before vacuum-packing. And the machines may need additional attachments if your bags contain liquids. Ziploc bags don’t suffer these particular limitations. (See this post for details on sous-vide with Ziplocs.)

So why do we stick with such a misleading term? Partly because it’s become entrenched. And partly because the suggested alternatives have been clunky or equally misleading (and sometimes both). Until further notice, we’ll be calling it sous-vide, and apologizing in advance for the confusion.

Sous-Vide Series


Welcome to the new Underbelly blog, where we’ll be sharing our secrets, and maybe some secrets stolen from smarter people as well.

We’re going to start with a series on sous-vide cookery. If you’re not familiar with sous-vide, expect to be hit over the head with it very soon, by way of cooking shows, blogs, food magazines, and ads for high-tech gizmos.

We won’t cover all the basics here, because so much has already been written.

For starters, see Douglas Baldwin’s excellent site. His book is also a good starting point.

For further exploration, see Dave Arnold’s and Nils Norén’s posts on the ICE’s excelent Tech ’n Stuff blog: Primer 1 and Primer 2.

For a review of current equipment choices (2014), see Kenji Lopez’s review at Serious Eats.

Just a couple of years ago, sous-vide technology was widespread in the restaurant world, but was priced out of reach for most of us. At Underbelly, we had to borrow an $1100 laboratory circulator from our friends at A Razor, A Shiney Knife (They have two).

Eventually, the Sous-Vide Supreme machine came along at half the previous price of entry. It still failed to tempt many of us. It wasn’t a true immersion circulator, didn’t have interchangeable containers, and took up a lot of counter space. And it was still pricey.

Starting just last year, a whole new generation of cheap-but-awesome circulators hit the market, offering pro-level performance in the $200-$300 range—what you might pay for a toaster at Williams-Sonoma. As you’ll see from Kenji’s review, they all work, and will all give identical results. The differences are in the details, interfaces, capacities, and esthetics—things worth mulling over for a few minutes. But you’ll probably be happy with any of them.

In this series, we’re going to cover some possibilities for sous-vide that are unexplored, or that we feel deserve a closer look than what you’ll find elsewhere.



The Poly-Science circulator that first showed up in U.S. restaurant kitchens.

A few years later, you can have an Anova culinary circulator for around a fifth the price. They work just as well.

Monday, March 17, 2014

State of the Underbelly

Thank you, intrepid gastronomes of the underverse, for you continued enthusiasm and patience. You may have wondered, what’s going on under there?

As is the way of the world (by which I mean Brooklyn), fates are tied to real estate: we’ve lost our grand old Bushwick brewery. Also the way of the world (by which I mean the world), the physical morphs to the virtual. After relocating and rethinking (and some downsizing), we’re back in a new form.

The new Underbelly:

1. This site is going to become an active food blog, where we share our research, discoveries, recipes, and ideas.

2. We will seek collaborations with other restaurants (underground or above-board), and with roving chefs who have space, portable gear, or an ace up their sleeves. We'll be announcing any events to subscribers and through the blog.

3. We will soon post an index to our best recipes and tutorials. This will include favorites, like our Brown Butter Muscovado Chocolate Chip Cookie (which is currently paying the rent at at least one specialty store) and our Poached and Roasted Thanksgiving Turkey, which has stunned a few reluctant diners by actually tasting good. Look forward to tutorials on high-end ice cream (our house specialty), sous-vide techniques, stocks and glaces and sauces, and Japanese knife skills. And more!

Please subscribe, and tell us what else you’d like to see. We’re a dedicated resource for the serious, the curious, the creative, and the hungry

Nano-apple croque-monsieur

Sunday, June 16, 2013

Bloomsday

Mr Leopold Bloom ate with relish the inner organs of beasts and fowls. He liked thick giblet soup, nutty gizzards, a stuffed roast heart, liverslices fried with crustcrumbs, fried hencods' roes. Most of all he liked grilled mutton kidneys which gave to his palate a fine tang of faintly scented urine.

HBD, LB

Wednesday, September 8, 2010

Private Steak Dinner, Sept 5, 2010


the Mothership


I wanted to do a test run before inviting the world to our long-promised steakhouse night. In addition, friends have been begging for something good to eat, and my girlfriend is skipping town for the greener pastures and sensory delights of ... Rwanda. So it was last weekend or never.

I enlisted our close collaborator and butcher Jeffrey Ruhalter to procure some primer-than-prime, 8-week dry aged steaks. We went mostly with tail-end t-bones, which are essentially shell steaks, and one rib-eye, just for fun (actually, it was at Jeffrey's insistance ... "you and I will eat the rib-eye," he said). But in the chaos of plating, I have no idea who got the rib-eye.

Cooking perfect steaks for sixteen guests, with no crew and four burners, is beyond my art. So I borrowed a laboratory grade sous-vide immersion circulator from our good friends at A Razor, A Shiny Knife. A couple of test runs helped determine our final method:

We salted and peppered the steaks and bagged them with cultured butter; cooked them sous vide for 2-1/2 hours at 54°C; dried them, and brushed with a solution of glucose and sodium bicarbonate (to speed the maillard reactions that give a crisp, brown crust); seared on a hot griddle for about 45 seconds per side; sliced across the grain and served on hot plates.

Thanks to the ruthless precision of the sous-vide Mothership, the meat was perfect. Imagine a sous chef who never falters, never gets tired, and never talks. You get the idea: true love. Returning her to her rightful owner may have broken my heart forever.

The rest of the menu was merely made by hand. It included a cucumber gazpacho with mint and smoked salmon (an idea pilfered from Daniel Boulud), and financier cake served with raspberry-thyme sorbet and bit of cognac whipped cream. We served the steak on a bed of Israeli cous-cous made with wild mushrooms; sauteed baby bok choy with garlic; and a brown sauce made from a very intensely flavored beef coulis, mushrooms, and sage.

The coulis took two days to prepare, starting with a simple stock made from roasted beef and veal bones, and then a slow reduction with multiple immersions of meat, herbs, and aromatic vegetables. The coulis became a sauce shortly before serving, with the addition of shallots and reduced wine, mushroom duxelles and mushroom cooking liquid, sage, and a bit of arrowroot starch and xanthan gum to adjust the texture. There was no fat or dairy to mute the flavors, although the texture was similar to a butter-finished sauce.

Wine was BYO, and friends brought impressive quantities of delicious ones, including a Barberra that I tried to hoard between coarses.

Good times! The meat was spectacular—as good as any I've ever had—deeply beefy with all the funky, nutty, and minerally aged flavors you'd hope for from 8 weeks of dry age. It was extremely tender. I'm not sure if the 2-1/2 hours of slow cooking increased the tenderness, but I'd advise against going longer than this with these cuts; you'd risk the meat becoming too tender, if you can imagine such a thing.

For our upcoming (eventually) public steak night, we're going to go one better, and have Jeffrey procure beef from three of the best farms in the country. Right now we're looking at Four Story Hill Farm, Prather Ranch, Brandt Beef, Snake River Farms, and Hearst Ranch. All have different raising and feeding philosophies and reputations for extremely high quality. We'd like to put their offerings side-by-side on the plate for our guests to sample.

Stay tuned! In the mean time, to get your hands on beef like what we're showing here, go talk to Jeffrey at the Essex Street Market. You have two choices in New York: get it from Jeffrey, or go uptown to Lobel's and pay four times as much (no exaggeration).

For advice on cooking great steaks, check out our recipes here.

This dinner was made possible by generous support from
the Levy-Dangerscissors Corporation (tm) and its worldwide partners.





The t-bones and shell steaks
The rib eye

bagged, air sucked out, replaced with mounted, cultured butter.


searing

the coulis simmering

sage chifonade for garnish

crisp crust and bright pink edge to edge


a little overindulgence in the saucing?

Thursday, March 18, 2010

A Day at Le Bernardin

I've been corresponding with Michael Laiskonis, Le Bernardin's executive pastry chef, for over a year. I found him through his blog, where he explains his approach and techniques with unusual eloquence. There are other pastry chefs with James Beard awards and three Michelin stars, but Chef Laiskonis is the first I've encountered with a combination of great vision, deep technical curiosity, and the ability to speak easily about both. Like many creative titans, and all of my friends, Chef Laiskonis is a poor judge of character; he invited me to work in his kitchen in spite of my obvious lack of credentials and housbreaking.


Such a rare opportunity demands preparation, which in my case consisted of a full week chanting, "don't knock anything over." I've had a chance to study Chef Eric Ripert's book, On The Line, which details everything backstage at Le Bernardin, including the 10 by 14 foot pastry kitchen that cages up to six pastry chefs and production people, who craft individual pre-desserts, desserts, tasting menus, and petits fours for up to 300 guests a night. The possibilities of elbowing a chef in the eye, stepping into a bucket of glucose, or capsizing an entire speed rack of tuilles and spherized pear nectar seemed almost infinite. Happily, the training worked; drama seekers will have to wait a little longer for posts about self-inflicted palette knife wounds or kitchen evacuations.


The greatest barrier between the average schmo and the kitchens of Le Bernardin may not be their standards but their architecture. Finding the kitchen required trips up and down different stairwells, U-turns through basement catacombs, and conflicting directions from a cook and an elevator repairman. I thought of the scene in Spinal Tap, where the band wanders the bowels of the venue in search of the stage. At one point Maguy Le Coze, co-owner and co-founder of the restaurant, stormed past me in a subterranean passageway before pushing through an unmarked door. She looked appropriately sleek, intense, and French; as one would expect, she didn't look up at the hapless stranger wandering the stairs.


When the kitchen doors finally appeared around a corner, it was only a matter of minutes before I'd been introduced to the crew and handed a chef jacket and propane torch. There was some mention of a tour, which never materialized (when I got home, 12 hours later, I realized that I never even saw the bathroom). Instead, production went into full swing. It was a slow night; the restaurant was somewhere around half capacity, but still every guest gets a pre-dessert, a dessert and a plate of petits fours*, and at least one table had arranged for a special dessert tasting menu.


I spent most of my day working on the petits fours, which consisted of a round financier with pistachio and a macerated cherry in the middle, a chocolate cup filled with praline cream and sprinkled with ground toasted almonds, a beignet, and a wafer of white chocolate topped with a duo of gummy cubes (mango, and ... something red). My accuracy on some of the ingredients may be off; I only nibbled on broken ones and that was during the tunnel vision of production and assembly. While the plate of petits fours comprises 4 bites, there are actually 10 components, each of which has to be prepared separately, sometimes in several steps, before final plating. The morning production crew had already prepared many of the ingredients and components for us to assemble. By the time you pop one of these scooby snacks in your mouth, it's probably been worked on by five or six people over the course of many hours.


The work requires some precision, but perhaps not as much as I'd first assumed. Ricardo, the sous chef, would typically show me one example and then cut me loose to do the rest. In my effort to perfectly duplicate his, I occasionally resorted to using tweezers where he'd used a plastic spoon. I loosened up a bit when I saw him laughing at me.


We cranked out the fours in waves, stopping when we ran out of plates, starting up again when a fresh stack came back from the dishwashers. I spent much of my downtime observing others plate the main desserts—a skill I would like to acquire, and one I'm ecstatic that I didn't have to fake in that setting. Every dessert has multiple components, some of which are delicate tuiles or disks or other brittle constructions. The saucing is a mix of geometric precision and loose brushwork and squeeze-bottle painting. The overall effect conveys sophistication and a bit of playfulness, and remarkably avoids the over-constructed, self conscious displays that were in vogue in the 90s (and never quite went away). I have philosophical issues with some kinds of saucing (like small dots of sauce, or piles or smears of dry powder), but when Chef Laiskonis uses these techniques he does so with restraint and to such great esthetic effect that I found myself wanting to steal some of his designs.


I spent some downtime watching the hot kitchen. Compared with some high end kitchens I've seen, Le Bernardin's is austere; it's about as small as imaginable for the size of the brigade (slightly smaller, actually ... the canapé station is a pair of wheeled carts with portable burners, tied to the end of the pass). The equipment is all solid and immaculate, but traditional and decidedly un-fancy. I saw no hint of induction hobs, anti-griddles, or rows of chefs plating microgreens with surgical tweezers. It looks like a restaurant, in the most traditional sense.


The hot kitchen feels like a war room compared with the pastry kitchen's operating room calm. All the cooks I watched handled the onslaught easily. There were no losses of control or focus or communication; everyone performed like a rock star. The sauté station in particular stood out. I have doubts if my wee brain could handle such simultaneous demand for volume, spontaneous organization, and perfection.


Back in the pastry kitchen, I handled some miscellaneous jobs like unmolding frozen goat cheese hemispheres (which would then be spherized in sodium alginate), and unmolding and cutting to size small logs of corn custard that had been formed with various hydrocolloids. Whenever I found Chef Laiskonis taking a break from running the ship, I pestered him with questions, on everything from his opinions on the Michel Cluizel chocolate varieties they use, to ice cream theory, to the finer points of reverse-spherification of fruit purées. His loyal lieutenants, Ricardo and Jesus, were able to shut me up a few times over the course of the evening by handing me a beautifully plated dessert and a plastic spoon. Of course, after indulging in such a creation I only had more to talk about. There are maxims about keeping one's eyes open and mouth shut; alas, there are also compulsions that keep one's life interesting while keeping one mostly unemployable.


One unexpected surprise was Chef Ripert's visit to the pastry kitchen. He was as gracious and charming in person as he is on television; he seemed like a boss who wants to create an environment where his workers feel comfortable and motivated to do their best work. I don't know how many chefs of his caliber spend as much time as he does in the kitchen ... I suspect not many. I didn't see him micromanage, but I saw him observe, and check in many times with the heads of various teams. When introducing us, Chef Laiskonis said, "Paul's been stalking me for about a year now." Chef Ripert replied, "I understand. I had to stalk Michael for two years to get him to come here."


Our final plates went out around 11:30 pm. We had already cleaned up most of the pastry kitchen; an easy task compared with the near-demolition going on next door on the hot side. Six pastry technicians making tiny sculptures just don't make the same scale mess as forty pirates slinging a thousand pounds of fish through a million BTUs of fire. And the line cooks are denied the most rewarding cleanup task of all, which fell into my hands: putting away the ice creams and sorbets. I first knew Chef Laiskonis as a long-distance ice cream guru. Having my hands on all dozen flavors of his daily stockpile felt like some kind of industrial espionage (except, of course, that I am without anything resembling an industry). I came away with two flavors I'd like to shamelessly ape (crème fraîche sorbet and praline citrus ice cream) and a much more rounded sense of what my guru's up to.


We said our goodbyes after Chef led me through the catacombs and back to the real world. I don't think I expressed enough gratitude to Ricardo and Jesus for their patience and friendliness in the kitchen; they helped make a potentially nerve-wracking experience both comfortable and educational.


I may have an opportunity to do a similar stage on the hot side of the kitchen ... stay tuned!




* literally "small oven" ... these confections were invented in 18th century France as a way to take advantage of residual heat in the coal ovens at the end of the night. Thanks to the modern convection oven, we can now work on them all f'ing day.


petits fours

Some of the little buggers in process and getting plated.

dessert

A typical dessert plating. Stolen off the restaurant website; I didn't want to get in the way with my camera.

pantry

Pantry Items include various sea salts, xanthan gum, sodium alginate, isomalt powder, dextrose, pectin, citric acid, locust bean gum, calcium lactate, and powdered microwave popcorn.